The Televangelist and the Architect is a side project created by Jerry Chen, who is better known as a member of the band Grand Unified Theory. This project is an outlet for Chen's more pensive, introspective side. The press release probably sums up this album best, stating that it is "a road trip album for those without a destination." The Mass Exodus From California is a collection of progressive, subdued compositions that feature expanded instrumentals and unconventional melodies. This music might not grab you at first. We had to spin the album several times before finally determining that we were sufficiently impressed. The lyrics are particularly intelligent and appealing. Perplexing, satisfying cuts include "The Road Converges Up Ahead," "The Birth of a Salesman," "The Architect's Song," and "With Resignation." Unpredictable and creative, this is an unusual album in many ways...
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The Televangelist and the Architect is a delicate, acoustic project from Jerry Chen of the more aggressive rock band Grand Unified Theory. It’s a brilliant country-tinged folk record, something that has become more and more popular over the last couple years.

The theme of The Mass Exodus From California is movement, both physical and emotional. It centers on the endings of things in life. There is a trio of songs on the album that have the moving theme in their titles. The first is one of the best on the album, the peppy “A Footnote to a Romance (Moving On).” It’s about the end of a relationship and wondering what went wrong. All he can think about is how they would often struggle for conversation. “I don’t mind if you’ve got nothing on your mind / then we can sit in the dark, my thoughts are completely clear.” “A Planned Mistake (Moving Up)” is about dealing with major change, and features the punctuation of sharply hit piano keys, more effective than any explosion of guitar can ever be. “Some Parting Words (Moving Out)” is about wondering what to say when a relationship ends. “We’re selfish, why can’t you see we didn’t stop to believe in words at all?”

Comparisons to Bright Eyes are inevitable and justified, though Exodus owes more to Oberst’s Lifted than his recent I’m Wide Awake, It’s Morning. The dark “Corners/Fingers” begins with the soft moaning of a trumpet. It sounds quite a bit like Bright Eyes, right down to the eventual marching band tapping of a snare drum. The opening track, “The Road Converges Up Ahead” is about wondering what will happen down the road in life, and realizing you have to live in the present. “Last night, I caught you walking down the street / somehow arriving at where I’ll be a year down the road / I grabbed your arm and asked you what you’ve seen / but you kept moving.” “A Televangelist’s Song” is a great lyrical story told over fingerpicked guitar, violin, and cello. “It took them twenty years to meet / and they will soon divorce in three / oh, what a color-coded lie / she always tried so hard to try to give him joy.” It has the best lyrics and the most achingly beautiful instrumental section near the end of the song.

On “Musings From a Second Generation Immigrant,” Chen sings about our selfish, privileged ways in America and how we’ve forgotten our roots. He asks the stirring question: “Will they ever see that this American dream is but a burden to me?” It is a very effective song from a perspective not usually heard in the mainstream.

The album closes with the self-doubting “…With Resignation,” Chen singing: “So I’ll resign myself to plagiarize / ‘cause I’d rather hear some truth than something new.” It’s a bittersweet ending that bleeds into a more upbeat hidden track several minutes later.

Exodus is an absorbing, surprising album from the aggressive pop of “The Birth of a Salesman” to the airy strum of “The Architect’s Song.” It’s an early candidate for album of the year.
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