The Gold standard

The moment a band decides to call itself “Church,” its members sign an implied contract to create powerful, moving, bigger-than-life tunes, or be forever sentenced to stand shamefully in the shadows of such a dauntingly suggestive name. Luckily for Cristof Hendrickson and brothers Brandon and Richard Laws, their new album Gold lives up to the expectation.

The trio has been making music since November 2007. During the interim, they have earned a dedicated following and released a critically successful album. Gold, their sophomore release scheduled to officially drop this weekend at two celebratory shows, has been streaming on their Web site since early October, effectively soliciting a positive pre-release hype.

The album clocks in at around 16 minutes, just long enough to envelop its listener, and just short enough to be cursed at for being such a tease. Each track could arguably be an attempt to personify its respective name. The first three titles, “Right as Rain”, “Cloud” and “King Crow,” all refer to things generally found in the sky.

Coincidentally, each of these songs provide airy undertones, somewhat simple and entirely elusive. The intro to “Right as Rain” at first seems a little less powerful than hyped, but it soon becomes clear through echoing vocals and subtle electronics that such calm will merely provide the contrast for thunderous beats to come.

It gracefully evolves into a pattern of soft, haunted lullabies and peek-a-boo instrumental breaks announcing that, though not always flaunted, there is always power lurking behind Church’s creations.

“Cloud” on the other hand, though maintaining the breathy, wispy nature for which it is named, is a bit more consistently melodic. The sometimes melancholic arrangements and pure vocal performance seem to ask the listener politely to be patient and pay attention, rewarding those who do with an earful of bounce. Skeletally, the song is calm and whimsical, occasionally building climactic musical and sound explosions before returning, once again, to its natural, minimalist state.

The third song on the album highlights Church’s ability to use vocals as an enhancing instrument, without much distinction between spoken and strummed noises. Their voices become musical tools, perfecting the mouth’s ability to harmonize with coordinating instrumentals. It’s possibly the most delicate song on the album as it holds itself together with repetition and “barely there” hooks before reinventing itself as an entirely new song for its final minute. This reinvention is a common thread throughout the album, but certainly showcases itself best on “King Crow.”

The album’s grand finale conjures the image of a seven-year-old boy having just arrived at a wild carnival on the waterfront. Clowns are abounding, balloons are turning the sunlight shades of blue, green and red on his face, and of course, his mom just isn’t walking quickly enough toward the mountainous Ferris wheel and all it’s spinning glory. In a perfectly sound-tracked world, that moment when the colors, lights and glucose overdose result in pure energetic bliss would be underscored by “Happiness,” the fourth track on Gold.

Church’s often sporadic, offbeat tunes are an absolute art form. They abide by no popular song-writing, or album composition standards, and are sure to delight their already loyal fan base with this new release. Those who support gatherings of spiritually riveting, soul-calming and widely appealing engagements take note; you may have just found a new Church to follow.

Church Gold CD release showsKelly’s OlympianOct. 24, 8 p.m.FREE, 21-plus

The Hush (above The Tube on 18 N.W. Third Ave.)Oct. 25, 8 p.m.$3, All ages