I've long admired TAG, but the group has really outdone itself with There's a Light. The production quality, arrangement difficulty, thematic elements, and polished ensemble sound work together to offer a sophisticated, professional release.

Arrangers Tom Anderson and Will Cabaniss are the main drivers for creating the opportunity for this group to flourish. The full catalog offered on There's a Light is interesting to listen to; we even get an Icelandic bossa nova gem in From the Start. Arguably the only misstep from an arrangement perspective happens in Just a Cloud Away with the grating "way way way…" motif. I'm familiar with the Pharrell Williams original and appreciate the laid back vibe TAG captures and emotes, but it's a real hard one to get behind as written. I'm curious how the students react while singing it.

So much works just wonderfully, majestically even. The anthemic quality and uplifting message of Little Blue sounds like a standalone mini concert. The huge vocal space and sound crafted from Liquid 5th on Alright gives the work a joyful exuberance, the kind sometimes lost in recording vs live shows, but skillfully amplified here. We're lucky to receive another original piece, this time a learning to stand up for yourself/lessons learned piece from Marianna Young singing Risky Business. Young has a memorably colorful voice on the lead microphone, too, and particularly shines in her upper register. And lo, hark, a jazzy Voices in Your Head-style interlude from Cabaniss for a mid-album infusion of contemporary cool. Plus, all the little echoes and album tie-ins heard in the gospel-esque Witness Me, which sounds like the final scene of TAG: The Musical, has Cabaniss's stamp all over it.

One standalone paragraph must go to the standout song, Movie Star. The storytelling is spot on, the trio harmonies from Asheleigh Greim, Gigi Leize-Adams, and Orli Gottesman are perfectly aligned, and the backgrounds understand their job. This is a piece that will grab you by the shoulders and not let go.

Really spectacular work here from a group, director, arrangers, and production team that's earned all of its praise.

TAG has delivered yet another fantastic album with There's a Light. Much of the group's approach hasn't changed — bright, (generally) uptempo pop songs, with a bulk of the arranging here done by the same people who have had a hand in previous releases (eight by Tom Anderson, three by Will Cabaniss).

There are some really lovely moments on There's a Light. The standout track here is Movie Star; the trio harmonies (Asheleigh Greim, Gigi Leize-Adams, and Orli Gottesman) are gorgeous, the lilting tempo is entrancing, and the arrangement paces beautifully — just when you think you know what the song is all about, it escalates in a stunning way. This is the track that I kept getting stuck on and hitting replay as I was listening to the album.

In TAG tradition, there's also an original here: senior Marianna Young penned (and solos on) Risky Business, which is sultry and sassy in a way that TAG's repertoire usually isn't — adding more intrigue and bite to the group's sound. Young also solos on the album-opening track Little Blue, which is pleasant and pretty, but Risky Business lets her personality and attitude shine through in a much more memorable way.

There are a few songs that fall into a category of "pretty but unmemorable": Unwritten is sung well (and has a particularly uplifting message from the perspective of high school students), but it's a song most aca-fans have heard before, and TAG's version doesn't add anything new. Similarly, There's a Light Interlude is a beautiful ensemble piece, but minute-long transition pieces are unfortunately disposable.

Hit 'Em Up Style is a sleeper hit in the back half of the album: it's surprisingly good, for a one-hit-wonder that was popular in 2001, before any of these singers were even born. Soloist Ashley Perez-Marquez carries the lead, and the treble side of the group sounds fantastic on the harmonies in the backs. It's a compelling reminder that while TAG's "signature sound" leans towards bright and breezy pop songs, the group has branched out into a broader territory, showcasing a range that bodes well for the group's continued longevity and eminence in the contemporary a cappella world.

It's our annual return back to Cypress Lake High School. I'm always incredibly impressed by the product that these high school students put out. Year after year, TAG has a sound and style that is just so incredibly unique and fun. There's a Light is no different. However, perhaps I've been jaded by so many years of excellence from this group that this one feels just slightly less special than recent memory.

The top of this album is just so incredibly clean. Little Blue sets a fantastic tone for the album. Will Cabaniss penned an arrangement that features driving rhythms and intricately colorful chords. This piece is ever-growing and evolving, leaving the listener guessing at what's coming next despite never feeling like the next change is surprising. Everything follows a logical progression of thought. At the front of this piece, we have Marianna Young's solo, which is simultaneously powerful and sincere. This track highlights exactly why I've been so enamored with the group over the years: great music choices, strong technical abilities, and great soloists.

However, there are a few tracks where these facets don't feel like they are being fully displayed. From the Start definitely highlights this for me. It has been a very long time since I've heard a group do a bossa nova, so I was very excited. However, the bossa nova is deceptively tricky. This piece is not intended to knock the listener out of their chair. It is meant to be much more quiet and peaceful. However, just because the upper dynamic range is missing, it falls upon the group to be more heavily invested in the minutiae of the piece. This means a heavier emphasis on microdynamics and articulations. Phrases need to grow and decay to help the flow remain interesting, and articulations need to be more precise on both the front and back of the note. Here, the phrases feel less dynamic than other pieces on the album. There's also a lack of bite on the accented final notes, where sometimes a "daht" is pronounced as "dah" by some members, losing some of the impact. The overall effect is noticeable, but it took nit-picking for me to figure out why.

Lastly, I love the first listen to any TAG album, because I get to play the game "Guess the Originals". Every year, there's at least one track that is an original song that is then transformed into a cappella by the arranger. It's a challenge because so many songs feel so heartfelt and I don't regularly listen to the original artists. I guessed that there were three originals, but it turns out the only one this year is Risky Business. Young returns as the soloist, and this time as the songwriter. This piece is a powerful and heartfelt song of self-loathing about failed love. There's a vocal growl in the bridge that pops up for a split second that speaks to me so strongly. Tom Anderson's arrangement does a really good job of letting the group be heard and interesting while not distracting from the soloist. The group in turn takes its part and acts as the perfect guide to the soloist, supporting the story to grow and evolve without overpowering it. This piece is a welcome addition to the legacy of well-done originals that TAG has in its discography.

When it comes to the overall scoring of this album, I'm a little torn. Obviously, it's still a very strong showing from the group. However, there are cracks that I haven't seen in recent albums by TAG. It still falls under the category of a "5", but maybe not the strong 5's that I have seen from the group in the past. This group still has an amazing history of recorded a cappella, and this album is no different. Take a listen and enjoy.