12 Songs, 45 Minutes

EDITORS’ NOTES

Morning Rises finds Aaron Shust expanding his sound along the lines of 2011’s This Is What We Believe. At the same time, the Christian singer/songwriter stays rooted in a folk/pop approach, evident both in his wistful melodies and earnest, slightly croaky vocal delivery. The shift toward sparkling pianos, steady rhythms, and big guitar flourishes heard in these tracks reflects the grand scope of the album’s message. Songs like “Cornerstone,” “Rushing Waters,” and “Great Is the Chorus” are triumphant hosannas filled with sweeping imagery and humble words of praise for the Savior. The soaring, lyrically vivid “God of Brilliant Lights” is notable for its theme of redemption overcoming human weakness and sin. Whether he’s offering yearning balladry (“No One Higher”) or galloping country-tinged workouts (“Firm Foundation”), Shust conveys a sense of awe and wonder at the scope of God’s majesty. The acoustic-oriented “Deliver Me” and the gently atmospheric “Satisfy” hark back to the contemplative simplicity of his first two albums.

EDITORS’ NOTES

Morning Rises finds Aaron Shust expanding his sound along the lines of 2011’s This Is What We Believe. At the same time, the Christian singer/songwriter stays rooted in a folk/pop approach, evident both in his wistful melodies and earnest, slightly croaky vocal delivery. The shift toward sparkling pianos, steady rhythms, and big guitar flourishes heard in these tracks reflects the grand scope of the album’s message. Songs like “Cornerstone,” “Rushing Waters,” and “Great Is the Chorus” are triumphant hosannas filled with sweeping imagery and humble words of praise for the Savior. The soaring, lyrically vivid “God of Brilliant Lights” is notable for its theme of redemption overcoming human weakness and sin. Whether he’s offering yearning balladry (“No One Higher”) or galloping country-tinged workouts (“Firm Foundation”), Shust conveys a sense of awe and wonder at the scope of God’s majesty. The acoustic-oriented “Deliver Me” and the gently atmospheric “Satisfy” hark back to the contemplative simplicity of his first two albums.

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