Archive for the ‘Music Reviews’ Category
My friend Mark and I have a term that we sometimes use to describe certain music: we call it “intentional listening.” In other words, you have to be intentional about sticking through it the first time before some of the charms begin to display themselves. The music in question might initially come across as shrill, unorganized, or as my wife simply calls some of it, “racket.” Admittedly, “intentional listening” is not for everyone, and with that, it must be said upfront that Daniel Smith, a.k.a. Danielson (in all his incarnations) requires “intentional listening.”
Pitchfork provides perhaps the most succint summary/introduction to the work of Danielson in their review of this album:
In his decade-long run as the ringleader of art-rock collective the Danielson Famile, Daniel Smith has practically defined the term “cult artist.” His records– most of them highly conceptual paeans to God– can be exhausting, barraging listeners with surprise twists and turns and tangled song fragments. Smith himself has an inimitable vocal style: a twisted melange of bleating, twinging yelps, whoops, and screeches.
“a twisted melange of bleating, twinging yelps, whoops and screeches.” Needless to say, the ubiquitous wanna-be-tastemaker Simon would not be a fan, but that’s not necessarily a bad thing, now is it? Danielson has typically peformed concerts either in a full-blown tree costume, a medics uniform or something in between. He is a unique blend of singer/songwriter/performance artist/social critic and just about everything in between. Though openly and devotedly Christian, he does not want to be considered a “Christian” artist and instead opts to play other venues and promote through other avenues.
Commenting on the “Christian artist” label, Danielson said in a recent interview that
“I didn’t grow up with Christian music, really, and I don’t really subscribe to the philosophy of this sort of hidden-away subculture. To me, I listen to music, and I play music that is in the mainstream, indie, underground world–it’s just music to me.”
Many simply have no idea what to do with someone like Danielson, which also isn’t necessarily a bad thing. But don’t be fooled, there is an accessible musical sensibility here (if you doubt this, check out who produced Sufjan Steven’s acclaimed Seven Swans). Reviews for Danielson’s latest release are stellar to say the least. Allmusic have it 4.5 stars and Pitchfork gave it a rating of 9.1. Corralling some twenty musicians, including all Danielson Famile members past and present, Deerhoof and Sufjan Stevens, Ships could have easily degenerated into a cacouphony of personalities. Instead, each individual truly becomes part of the whole and the album brings to mind some of the over-the-top joy-choir atmosphere of the Polyphonic Spree.
Where as the Polyphonic Spree often filter themselves through sunny psychedelia, Danielson incorporates the trasch-can folk of Tom Waits without eschewing the
psychedlia, building melodies and hooks from what on the surface appears to be racket. However, with repeated listens, the melodies not only emerge, but they succeed in implanting themselves, just way good musical hooks are intented to. In spite of and in the midst of Danielson’s somewhat awkward delivery (which itself has been toned down considerably) there are solid pop songs here.
Playing with the pop structure, the large ensemble allows for the presence of trumpets, percussion and vocal ensembles, all of which add a weight to the album, grounding it even while the tension is repeatedly pushed with building cresendos, rising from minimalist repetition. All of this allows the soaring melodies to highlight themselves even more and the accessibility that’s likely always been present is finally allowed to shine without compromising any of the brash experimentalism that’s been Danielson’s mainstray attraction and repulsion for many.
Lyrically, Danielson is often difficult to understand and decipher. The obvious theme of ships and all things nautical runs throughout, laying the groundwork for obvious references to Christian themes. The theme is joyous throughout, uplifting, catchy and memorable. It seems that the two years spent working on this project has paid off and Danielson has finally been able to translate his skewed vision into something that people other than the most dedicated of fans might listen to. Possibly sensing his success, the last song is entitled “Five Stars and Two Thumbs Up.” Indeed.
Bottom line: a challenging yet rewarding album. It’s not for everyone, but then again, the best music usually isn’t.
Few artists (in my opinion) are truly creative. For me, music often falls into two very broad camps. There are bands who might not be all that innovative, but they do what they do very well. U2 (I know I’ll hear about this!) is a prime example for me. Then there are bands that defy easy classification, bending genre and pushing expectations. Calexico, Clogs, Medeski Martin and Wood, and Tom Waits serve as prime examples of the creative side of the coin.
What’s interesting is that the “creatives” often struggle with accessibility. Creativity often results in experimentation which sometimes loses listeners. My friend Eldon and I use the term “intentional listening” to describe some of this music. Initially you force yourself to sit through it to find the treasures, because you’re fairly certain that they’re there. While this isn’t appealing to many, it does reveal talent necessary to make the experimental accessible; to push the boundaries while remaining open to those who will never engage in “intentional listening.”
