We were fortunate to have some very kind words written about The Choir's newest in Chicago Sun Times newspaper.  Here's what they had to say...

The Choir, "Burning Like the Midnight Sun" (Galaxy 21)

Though it’s not unfair to consider the Choir a vanity project for its semi-retired members, this album signals new fire. “Burning Like the Midnight Sun” follows 2005’s “O How the Mighty Have Fallen” as the band’s second exceptional album in a row, and its best since 1990’s landmark “Circle Slide.”

Drummer and lyricist Steve Hindalong tackles tough subjects including his own prejudices on “It Should Have Been Obvious,” aided by Derri Daugherty’s gentle but bittersweet vocal delivery. Elsewhere, Daugherty sings, “The Word inside the Word is love,” in angelic tenor reminiscent of Death Cab for Cutie. On the surface, “The Word Inside the Word” fuses atmospheric pop anthems by Simple Minds and the Church with flower-power sentiment from the Beatles’ heyday. Listening closer, the song urges tolerance among skirmishing religious factions. It’s a fresh surprise from these veterans of the ’80s alternative Christian music scene.

A father’s concern for a heartsick child is examined during “That Melancholy Ghost,” as Dan Michaels’ mournful saxophone wails sympathetically. “I’m Sorry I Laughed” uses a story about Michaels’ damaged instrument to wonder why anyone would find another’s misfortune humorous. With his real one under repair, Michaels’ electronic saxophone recalls Vangelis’ “Blade Runner” soundtrack, drifting along a psychedelic haze.

Hindalong’s personal observations fuel lighter moments, too. “Mr. Chandler” describes a botched day attempting international travel. Tim Chandler’s bass line tumbles along an unlikely trajectory suggesting XTC’s Colin Moulding, mirroring the misadventure. Daugherty’s guitar chimes and shimmers through “Legend of Old Man Byrd,” sweetly celebrating second guitarist Marc Byrd’s 40th birthday.

The influence of Byrd’s ambient Hammock albums manifests during the haunting “Say Goodbye to Neverland.” With piano echoing as if through an empty house, the song mourns lost innocence and steels itself for an uncertain future. The Choir’s future may be equally uncertain, but they’ve crafted a late-career triumph.
Jeff Elbel