::ALBUM REVIEW::

In 2007, Niyoki arose from just being another underground independent artist to being one of the most-talked about rising artists on the scene last year after the release of her debut project, My Everything. From that album came the chart-topping single “He’s Here;” which ranked at number eight on Billboard’s Hot Gospel Songs in January 2007 and closed out the year at number 27 on MediaBase’s most-played gospel songs list in its annual year-end edition. A new chapter was written in the burgeoning career of the former Prince protege'. After giving birth to her first child, Kedron, in November, the Indiana-born, Tennessee based vocalist shows no sign of slowing her momentum as she readies for the new release of her sophomore project, Rest, on the Direct 2 God (D2G) label. With thirteen songs in all, Niyoki runs through a tasteful assortment of R&B, hip-hop, pop and urban gospel. Along with Ralph C. Stacy (Mario, Jagged Edge) returning to assist with production, the album is also supported by EMI Gospel producer/songwriter Antonio Neal and upcoming producers Floyd Thomas and Quintin X. Vocally, Niyoki captures the powerhouse vocals of a Mary J. Blige and the sweet melisma actions of a young Yolanda Adams. But there’s an astonishing factor to her style that sets her apart from her comparisons - she carries those unique embellishments into a sonic medley of musical genres that generally don’t fit into conventional mainstream formats. It is those risks that definitely sets this album apart from her debut.

Opening up the musical journey is the bouncy “Where Would I Be,” tipped off with its cool guitar plunks, light percussion and sticky synth sounds. The brilliant sounds during the first-half of Rest pick up and sways into unpredictable modes. The midtempo galactic-sounding “All That I Have” is full of swagger and bounces with urban charm, and the jubilant Antonio Neal-produced “Joy” whisks back to a dance-driven, horn-blazing Latin disco groove that could have easily filled up a ‘70s disco floor. She jumps into gospel ballad territory using strong belting and smart runs on “Never Gave Up.” Done in the spirit of Yolanda Adams’ “In The Midst of It All,” the song features background support using big choir-like harmonies and eventually works up the heat on its closing modulations. And the album comfortably shifts into smooth tranquil vibes on “I Will Rest,” the reflective “Forever” and the pop-oriented “So Glad You Decided.” There are other shifts to absorb such as the pop worship-flavored breezy sounds of “Come In” and the alternative rock grooves of “I Win.” The latter is a pleasant surprise on the gifted singer and swarms with a thick juicy melody. She does take big leaps on hard hip-hop sounds like the drum-machine infused “I Wanna” and the lighter R&B “He’s Chosen Me,” including an unexpected interlude into the familiar club breakout resembling that of Usher’s “Yeah!”, but easily blends with the rest of the ever-eclectic material. While the bulk of the songs lyrically speak of praises to God and surrounds areas of gratefulness towards God’s abounding mercy that are universal to the world of Christian music, the occasional blunder surfaces - like on the closing minutes of “He’s Chosen Me,” for example.

Gospel audiences interested in different genres are certain to benefit from Niyoki’s swing towards crossover material, but a word of caution may be suffice for those looking for more of the contemporary and urban gospel sounds captured from My Everything. Rest focuses on pop types - ranging from pop worship, radio rock and a safer brand of hip-hop, while My Everything surrounded more rootsy R&B, neo-soul radio-friendly contemporary gospel. But the sheer beauty within Niyoki’s new musical experiences is that her youthful appeal, sincerity and heavy load of emotion on top of her sweet vocals work just as well as on a typical gospel record. Above all, it is wise to say that any serious presence of traditional gospel or a bowlful of contemporary gospel-flared tracks would have easily drowned out the crossover sounds already assembled on Rest. For some, it may take a few listens to really find indulgence in the type of versatility displayed on Rest, but it is a defining moment in crossover gospel, especially coming from one of modern gospel’s rising independent artists.