Reviewed by Tony Cummings

More than ever the British Church needs LZ7. Sadly the Church today has embraced music that is only marginally less relevant to UK youth than ancient hymnody. While most believers are enjoying modern worship which transparently uses bands like Coldplay as its musical template, the UK music scene is changing. (For instance, sales of singles by "contemporary urban" artists have, in the last year, rocketed by 71.3 per cent and album sales are up 35.9 per cent.) Never has the British Church more needed an act like LZ7 who, down the years, have led the way in making music that connects with the UK grime and club music crowds. Don't get me wrong, 'Home' clearly shows that Lindz West and his high octane band aren't Skepta or Kano clones trying to replicate cool urban sounds in a misguided attempt at "relevance". Rather, they're a bunch of street savvy musical evangelists who since their earliest days (that Top 30 "This Little Light") have cannily brought together a grime/club/dubstep/pop hybrid which appeals to the feet but never ducks the message of a God who brings freedom. LZ7 make music catchy enough to get a 13-year-old up and dancing yet earthy enough not to fall into pop dance cheesiness. There are delights aplenty here. The original mix of "So Good" makes a great start (though we would have appreciated one of the single remixes as a bonus track); Martin Smith makes a surprise appearance on "Stolen Voices" while America's Soul Glow Activatur shows all his mixing skills here and there. "Rude Boy" featuring that most skilled of emcees Ad-Apt and the banger "Love Infinity" with a blistering vocal from Lauren Olds are currently my favourites in a host of pumping and pulsating cuts.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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