While Anathallo might not be a household name, their balance on the tightrope of accessibility/experimentation has been cemented with their latest release Floating World. Released February 25th, the release essentially marks the first full-length release for the band at 14 tracks, settling the question whether Anathallo’s genre-bending style could sustain a full-length release; it certainly can.
Thematically, the album centers on a Japanese tale, Hanasakajijii, also known as “Grandfather Cherry Blossom,” and/or “The Old Man Who Made Trees (Flowers) Bloom.” The tale is told in four installments in the booklet and repeated (though out of order) in the four “Hanasakajijii” tracks and forms the centerpiece of the album itself.
Briefly, the tale is of an old Japanese couple who takes in a stray dog who uncovers buried treasure on their property. A neighbor discovers the treasure, the dog and its capabilities and asks to borrow it to discover treasure of his own but uncovers only rubbish. In his anger and greed, he kills, burns and buries the dog. The old man discovers the ashes, which, miraculously, are able to bring life to their parched land (making dead trees bloom).
After “Ame,” a brief but mood-setting percussion piece, the themes of redemption/renewal are (in my opinion) Biblically centered by the second track and the first to feature lyrics, “Genessaret.” The title is a reference to the region surrounding Peter’s water-walking experience (Matthew 14:34; Mark 6:53 and Luke 5:1) and introduces the theme of the faith necessary to participate in this redemption, a theme played out through the rest of the album. This theme emerges in the lines:
We looked hard; I stood on the bottom. Calloused tiptoes, Splintering wood, waterlogging. Break up, come back together, Genessaret. I want to skip like a stone from a stronger arm. Each one I throw is moving somewhere. Oh, let me go. I will go out, out, out, out Past these yellow ropes. I am not afraid.
The Japanese elements are carried further in many of the percussive and melodic elements, but also lyrically, as many of the lyrics themselves are Japanese. The last verse of “By Number” for example, is the Japanese translation of Psalm 139:5. “Dokkoise House (with face covered)” features the lines “Hana no iro wa Utsuri ni keri na O hana,” which translate: “The color of the flowr has already faded away” and the last track “Kasa no Hone (the umbrella’s bones”) is entirely in Japanese, closing the album with the lines “Though I also am torn, Don’t desert me”(English translation).
The elements of faith and redemption are unmistakable and drive the album from beginning to end, including references to Isaiah’s “bruised reed” (Isaiah 42:3; Matthew 12:20) so many will wonder, is this a “Christian” CD? Speaking to just such questions, the band features excerpts on their website from an interview with Sufjan Stevens, which they say reflect their views well:
On an aesthetic level, faith and art are a dangerous match. Today, they can quickly lead to devotional artifice or didactic crap. This would summarize the Christian publishing world or the Christian music industry. If you are an artist of faith (a Methodist or a Jew), then you have the responsibility to manage the principles of your faith wisely lest they be reduced to stereotype, which is patronizing to the church and to the world, and, perhaps, to God.
Further discussing the relationship between “faith and art,” the band quotes:
on a certain level you cannot separate art from faith, because it is our persuasions which drive us to create. An agnostic painter might use the expression ideologies instead of religion, but it’s the same thing. Whether you are religious about politics or fashion (or saving the whales), you are still motivated by your convictions to participate in art. But I don’t think that means faith should necessarily prescribe art. In fact, this is a dangerous assumption, which often leads to music that is pedagogical, or a novel that is moralistic. As for our intentions, well, that’s all bunk. We may intend our music for one person or another, but who’s to say? I can’t decide who reads my novel or buys my record. Look what that did for Jonathon Franzen, who snubbed Oprah for liking his book. It’s an arrogant, imperialist motive to try to determine who will receive you and who won’t.
In other words, the music and its themes are for everyone and we ought not limit that with unnecessary labels. The band expresses a keen understanding that these themes (and their music) rise above the labels so many of us want to attach to them. The truths 
are unmistakable without sacrificing the means for the message. The message drives creativity here rather than stifles it and for that alone, the band must be praised.
Musically, the band shows a maturity beyond their years, demonstrating the ability to incorporate wildly varying influences while making them their own. “Hoodwink” features a Sigur Ros influenced guitar, while Hanasakajijii (two: the floating world) draws heavily from Tom Waits, both in its metallic percussion and also “carny” ambience and the last section of “Yuki! Yuki! Yuki!” resembles Satie’s work for piano. As this short list implies, the album is not “genre-specific” and crosses many boundaries, yet the band manages to present a unified whole rather than many disjointed elements forced together.
