A girl tries to escape hedonistic excesses on “She Builds Quick Machines.” The singer claims he has given a hand “For a Brother.” On “The Last Fight” an internal struggle drives a man to his knees, and he ultimately decides that time heals wounds and life is worth living. However …
With some ambiguity, the chorus repeats thoughts of suicide (“This fight could be the last fight … Should we decide to end the misery”). Even more unclear are references on “For a Brother” that seem to hold a religious person in contempt. But there’s nothing cryptic about the sexual appetite of “Mary, Mary” or the explicit affair (including oral sex) between a high schooler and his teacher on “Just 16.” A man viciously tells a woman to “Spay” herself, using the f-word to drive home his point. Suicide, drugs and another f-word mar “Pills, Demons & Etc.” “Get Out the Door” relates a seedy encounter with a prostitute who turns out to be a transvestite, while the sensual “Let It Roll” finds the singer trying to drink a girl off his mind.
Spanish for “freedom,” Libertad has a few vague warnings about vices that rob people of their freedom. But more often then not, these songs celebrate a liberation from moral shackles, relishing the right to do what feels good, including that lurid student-teacher affair.
After serving as an associate editor at NavPress’ Discipleship Journal and consulting editor for Current Thoughts and Trends, Adam now oversees the editing and publishing of Plugged In’s reviews as the site’s director. He and his wife, Jennifer, have three children. In their free time, the Holzes enjoy playing games, a variety of musical instruments, swimming and … watching movies.
