::ALBUM REVIEW::

With the repetitiveness and over usage of the same beats and producers dominating the top of mainstream and gospel charts, sometimes bending the “status quo” driven, pop machine of the industry is what listeners aim to hear. That doesn’t mean that being overly radical is the right thing to do, but it means there is still room for freshness. And in the spiraling world of most gospel choir music, a style that seems to slowly lose its luster as the years go by, that freshness is greatly needed.

Coming out of the New Jersey camp comes one of the most refreshing and engaging ensembles to jump into the gospel arena to date. Led by John W. Howard, Jr., the nineteen-member cast of the End Time Levites deliver their first independently-released project; “The End Result,” and aims to mix three credible components into their array of contemporary gospel. The first and most obvious factor rests on the group’s passion for the old-fashioned choir music. The big jams, along with their enthusiasm on the uptempo cuts, resemble modern copies of Keith Pringle’s Pentecostal Community Choir and the Chicago Mass Choir and the ballads bear a sweet resemblance to the drawn-out effects heard by the Whitfield Company and Rev. Brunson’s Tommies. The next factor to look into consists of their honest desire to paint a good impression by performing material that slightly overshadows their biggest influences. This achievement, an important one for any newcomer regardless of genre, is strongly acknowledged throughout the bulk of the disc. And even in the rough and uneven cuts, they appear to be confident in their sound and feels as if they welcome public comparisons to their fellow contemporaries. That leads listeners to the final factor - their attempt to merge modern sounds with the old, unbreakable traditions. From praise-and-worship to the funk-oriented urban gospel, Howard finds no fear in facing what is acceptably cool, even though his tough, James Cleveland-esque, and at times rugged baritone voice may be best fitted for stricter traditional material.

On this set, Howard uses the platform to expose a number of original compositions and well-organized arrangements. The meaty portions of the uptempo head bobbers, such as the encouraging “You Shall Get Through This” and the rock/funk grooves of “Won’t Work”, are accented with articulate harmonies and good doses of controlled vibrato. The album’s opener, “Release,” is a song that uses few words, a locked-down groove and spunky choral delivery. Shockingly, the song may have been much more enjoyable if the drum licks were a bit more locked down - using a Philly four-on-the-floor disco-like rhythm. The biggest attraction of them all rests on the church-infused “I Made It”; which walks the classic hallways of Institutional Radio Choir and the Benny Cummings Singers. The serious horn arrangement, fancy organ/keyboard work of Jerod Howard and the down-home hand clapping entices listeners into the song’s high energy.

The ballads, for the most part, are intense, majestic and boldly arranged. “Focus” flows with big choral swoops and drops and wisely executed harmonies; showcasing the End Time Levites’ level of trained vocal performance. Even though the song is very thick to digest at first listen, it blooms with big build-ups and scripturally-empowered lyrics. A few worthy listens should straighten out the lifespan of this cut. D. Corey Shipley uses a few musical bars of James Cleveland’s “Lord Do It” to construct “Jesus Never Fails”. Lead vocalist Bishop Charles R. Lyles delivers a number of highly-emotional squalls and hair-raising high notes while the End Time Levites uses a heavy dose of vibrato and important levels of diction on their background duties. While the song may be a favored song for personal CD players, AM-radio may shy away from the big noise towards the ending. Other keynote cuts tucked here include Jerod Howard’s mesmeric “God Still Reigns” and the worship-postured “I Will Praise You,” which the latter flows directly into a few lines of Robert Fryson’s popular “God Is”.

Ultimately what makes “The End Result” a pleasing journey throughout its listening experience rests on the detailed post-production. With mixing handled by Glenn Barrett (GMWA Live, Richard Smallwood, Vickie Winans) and cautious overdubs being laid down at the impeccable Morningstar Studios, the efforts achieved by Howard and his crew are worth experiencing. A few adjustments in the album’s direction could have been made to make the album a bit more memorable, such as the change of rhythm for “Release,” more inclusions of super hits and possibly more time for some of the Levites’ to provide lead vocals since Howard pretty much controls the bulk of the selections. But “The End Result” is another satisfying release from the world of independent gospel music and should definitely earn Howard and the gang a slew of engagements and dates, due to their serious energy experienced here, for their upcoming touring calendar.