Floating World represents a solidification if you will for the band. While all of the elements here are present on the bands previous releases, most of those were EPs where the ideas were not fully fleshed out. Here, they’re brought together masterfully. Anyone who’s seen the band live knows their explosive energy, but the album shows amazing restraint, letting the combination of theme and music pluck the listener’s emotions and energies. Many will be struck by the moodiness, but that’s not to say this is a depressing album, yet it is a moving one. The music and theme are so well intertwined that the explosions aren’t missed.
I know it’s only March, but I think my pick for album of the year may have just been made. It’s certainly going to be fun trying to top this one. Bottom line: highly recommended.
The flood of “modern worship” records continues, though it may have slowed to a drizzle. Aside from the few artists somewhat steeped in the “genre” (Chris Tomlin, Matt Redman, Tim Hughes, etc.), many have tried their hand at “worship” releases, some to greater success than others.
And so arrives the newest “worship” installment from Caedmon’s Call: In The Company of Angels II (The World Will Sing). Having sold some 250,000 units, In The Company of Angels is by far the bands biggest commercial success, but the question immediately poses itself: was the initial release worthy of a follow-up? If it was, is the follow-up worthy of its predecessor?
This album comes as Tree63 frontman John Ellis tells Christianity Today in a recent interview that ” the modern phenomenon of “modern worship” dampens creativity amongst music-making Christians.” Ellis goes on to argue that “Modern worship has become a unit-shifting genre of contemporary Christian music,” which returns us to the album at hand to ask the question: has Caedmon’s Call put forth an honest, creative product, or have they come to “unit-shifting?”
The album focuses well on congregational-friendly, theologically rich selections. If anything, it must be said that the Caedmon’s Call worship discs reinforce the need for quality content; after all, we’re singing the words, which Caedmon’s shows much respect for, drawing from traditional hymnody, Chinese hymns and originals, all of which are squarely God-centered. The words continually reinforce the theme of God’s glory in all of life; something in and of itself that often difficult to find. The themes of grace and mercy run strong which is refreshing amidst so much man-centered theology, especially in music.
The band plays well and the melodies are good, once again proving that Caedmon’s Call has rightly earned their large fanbase. This is a good Caedmon’s Call release, but that’s just part of the problem. It’s ultimately just another Caedmon’s Call release, lacking the innovation that drew so many to Share the Well and lacking in international flavor seen in light of the title itself, it musically has little to do with the rest of the world. They play well to their strengths, but to little else. It’s a very “comfortable” release, but I’m not sure that’s ultimately what they were striving for.
As Russ Breimeier of Christianity Today notes: “These songs are pleasant with nothing to dislike, but there’s also little to become enthusiastic about.” In the end, this is a solid Caedmon’s Call release at a time when we’ve come to expect more, even of them, it plays well to their strengths, but feels like it’s already been done, which it has and by them. While it’s hard to fault the band for their heart for theologically sound worship, one’s left wishing they had simply spiced up the presentation a bit, especially when they’ve proven capable.
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It’s no secret that I love music of all kinds. One thing I always look for when I visit blogs is a section representing what the blogger in question might be listening to. I’m a firm believer that you can tell much about a person by the music that they listen to. Most of the time that section is either not present or I’ve heard most of the music represented (I’m not trying to brag, just recognizing that I listen to quite a bit of different music). But every so often, the browsing pays off and I come across a diamond in the rough; something I haven’t heard before. I had just such an experience visiting Andrew Jones’ Tall Skinny Kiwi a bit ago.
Andrew was talking about a CD that hhad finally arrived in the mail and he had this to say:
My Aradhna (Satsang) CD finally arrived. Apparently, they were recording the final night of a tour for a CD and a 3 year old child kicked the cords and they lost everything. But they felt God wanted them to continue so they played to those in the crowd that wanted to stay . . thus . . this album called Satsang.
Having said that. The CD is absolutely incredible and curry nights at our house will never be the same. I also think you should buy it. In fact, if your music collection of worship songs does not include at least ONE Aradhna CD, then it is indeed one tuna casserole short of the potluck.
