rose up through the world during the early 2000s, but the very presence of producer , best-known for his work with British rockers , is a good indication that their major-label debut is not intended to be a record. And apart from a few stabs at vague spirituality within the lyrics, doesn't play like a record, either: it's a big, bright, shiny modern record, heavily influenced by and designed for big, open spaces, or at least to be played somewhere between and on modern radio. But where doesn't hesitate to delve into the sonic murk developed with (they may turn into something blandly warm, yet they do draw from it), is happy to rely on the elements of that capture the band at their most populist, not to mention anthemic, then they take that arena-ready sound and streamline it with their guy-next-door persona and straight-ahead songwriting. Above anything, is a friendly, welcoming album; in other hands, the echoing, delayed guitars, retro-'80s synths, cavernous drums, and large soundstages might sound ominous or chilly, but doesn't have anything foreboding about them at all. Such niceness could run the risk of being dreadfully dull, but has an appealing combination of sincerity and skill that polishes into a record that is slick yet ingratiating, earnest yet endearing. True, the brother-led quartet doesn't stretch boundaries -- they're proudly not dangerous -- but they're not only more genuine than , the last prominent Christian-rooted modern band, but they're more tuneful and varied, as well, and that's enough to make a solid debut. ~ Stephen Thomas Erlewine