• Out of Borderland review by Heather Beckmyer for CelticChristianTunes.com
• Once Upon a Time Forever After review by Cory C. Engel from CelticChristianTunes.com
• Love in the Ruins, Hope in the Wasteland review by Cory C. Engel from CelticChristianTunes.com

Purity describes Out of Borderland: pure, sweet vocals of Lianna Klassen, pure gospel message expressed in original praise songs, purity in the clean lines of the cover art and photos. Excellent quality of sound showcases a variety of interesting instrumentation, all masterfully executed, including piano, guitars, accordion, sitar, violin, flutes, whistles, bass and percussion. Choirs from Calgary, Alberta and Vancouver, B.C. support Lianna's vocals on some tracks.

Inspiration for the lyrics stem from the Bible and each song is supported by quotes from Christian heroes such as C.S. Lewis, Mother Theresa, St. Patrick, Eugene Peterson and others, printed at the head of the lyrics in the liner notes.

Themes of surrender to God's will, and persevering in the Christian walk as well as worship of God make up this beautiful CD. Many of the lyrics are familiar worship phrases, but that's not to say it is trite. Honesty shines through in such lines as, "It's faithfulness, not our success / that will bring us to the place that's blessed" ("Letting Go") and "But the God who calls us is not safe / For He calls us to a costly place / To be better than we are" ("Borderland").

A variety of styles are featured, from contemporary praise, hymns, country, to some with a Celtic flare. The hymn "When I Survey the Wondrous Cross," set to a traditional Scottish melody, with a continuous underlying drone and distant hints of whistles, results in an expansive outdoors sound. Sitar sets an exotic atmosphere in "Travel With Me," giving way to lovely guitar playing (consistent throughout the recording). Providing another contrast, yet within the worship theme, is the Taize styled "Veni Sancte Spiritus," with simple piano accompaniment and what sounds like choir voices interweaving like ribbons. Actually, Lianna sings 21 vocal and 7 harmony lines herself. Lianna easily moves into country style, complete with vocal swoop, on "You Are God And You Are Wonderful."

It is popular in some Christian circles to apply 2 Chronicles 7:14 to contemporary life. Although I do not contest the necessity and efficacy of prayer, it is not theologically accurate to claim as a promise, "If my people, who are called by my name humble themselves, pray, seek my face, and turn from their wicked ways, then I will hear from heaven, and will forgive their sin and heal their land." The context of this prayer is the dedication of Solomon's temple, and is directed to the nation of Israel with whom God was establishing a covenant. Our land (i.e. the USA, Canada, etc) has not entered into any similar covenant with God. Jesus established a kingdom transcending national boundaries.

A special bonus is the last track, "Serendipity". According to her website, this is an example of using vocals as an instrument with minimal words. This charming surprise, (with hints of The Beach Boys) is relaxed, playful, tranquil and calming--a great way to end the CD.

Borderland's inspiring music encourages listeners to sing along and enter into worship.

--Heather Beckmyer for CelticChristianTunes.com

Once Upon a Time Forever After, a Christmas album comprised largely of original tunes, continues to deliver Lianna Klassen's unique sound that was so captivating in 2001's Love in the Ruins, Hope in the Wasteland (see review below).

The first two non-instrumental songs, the title track and "The Women's Song" (which contemplates the experience of Mary, Elizabeth, and Anna) tell a bit of the Christmas story. Transitioning into "Zecharia's Song", the story continues with a new worship emphasis which carries the listener through the remainder of the album. Indeed, worship is the dominant theme on the album.

Listeners will find two traditional tunes, the standard "O Little Town of Bethlehem", and the somewhat more obscure "Huron Carol", which Klassen presents with her indigenous North American influences.

Forever After concludes with a simple song of adoration, "Listen to You Breathe":

You are the keeper of my heart
You are the lover of my soul
You are my very passion, Jesus
And all I want to do is sit at your feet
And listen to You breath, Jesus

Klassen noted in the liner notes that in doing a Christmas project that she wanted to stay as far away from "schmaltz" as she could. With this collection of original tunes and new interpretations, she's been largely successful (since its in its proper context a reference to the "wise men still seek Him" cliche can be forgiven in "The Wise Men Interlude").

Though I find myself going back to her previous album (which I consider a masterpiece) for comparison, I'll be sure to have Once Upon a Time Forever After in my listening rotation come Thanksgiving, if not before.

--Cory C. Engel, CelticChristianTunes.com

Love in the Ruins, Hope in the Wasteland, Lianna Klassen's third album, is an impressive collection of proclamations, prayers, and testimonies that is enrapturing musically, and provocative lyrically.

Several world music influences permeate these Christian folk selections. The most overt are Celtic strains of uillean pipes, whistles, and harps in several songs, while the percussion and recorder of "Incense to the Father" has an unmistakable indigenous North American sound. This song's pan-world musical influence is echoed in its utopian lyrics:

Hear the cries of Jubilation
Hear the sounds of worship
Every nation of the world is
joined in perfect friendship
And the streams of worship flows as one
For dividing walls have been broken
and every culture lifts their voice
as incense to the Father

Though this CD is fascinating to listen to musically, I think what impresses me most about it is Klassen's rare vocal skill. She seems to have a keen sense for the music that enables her to apply techniques ingeniously--the simple pure tones in the opening lines of "The Way" and upper registers of "Song for Canada", an understated vibrato throughout the recording, and uillean-pipe-like vocal flairs such as those in "I Will Run To You" all combine in perfect proportion to emphasize the honest spiritual lyrics.

The CD's closing track, "Song for Canada", is perhaps the most touching. Though I'm not a Canadian, I cannot help but be moved by Klassen's prayer for her homeland:

In the color of the northern lights that leap and dance and sing
In the stillness of the forest when the snow melts in the spring
In the beauty of the muskeg that is red and golden brown
In the quiet expectation of the city before dawn
And my heart's overwhelmed for this nation that I love
This is my Song for Canada

Oh revive this generation with your fire and your rain
So that the faith that this land was founded on will come to life again
Oh may the prayers of intercession rise as incense to the place
That will touch your heart oh God, Oh Father, hear our Song.

Though comparisons with Loreena McKennitt are probably unavoidable, Love in the Ruins, Hope in the Wasteland is an original synthesis of various cultural influences with Klassen's inspired songwriting.