It was the “curry night” reference that initially caught my eye (as interesting as the ‘tuna casserole’ comment is) as well as this quote taken from the band’s website: “aradhna means worship: the group captures the beauty and dignity of India’s bhajan devotional melodies with music that blends east and west.” Since I love much “world music” as its often described, I was intrigued enough to click through to the band’s website to try and find some sample tracks.
Upon arrival, after being quickly taken by their music, which is incredible, one of the first things I did was try to find English translations of their lyrics, which they readily provide. It must be said that the lyrics possess an obvious love for Christ as Savior and Lord and a sincerity, a passion for Christ that is missing in much modern “worship” music. Then, to hear these devotions sung in a foreign tongue is almost to joy-producing that it’s hard to take! One of my favorite tracks Gaao Re contains the following lines:
Sing oh Sky, sing oh Earth
Sing with me
My Lord Jesus has come today
And I am united with Him
I cannot stop my lips from singing
Sing you angels and birds of the sky
Play the music of the waves
Oh creatures of the deep
Peacock dance with grace
Take up a raga oh Sarangi and Veena
Play a taan oh Tabla and Sitar
Khanjari, shake and rattle with the music
The music is squarely rooted in what the band call “sitar/guitar arrangements of the Yeshu bhajans (devotional songs to Jesus).” The sitar and Indian percussion play heavily throughout this live release to great effect trading melody lines and solos, along with largely chorus-style lyrical arrangements. With the interest in Indian music and culture aroused by Caedmons Call’s Share the Well, this authentic release ought to be much more widely recognized. At points the artists do stop for short English prayers, which, to be honest tend to be a bit more distracting; the poetry of the Hindi dialect sung is such that the English almost feels as an interuption. Another track Binti Sunle sings:
Hear my request, O Lord, and uphold my honor
Have mercy on me, and remove my sins; cleanse my soul
Dear Jesus, hear my request; dear Jesus, hear my plea
Keep me by your side, and uphold my honor
I always cry out to you; open your ear to me
All my hope rests in you, Oh Lord; let me see you
You are the light of my eyes, my souls Lover
The One who owns my heart
You are my only Deliverer! You are the Lord!
Call me mad but I only wait to see you
I want to sing your praise forever
The lyrics are rarely lengthy (the quotes here represent the entirety of each track), but what they lack in length, they more than make up in devotion, which is always squarely focused on Christ, praising Him both for His work and person. Alex Montoya writes in his book Preaching With Passion, that longer is not always better, sometimes it just prolongs the agony. These tracks prove highly moving with few but focused lines. Their delivery is no less passionate and is something that ought to move any believer to their knees. This is great music regardless of the language. 
The recording itself is muffled at times, possibly demonstrating the apparent technical difficulties of the night, but the spirit of the evening shines through, something lacking in many live recordings and the level of quality is not such that it distracts by any means. The passion for Christ and His glory is difficult to miss and convicting that so much “American” worship music falls so flat in comparison. Though a bit pricey at $17.00 (which does include shipping), the simple fact that this music is so unique makes coughing up that extra bit for a CD worthwhile, even if simply to support the band for more future releases!
There are times when, reading along with the English translations, it’s hard not to have tears gather; the passion of the worship is moving and listening to praise in another tongue is inspiring, reminding of that great and final day when we will, as one cry out “Salvation belongs to our God who sits on the throne, and to the Lamb!” (Revelation 7:9-12).
Anyone with an understanding of the global ramifications of the Gospel, an appreciation for world music and a love for Christ ought to consider this well-worthwhile purchase to expand the horizons of personal (and hopefully corporate) worship. Highly, highly recommended.
Six Steps Records has become the home of much of the “new worship” music. Artists like Matt Redman, Chris Tomlin, David Crowder, and then, oh yeah, there’s Charlie Hall too. At least that’s been the trend. Hall has stood in the shadow of several of his contemporaries for some time now. But his new album presents him on the verge of finally stepping out with confidence on his own.
While not as immediately accessible as Tomlin or Redman, or as experimental as David Crowder, Hall nonetheless has proven to be both consistent and growing, continually pushing himself and his creativity.
Hall describes this album as “a little artsy, a little rocky, but accessible,” which is as good a summary you’re likely to find. Building on his knack for melodic experimentation, Flying Into Daybreak is a brighter, stronger outing. Focusing a bit more on the rock aspect, some of the songs hit slightly harder than previous outings, but still commend themselves to corporate worship adaptation. Hall takes the time to develop strong hooks and deep melodies, which helps to carry the listener consistently through, even as the songs themselves vary.
