7th Letter is an impressive vocal fanfare to mostly classic rock songs, melding nostalgic sounds with modern studio appeal. The appeal of the G-Men's latest release lies not only in its zeal or its tenacious uniformed singing, but reinventing mega hits covered ad nauseam. The album's only real struggles lie in the G-Men competing with their own well-established sound.

Sledgehammer offers a high degree of consistency as the lead-in material for the album. The arrangement may be a bit tame dynamically in comparison to other tracks, but it is hard to ignore the groovy elements of this dance-rock track from the bouncing bass to the colorful harmonies. To top it all off, the lead has a true rocker's range, going for broke and getting exceptionally grungy in the latter half of the performance.

Where Sledgehammer holds firmly to consistency, The Pretender takes a more off-the-beaten-path approach. The song takes a bit of time to settle rhythmically and in feel, even in spite of its notable technical elements (diction, chord execution, etc.). The track is creative, but the song's intended effect is lost on the listener at times.

Under the Bridge has a strong ebb and flow as passion steadily morphs throughout the track without ever being extinguished. The G-Men deliver a gentle rock solo on top of a highly nuanced arrangement full of pockets of sparseness, a super reflective tone, and massive chorus sections. Roxanne is one of the crowning achievements of 7th Letter. The group's emotional power is off the charts, breathing life into overlooked sections of the song, which lyrically, carry so much weight. The G-Men are intentional in not only their pacing but also conviction, providing listeners with a refreshing take on The Police hit.

And there was no better choice for a closer than Juke Box Hero. The strong '80s vibes are indeed immaculate with a heavy, processed bass, quick tempo pacing, and fiery spirit created by each entrance of the backing singers. If there was ever a pivotal element of a song's success, Max Crandell's storyteller vocals make this one a winner!

As for the non-rock offerings, they are standouts in their own right. Levitating is a dark and eerie selection that finds a stellar balance between traditional and modern singing. The intense singing of this pop ballad feels incredibly natural for the G-Men. Slow Dancing in the Dark is a breathtaking, non-stop crescendo from start to end. The performance is graceful and solemn, while still executing a magnetic and intentional delivery that holds a grip on listeners. This is how one makes a hit an even bigger one!

Some of the tracks on 7th Letter are so strong, that the impact of other tracks feels miniscule. It is not a terrible problem to have, but it makes one wonder how much additional energy (if any) would be needed to elevate these lesser tracks. All things considered, the album is a journey that you will not regret taking!

In all the times I've experienced a performance from the G-Men, whether recorded or in-person, there's one thing to know: expect the unexpected. Whether unexpected song selections or arranging ideas, these Michigan boys always deliver and 7th Letter is no different. This album provides a modern retelling of rock classics and an imaginative spin on modern hits, and is a welcome addition to any a cappella collection.

I have a soft spot for classic rock in contemporary a cappella. With so many groups focusing primarily on current pop music, there's just something so refreshing about taking a song that is very well known yet surprisingly independent of the ideas of other groups. Sledgehammer is a great opening statement. It's dense and driving. If you prefer a more creative approach, look at Nick Froelich's arranging on The Pretender. This piece is filled with a number of interesting twists and turns. This song is nothing like the Foo Fighters original but a great chart to study over and over again. However, if you really want to see the full power of the G-Men, look no further than Juke Box Hero. The group has often featured beatboxing techniques to utilize throat bass sound effects in their music, which this track features. The result is a song that is unique to the group, true to the original, and overall incredibly effective.

Regarding the modern pieces, we get two ballads. Slow Dancing in the Dark is a relatively faithful retelling of Joji's original. It's impactful and heartfelt. I'm in love with Luke Pace's solo, which feels almost personal and not just a retelling of another's words. Froelich arranged this chart as well and creates a great soundscape for the soloist to absolutely deliver every second. The other modern piece, Dua Lipa's Levitating, is a complete reimagining from a mid-tempo club beat to a more slick and sultry downtempo piece. Max Crandall really went to the far reaches of human imagination to pen this arrangement. It is virtually a brand new piece of music that just happens to share most of its melody with another song. It shows the willingness of the group to have a wide array of musical genres in its repertoire while remaining true to the group's personality.

