Kellems' album rocks

By Joe Dwyer     4/15/10 7:00pm

Four years after his last release, Beowulf: Epic of the Grendelslayer, computational and applied mathematics graduate student Anthony Kellems (Hanszen '05) has released his newest album, Out of the Depths. Combining heavy-rocking guitar tracks with more laid-back rap jams, most of the nine-track album's lyrics are tinged with a decidedly Christian flavor; however, Kellems stated that his "goal is not to be preachy, but rather to deal with certain issues and topics in a positive way ... I also want the stuff to rock."And rock it does. The album starts off strong with "Afterburner," an instrumental track featuring high-flying sonic guitar riffs laid over a driving drum beat and steady rhythm guitar. If there is one thing Out of the Depths does well, it's the diverse instrumentation on each track. From hard-hitting guitar work that really jams to softer, more introspective guitar tracks to custom-made beats, Kellems demonstrates his sheer musical talent with this record. In fact, he plays all the piano and keyboards on the album, in addition to the rhythm and lead guitars, and handles drum arrangement as well.

"Tombstone" is the bookend song to this album, following "Afterburner" in the track listing, and then reappearing at the end of the album in instrumental form to close. Inspired by the shootout at the O.K. Corral in Tombstone, Ariz., the track features acoustic-flavored guitar work on top of warm keyboards, giving the track a distinctly Western feel.

Moving from rock into rap, "Done Came Up" is a verbose rhyme session that examines some of the personal struggles Kellems has faced in his own life, as well as his experience with poverty during a Christian service trip to Oaxaca, Mexico. The song carries a strong message, but some might need to keep the liner notes handy for the lyrics - Kellems' rapid-fire delivery could leave listeners in the dust.

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It's easy to take issue with Kellems' lyrical style: At several points throughout the album, his soft vocals come dangerously close to being drowned out by the roaring guitar. Yet on the slower tracks, his soft-spoken vocals really work: He never beats his listeners over the head with his message, never screams it into their ears. Each track is extremely accessible and easy to listen to right off the bat. And just when things begin to hit a lull in the track or album, Kellems usually has a bag full of face-melting guitar waiting around the corner.

Out of the Depths also has a great sense of balance; the "good" songs aren't all stacked at the front, and instrumentals are interspersed between the more lyrical tracks. Riff-heavy jams alternate with the slower, more thoughtful tracks such as "Tombstone" and "Falling On My Knees," coaxing listeners from track to track and making them actually want to finish listening to the album.

The title track and the album's longest, "Out of the Depths" is the standout. Beginning slow with some establishing electric guitar and slowly building with keyboard work and the eventual addition of a solid drum and hi-hat beat, the song is an instrumental that Kellems made to embody the feeling of dealing with sin.

Don't be put off by the heavily Christian subject matter; Out of the Depths should appeal to fans of Jesus and jam-sessions alike. An independent, private release, Out of the Depths is available for free to anyone who is interested in a copy. Send an e-mail to Anthony Kellems for more information at tkellems@rice.edu.

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