Jon Guerra returns with album number five and his thoughts squarely on the life and teachings of Jesus. Titling the record after the world-changing rabbi left me wondering just what he had in store this time around. What springs to my mind about Jesus after reading the gospels are descriptors like: unassuming, meek, gentle, playful, peaceable, yielded, and long-suffering. Coincidently, those prove apt words to describe the sonic approach Guerra takes to share his musings across these twelve new tunes. This is likely an intentional choice. If you know Jon's work, especially his last two excellent albums, you know what to expect, but to the uninitiated, get ready for an album of chamber pop-edged songs that will slowly work their way into your consciousness.

However, be forewarned, unlike Jesus himself, this album will not be accessible for everyone. It will likely take time and multiple tries, AKA patience, as nothing here will command your attention at first blush. Think buried percussion, or no percussion at all, with gorgeous violins, xylophones, cellos (and a harp?), gentle guitar strums and arresting piano melodies that sparkle with nuance and sneaky changes. And harmonies -- oh, the harmonies! The vocal takes often tread nearly whispered or, at the very least, tenderly sung as if directly to a person sitting with you in the room. Think the softer side of Thom Yorke, Bon Iver, and Sufjan Stevens and you get a rough idea. Nothing will overtly knock you over, but eventually, when you least expect it, it clicks. Much like reading a well-worn Bible passage, and feeling like you're seeing/hearing something for the first time, this album delivers with each return. Indeed, it often feels like we are eavesdropping on an intimate conversation between God and his Son, though rather than turn away in embarrassment, the invitation is to lean in and listen more closely.

Beginning and ending the album with songs that have zero percussion is a daring choice, but the lead song, "In the Beginning Was Love," and "Jesus," effectively frame the laid-back album, acting much like a prelude and postlude despite being full-length songs. The opener makes use of a violin, piano, and harmony to build to a crescendo in the song's latter third as Guerra reminds of Jesus' presence at the dawn of creation, echoing the words of the first chapter of the gospel of John. The lyric, "Before I knew what love was, love was in the beginning" stands out as simply profound.

Single "Who is The Greatest" takes the time to gently remind that, "Lowly ones will be made first/To inherit the universe/So become like children/And you will be the greatest/In the kingdom of heaven." Later in the bridge of the song, the encouraging words further uplift, stating, "Don't be afraid/I'm with you til the end of the age." Musically, the song is upbeat without being so, taking a whimsical almost childlike tone. A muted guitar pluck is supported with the ever-so-subtle percussive sound and playful piano line. Other highlights include the other two pre-released singles, "I See the Birds" and "Reckoner (An Axe Laid at the Root)." Both offer continued comfort with the former taking its inspiration directly from Matthew 6, drawing our mind back to God's faithful care for His children. The chorus in particular hits hard as Guerra sings, "I see the birds up in the air/I know You feed them, I know You care/So won't You teach me how I mean more to You than them/In times of trouble, be my help again." Then, the most energetic song of the tracklist, "Reckoner (An Axe Laid at the Root)," features understated (but tight) drum hits, a slinky bass line, an ethereal violin, and swirling strings to communicate a warning of coming judgment, albeit a gentle one. Additionally, "The Prayer God Always Answers" features tightly woven harmony courtesy of Jon's wife Valerie, and an alluring piano line. The lyrics to end the song land most provocatively after the recognition for mercy is juxtaposed against pride and Guerra sings, "Lord I confess my pride/And the ways I hide the cancer/Teach me the words of life/Teach me the prayer God always answers."

"Gethsemane" is tender and haunting due to a darker piano line and what sounds like an upright bass, violin, and being another one of the few songs that have light percussion. It's melancholy, without being mopey, and dark without being oppressive. The strings float around and pull you in, causing you to feel the inevitability and sadness of Jesus' night in the garden. Guerra brings music and lyrics together beautifully to show Jesus' surrender of His will to the Father with the heartrending lines, "My soul it chokes on pain and grief, Father come to take this cup from me, but do not let our wills compete, if I must drink, then let it be." Later in the song, His request for his disciples to join Him in prayer drives the heartbreak further as we hear his earnest lines, "Could you keep watch, one hour at least. Lookout and pray..." as we know they all fell asleep, leaving Him alone. It was a gut punch I didn't see coming that brought me to near tears with each repeat listen. As such, it is what makes it my favorite overall song of the album.

Ultimately, with Jesus, Jon Guerra delivers a powerful and profound experience. The beauty of this album lies in the intentional restraint of each song. These melodies provide a guiding light during the quiet hours of the morning or night and are best experienced through headphones and in serene spaces. For me, they have deepened my admiration for a Savior who intimately understands humanity's deepest struggles and bore those burdens on the cross. This album may not resonate with everyone or change the world, but the Figure it honors certainly did. These songs fulfill their purpose by shifting our focus to Him. This is a velvet-hammered knockout; Jesus be praised!