If there's one flaw with this album, it's that there are pacing issues. This album heavily utilizes theatrical tempos and pauses. Across individual tracks, this isn't a problem at all. However, across the album, it starts to feel repetitive. When there are too many dramatic pauses or rallentandos for effect, the songs all start to feel similar. This is exacerbated by the notion that some songs don't have overly climactic moments. There are impacts, but a general lack of story arc. For instance, Sledgehammer has a driving beat, but I can't pinpoint the moment that is the pinnacle sound the notes are driving towards. Under the Bridge is the exact opposite problem, with a number of stylistic changes across the piece, thus creating an amalgamation of musical ideas rather than a complete story arc.

When it comes to scoring, this issue creates a challenge. Individually, each song scores really well. This album is bursting at the seams with creativity and personality. However, as a whole, there is something left to be desired. I can't fully pinpoint it, but the solution might be one truly upbeat track, a few less dramatic style changes per song, or perhaps a little of both. However, when you put it all together, this is still a phenomenal album, but the kind where I would rather listen through most of 7th Letter as part of a playlist rather than the entire thing on repeat. Take a listen. Enjoy some of it or enjoy all of it, but either way you're going to find something to enjoy.

The G-Men are a Michigan, Midwest, and college a cappella institution who always impress with their sound and musicality. Their latest album, 7th Letter, is no exception, but song and arranging choices take away from the overall listening experience.

I cannot sing enough praise for the stellar articulation, dynamics, and blend of the background ensemble. Sledgehammer is a masterclass on how to sing both vocables and words behind a soloist. This high-level musicality is present throughout the album: in the expertly-tuned melismas of Roxanne as well as the balanced, complex chords of Slow Dancing in the Dark. And the clean production work by Plaid Productions and Vocal Mastering enhance the listener's ability to hear every nuance and beautifully sung note, along with well-placed effects on Under the Bridge and Juke Box Hero.

Ian Danaher, who performed vocal percussion for five of the tracks, deserves a special shoutout. In addition to having a good kit of sounds and keeping solid time, Danaher is finely attuned to the small changes in the beat structure and arrangement. On The Pretender, I notice the vp just enough to recognize the quality without it becoming distracting to the singing. Moreover, the vp and bass work synergistically together, such as on Sledgehammer and Roxanne, to create very solid grooves.

As I've said with other short albums or long EPs, the album construction and every song choice matters so much more with so few tracks. The G-Men chose seven arrangements on which the ensemble sounds very good. However, this collection features no uptempo songs. With the original tracks that were uptempo, the group reimagines them as ballads, which I enjoy with Levitating but am less impressed with on Roxanne — I keep waiting for the tempo to speed up and become a high energy number. Under the Bridge plods along because the group takes it slightly undertempo; speeding up to the original song's tempo for the last minute and a half is not enough for me. When mid-tempo-at-best Sledgehammer, your opening track no less, is your most upbeat song on the album, you have a problem. I commend the group for taking some creative risks, but, unfortunately, they did not all pay off when paired on the album in this way.

On the flip side, all the soloists sound fantastic, which is a testament to the music director and arrangers knowing the talent in the ensemble. Luke Pace on Sledgehammer, Owen Lawrence on The Pretender, and Max Crandell on Juke Box Hero epitomize rock band frontmen. Danaher's R&B-inspired take on a slowed-down Levitating is stunning. Derek Johnson, who has a more contemporary sound, provides refreshing takes on Roxanne and Under the Bridge. The arrangers — TJ Striblen, Crandell, and Nick Froelich — also build strong arcs to the songs to give the group and soloists levels with which to play. Pace, in particular, shows a lot of versatility on Slow Dancing in the Dark. As a result, the musicality and talent of The G-Men shines throughout 7th Letter.