This is a collection of songs that we re-imagined in 2016 - my favorite songs that I wrote between 2004 and 2012. These melodies remind my soul of hope and hope reminds me of sights yet unseen. We felt like it was time to give these songs a new life.
Hope is a melody - a beautiful sight for the worn and weary eye. Brighter than the fires on the West Coast, louder than the bombs in Syria, more vibrant than a virus, stronger that the winds of the tornado or the shackles of oppression. She stands in the wreckage of lost accomplishment, she walks in the rubble of broken dreams, when castles in the sand are washed away, when the moon goes blood red and the stars fall, when the flood waters rise, when the bottom drops out - there’s Hope sweet Hope like a star burning bright - when the sun goes down and the fears begin to fly.
I want the new recordings of these songs to amplify the melody of hope above the noise of fear and despair.
This is from a few years back. Our song Hope was used in this olympic commercial. We have recently re-recorded Hope and nine other songs - brand new versions. And it's being released on 9.2.16 #hopesnotgivingup
David, our lead singer, is back over seas with The Exodus Road. Here is something he wrote on his last trip that gives more insight into what the band's goals and hopes are for abolition in partnership with The Exodus Road.
David Zach did an extensive interview with Brad Schmitt of The Tennessean about the band's work with fighting sex trafficking. In the past month The Exodus Road has been part of several raids resulting in rescues of over 20 victims and arrests of traffickers. This article came out yesterday and is great insight into what Remedy Drive is doing to contribute to freedom.
The RD nation came out in force to stand against slavery on 2.27.2015. Here is the band standing with the community of advocates raising their voices for those without a voice. Join us in the fight for freedom by texting "remedy" to 51555
Kind Words from Ed Cardinal - Crosswalk.com Contributing Writer:
Remedy Drive—born independent, shuffled to different labels when acclaim didn’t equal sales, and now taking the Kickstarter route—deserves respect for beating the industry blues and not giving up on its sophisticated rock music dream. Better yet, the Nebraska band’s determination has led to new purpose on Commodity, a conceptual set inspired by lead singer David Zach’s recent undercover mission work in Southeast Asia against human trafficking. This album raises awareness and the bar on creativity; it would’ve fit right in with the socio-spiritual best of Peter Gabriel, U2, and Simple Minds in the 1980s.
Thematically, Commodity fits Zach’s vision; he hopes it “will sound like a captive’s dream of liberty—a defiant reminder that in the King’s kingdom the oppressed can find refuge, a child soldier can find safety, the trafficked daughter in the red light district can return to her innocence.” Thus we hear the truth in the title track’s declaration: I’m a soul inside a body / I’m not a commodity, the disgust in “The Wings of the Dawn”: They’re taking beautiful and making it cheap / squeeze the soul, break the heart, steal the beat, and the hope in “Under the Starlight”: Maybe we can tear a little corner off the darkness.
Indeed, Commodity brings light while sonically matching the heavy air of its subject. The rising melody of “Commodity” is a heart’s cry poured over a muddy rhythm—something Switchfoot might attempt. The cleverly worded “Dear Life”—about the emptiness felt on this crowded earth—couples twinkling keyboards with a fuzzy bass guitar. The rapped verses of “Under the Starlight” spit stark opposites (Kalashnikovs, eight year olds . . .) before a lilting ‘70s pop chorus arrives. “The Wings of the Dawn” adds an angelic children’s choir to an industrial account of child sex slavery. It’s hopeful and harrowing.
Despite the focused theme, Remedy Drive diversifies on occasion with good results. The worshipful “King of Kings” features the honeyed harmonies of special guest All Sons & Daughters. Two instrumental pieces—“June” and “The Sides of the North”—give listeners well-timed opportunities to decompress from the tough issues at hand. “Take Cover” reads like a needed lullaby, and “The Cool of the Day” imagines how peaceful the world used to be.
Albums like Commodity used to be easier to find than they are today. Don’t miss this noble effort that ultimately achieves pop without pretentiousness.