(Photo : Amanda Combs - New)

You cannot bank on Amanda Combs to come up with the most imaginative album title.  The titular "New" does not come across as a creative phrase that encapsulates the themes of the songs here.  Rather, it sounds more like a quick after thought.  But album title aside, with this new disc Combs has opened up an account that is going to reap remunerative spiritual dividends in the years to come for three reasons.  First, "New" is a progressive Christian bluegrass record that tantalizingly blends tasteful folk with some occasional notes of country graces.  Despite her tender age, Combs treads on the road less travelled by making Christian bluegrass appeal to her youthful peers.  And she does in ways so easy for the unacquainted to warm up to.  Second, Combs has an angelic voice capable of working wonders.  With a soft crystal clear sharpness she is able to get beneath our skin into our hearts when she sings of our Savior's love.  Calling to mind Alison Krauss or Kristyn Getty, Comb certainly has a voice that commands attention.  Third, though "New" contains eight self- composed songs, it also features two hymns.  With the ubiquitous nature of hymns where every singer and his or her uncle has covered them, it is hard to sing them and still impress.  But when Combs croons these sonic chestnuts of the church, you can help but be mesmerized as though they are new paeans penned just for our generation alone.

When the music starts rolling, one can't help but appreciate the technical excellence of the opening cut "Born Again."  Set on turbo speed with lightning speed fiddling and the insistent chugging of the mandolin "Born Again" is a snappy bluegrass romp that has an evangelistic appeal to accept the Savior that is poignantly catchy.  Credit for such excellent backings not only resides with the pickers (which includes bluegrass greats such as Josh Williams and Aubrey Haynie) but also with producer Bil VornDick.  VornDick is a Grammy winning producer who has helmed some of the genre's landmark albums including Ralph Stanley's "Clinch Mountain's Sweethearts" and Lynn Anderson's "Bluegrass Sessions."  More moments of "awe" are in display with the swaying fiddle-led "Just One Mountain" and the jaunty resolve "I'm Following Jesus."   Of note is the former which was inspired by Combs' cousin who was suffering from cancer. "Just One Mountain" is a sober reminder to us that what to us can be a mountain is not unmovable to our Lord.

Combs get particularly affective when it comes to the ballads.  Building her autobiography into "New Life," Combs recalls via her camp counselling days how a lonely girl she chaperoned found Christ.  Simple yet so heartwarming is the message underlining "The Lord is Beside Me."  But what makes this song a gem is Combs carefully delivery that is so measurably thoughtful and ruminative.  Almost repeating the same message to less success is the tad whiney "Let Me Know You're There."  However, her take of the two hymns here are not to be missed.  Accompanied by Ryan Combs on guitar only, Combs' spartan take of "Be Thou My Vision" has a piercing nakedness that makes you open your heart to embrace every syllable of this great hymn.  And her perky take of "Sweet By and By" certainly gives heaven the excitement that it is due.

"New" is an album laced with both poise and talent.  Combs is a first class interpreter of songs and she really knows how to get to the heart with her heartfelt vocals.  And her talents in song writing are nonpareil.  Though this is a bluegrass album but it comes from a place of emotions and genuineness that cannot be labeled with a genre tag.  In short, Combs is a talent to watch.