Though preludes are a musical construct that came out of the Renaissance, they still brim with meaning for Marthe De La Torre's band new album.  First, historically a prelude often serves as an introductory musical piece to a larger and often more complex work.  Likewise, this album's worth of worship music is also anticipatory of the grander worship we will enjoy in heaven.   As a mere glimpse of heavenly worship, these newly crafted nine-track album serve us (the church) with opportunities to worship God with Marthe's piano-based worship calling to mind the works of Nichole Nordeman and Sara Groves with a heightened electric sound.   Second, preludes in the Renaissance era were often lute compositions (such as written for string instruments).  And a prelude was also a time made available so that lutenists could test their instruments and the acoustics before the performance proper.  Thus, a prelude is a time of grace where lutenists were permitted to play out of tune or miss a note or make mistakes otherwise prohibited in the concert.  Likewise, our time here on earth before heaven is also a time of grace.  Though sin may flourish and though we may fail, God's grace still triumphs.  Thus, when you listen to Marthe De La Torre's "Preludes" the theme of grace will surface is as subtle as a sledgehammer.

Before we delve into an exposition of the album, a word needs to say as way of introducing Marthe De La Torre.  With a love for music in her heart, Marthe De La Torre travelled 5,300 miles from Oslo, Norway, to Los Angeles, CA to study music at the Musicians Institute Hollywood in 2006.  While she was in the western heartland of America's music industry, God started opening doors for Marthe.  Later, she came to serve as the worship leader for The House Los Angeles, a church plant in the Pico Union area of downtown LA.  This is also where she began honing her song writing craft.  "Preludes" is essentially her debut worship album that came after years of her service before God's people.  What sets her music apart is that Marthe never lock herself in the default gear.  While many worship leaders automatically adopt the standard fare of the guitar-rock template, Marthe is not into mass production. Each song here is treated with individuality; so don't be surprised when you hear rapping in an electronic-piano kicker.  And don't raise your brow when you hear the sounds of classical violins merge together with the latest dance beats.

Nevertheless, two aforementioned themes hold "Preludes" together:  first these songs are a "prelude" to the glorious worship we will enjoy in heaven.  Lead single "Only You Are Holy" is so focus on the awesome holiness and sovereignty of God that one wouldn't be surprised if the angels were singing to God right now.  Starting off in a cinematic beauty where individual instruments are slowly brought in one after another before an explosive chorus, "Glorious" functions like a tour guide leading us into heaven for worship.  And when we get to God's throne room, you can feel the excitement of the cosmos erupting when Marthe belts out:  "...all the heavens, all the earth, will bow down and cry Your worth, all creation shouts Your greatness God, glorious..."  While "Glorious" is anthemic and congregational in focus, "Hallelujah" is contemplative and functions as a personal love song to Jesus.  Hearing Marthe sing this beautiful love song to Jesus makes you feel like you are standing in front of Jesus in heaven.  The emotions are so raw and the fabulous guitar sounds at the bridge are so beautiful that you could feel Jesus so upfront and so personal.    

Second, just as preludes were historically perceived as moments of grace for the musicians, songs of grace abound here.  The arpeggios-style piano beginning leading to a power ballad, "The Greatest Sacrifice" finds Marthe sing together with Edward Rivera about God's grace expressed through the sacrifice of Christ on the Cross.  Consisting of an indelible hook, the catchy beat ballad   "Never Let Me Go" has one of the poignant lines on grace: "Lord I rest in Your arms, as Your truth defends my heart, crafted with a perfect love, You know me."  Marthe closes the record with an ode to her roots with the Norwegian "Lær Meg Ã… Kjenne."  With a traditional folk melody, here Marthe sings about how everything (our lives included) finds it ownership in God alone.  And one certainly can't think of a better way to end this album than to remind us that this life with all its blessings and trials is just a prelude.  The concerto in all its glory and grandeur has yet to begin.