Since the launch of Switchfoot frontman Jon Foreman's solo pursuits, the singer/songwriter has released two EP's out of four total as he takes the listener on a journey through the changing seasons in a year. Beginning with Fall in late 2007, the EPs have been folk/acoustical wonders, each carrying its own tone, each varying in themes and styles. With Spring, Foreman takes possibly his most diverse and experimental steps yet as he continues to cover deeply personal topics and take us into a more sunny state.

"March (A Prelude to Spring)" is a quirky project opener. Clocking in at less than a minute and a half, Foreman enlists the aid of vocalist Molly Jenson as he displays the kind of upbeat blissfulness you might hear from an artist like Eisley -- a feeling only aided by Molly's vocal stylings. Oddly enough, the lyrics to "March" don't exactly line up with the perky, jubilant music, and therefore seems a bit disjointed. Foreman sings, "We, my love and me / Walking along / We, birds and the bees / Trees of the forest / Started as one / Something went wrong / We ended alone / Ah, now my love is gone / La, la, la... And time still / Marches on / But now time marches wrong."

"Love Isn't Made" has a more epic and emotional opening musically, serving as what would have been a much stronger start to Spring. In fact, Foreman nails the early morning sunrise feeling perfectly as the song drifts softly in. As one of the album highlights, it seems quite appropriate for Jon's wife Emily and her sister, acclaimed singer/songwriter Sarah Masen to support him with backing vocals before the song's end. "In My Arms" is a little romantic ballad about missing someone, which is made a bit lighter by some added bells and such, but ultimately still feels a rather melancholy for Spring. "Baptize My Mind" is thematically a beautiful prayer for renewal, which goes right along with the concept of the season's growth, however the cheery music is a bit cheesy in comparison to Foreman's strongest work (which includes the two tracks that follow this one). Jon's delightfully weary vocals are perfect for his melancholic work, so when flutes and chimes and other accompaniment is used to give the song a retro and joyful sound, it ultimately feels somewhat forced.

Almost consistently, Foreman reserves some of the EP's best for last, with a prayerful and beautiful modern take on the Lord's Prayer in "Your Love Is Strong," and a slower, stripped down version of the Switchfoot Oh! Gravity. b-side, "Revenge." In a time when worship music is expectantly predictable, such a heartfelt offering as "Your Love Is Strong" is a refreshing testament to where worship music could and should be heading. Jon sings, "Heavenly Father / You always amaze me / Let Your kingdom come in my world / And in my life/ ....I walk to the meadow / And stare at the flowers / Better dressed than any girl / On her wedding day / So why should I worry? / Why do I freak out? / God knows what I need / You know what I need! / Your love is strong." And then to close with "Revenge" on an EP released just two days after Easter is most poignant, "We consumed heaven's Son / I drew first blood / My hate was undone... / Revenge / Here's a story / How a thief had been robbed / How a murder had stolen my rage." Although the Switchfoot rendition is arguably stronger, this more organic rendition fits better on Foreman's solo EP.

Jon Foreman continues to impress and impact with the release of Spring. While Fall and Winter captured the mood of the seasons quite well, it left plenty of questions as to how Foreman might approach the more lively seasons of Spring and Summer. And although the happier songs included here may not really be Jon's strong points, he still offers some of his most memorable work here, sticking to what he does best but still taking it a little further. Now with eighteen tracks (so far) of solo material for his listeners to chew on until the conclusion in Summer, we can only anticipate with eager ears as to where this will all go next.

Summer is not only the latest installment in Jon Foreman's four-part solo EP series, it also marks the end of our journey. Late last year, listeners were introduced to the solo musings from Switchfoot's celebrated frontman with Fall, the first of what would be four EP's following the seasons of the year. Foreman's deliciously weary and often melancholy vocals, along with a folk / acoustical format, were the perfect brushes to paint the landscape of Fall and Winter. Spring introduced a bit of a more feisty flare, but also retained much of the vibe of the previous seasons. With Summer, Foreman takes us out in a similar fashion to how he brought us in, if not in more of a summertime campfire vibe than anything else.

If there's something we've come to expect from EP to EP from Jon Foreman, it's that each one will include introspective criticism, a poetic look at love and loss, and an artistic view of spiritually, God, or the church. "A Mirror Is Harder To Hold" falls in line with songs like "The Cure For Pain" or "Learning How To Die," both musically and in the tone and feel of the song. But it's "Resurrect Me" where the tempo picks up and you get the first feeling that we've reached Summer. Perhaps "Mirror" can be viewed as a Summer morning with "Resurrect Me" being the peak of day. And if that's the case, then "Deep In Your Eyes" is your evening love song with "House Of God Forever" and "Again" being your late night campfire finales. But the oddball, which at the same time is a critical gem, is "Instead Of A Show" - a somewhat bitter examination of the church and the worship movement. In some ways, it's come just in time for the Summer festivals as Foreman flat-out attacks the worship scene for focusing more on the appearance of things than something more important, such as social justice ("I hate all your show and pretense/ The hypocrisy of your praise/ The hypocrisy of your festivals/ I hate all your show/ Away with your noisy worship/ Away with your noisy hymns/ I stop up my ears when your singing 'em/ I hate all your show") . Where Foreman could have strictly used the song to complain about what he sees wrong with the church or believers taking part in worship corporately and outwardly, he rounds out his view by presenting a solution instead of just dwelling on the problem ("Instead let there be a flood of justice/ An endless precession of righteous living/ Instead of a show"). It's a rebuke that will undoubtedly raise some eyebrows and cause a stir, but Foreman isn't exactly out of line in pointing out such problems through a song. And to balance out the criticism, Jon closes the record (and series, for that matter) with two beautiful original acoustic worship songs, "The House Of God Forever" and "Again" (with the latter praying, "Answer me oh Lord / Let Your people know / That You are turning our hearts back to You / Again").

While Fall may arguably be the strongest batch of songs from Jon Foreman's solo career, Summer is another fine addition and hopefully not the last we'll hear from this inspiring artist for too long. Listeners have been spoiled to be receiving six new Foreman tracks every two months or so now. And if anyone was disappointed at all with the Winter or Spring EP's, Summer is a great collection of acoustic and folk songs for anyone looking for something different to listen to that digs deepers than the norm.