Guitar features a bit more prominently on this release as well do some of the electronic effects that artist like David Crowder and Mute Math incorporate for added depth. Daybreak very much comes across as a “rock” album whereas something like On the Road to Beautiful might have fit comfortably for some in the electronic realm.
Lyrically, the album falls squarely in the “modern worship” camp, focusing on explicitly Christian lyrics from a heart of worship, often directly quoting Scripture. For example, album opener Micah 6:8’s refrain of “Help us love mercy, Help us do justly,
Help us walk humbly with you, God” is a near direct quotation. “Song of the Redeemed” cries, “We sing to You the song of the Redeemed, You beautified our hearts and made us clean. You’ve rescued us from death and set us free.” The album is very much an unapologetic worship album and, largely suceeds in lifting one’s heart by lifting one’s thoughts.
However, lyrics have often been one of Hall’s shortcomings. Not that the content is poor, it’s just often slight. As Christianity Today notes, “Most of these songs only amount to ten short lines of text.” Though Daybreak does see Hall expanding slightly, he largely sticks to the same pattern. He has a good use of words and I for one would like to see him expand on that a bit in future releases, using his skills to delve a bit deeper than simply a couple of lines of verse and catchy choruses.
Flying Into Daybreak isn’t a ground-breaking release. But it’s also not a disappointment. Perhap’s that’s what makes Hall so difficult to peg. He lacks the flair of someone like Crowder and the mainstream success of Redman or Tomlin. But he consistently proves himself consistent, turning out God-centered, musically strong material and this album is no exception. When you want something that will deliver God-centered worship with solid presentation, you’ll be hard-pressed to find one as reliable as Charlie Hall.
Few recent “Christian” bands have generated the buzz Mute Math has. Bursting onto the scene in 2004 from the ashes of Earthsuit, with the release of their Reset EP to wide critical and commerical acclaim. It seemed as though “Christian music” finally had their “great white hope,” a band with spiritual content resting on the foundation of actual creativity.
Many have been anxiously awaiting their full-length debut (though at 7 songs, the Reset EP was certainly a strong foot foward), which is finally here, though currently available only at the live shows or from two select online retailers.
So, the question on everyone’s lips: has the wait been worth it, Is it worth the hype? Yes and no. Yes in that what’s undeniable is that this is a special group. Every once in a while it becomes apparent that a band contains that magical mystery mixture that so many lack. U2 has it, the Beatles had it, that unique pairing of talent with personality that percolates creativity. This band has it and bathes in creativity. No in that it reigns in some of the creativity and experimentation hinted at on the Reset EP. But even with that, this release is well worth seeking out.
At the release of the EP, it was apparent they were operating on a different level than much of the “Christian market.” Whereas much CCM has been content to rehash and recycle, Mute Math seems genuinely passionate about creativity. But that comparison is exactly part of what’s plagued them. They don’t want to be known as a “Christian band,” and so they’ve actually separated ways with Word/Warner Records because the label was pushing them hard in the Christian market. Paul Meany explains in the Tucson Weekly:
“I used to be in a very overt Christian band, and I think once we started Mute Math, and there were spiritual undertones in the music–and we’ll openly state, yeah, we’re Christian–we watched how the Christian division of Warner Bros. just ran with it. And they ran with it faster than Warner Bros. ran with it in the general market.”
Clarifying why Mute Math doesn’t want to be considered a “Christian band,” Meany says:
“All of the sudden, we began to see ourselves getting pigeonholed into this particular world that we weren’t necessarily proud to be associated with, because we aren’t really fans of the music or fans of the cause of the music,” said Meany. “We don’t fit into that. We’re not trying to preach through our music; we don’t have some kind of evangelistic agenda with what we’re doing.”
Though he doesn’t explicitly say as much, many of us lament the lack of creativity in much Christian music. I can only imagine being an artist passionate about creativity having many doors shut in my face because I’ve been labeled by marketers rather than by my art. Having been freed from the confines of labels and stereotypes, the brings a unique sound, somewhere between a hybrid of the Police, Achtung Baby era U2, Jimmy Eat World, and the David Crowder Band. Granted, they’re not reinventing the wheel, but they are bringing to it some new contours.
However, it must be admitted that the full-length does not fully deliver on the promise of the EP. Whereas Reset was genre-defying, Mute Math becomes genre-defining, hammering out a consistent sound for the band, but in the process, they’ve lost some of the genre hopping experimentation that drew so many in to begin with. They’ve settled into what Christianity Today calls “progressive from liberal use of electronic samples and effects, yet retro with reliance on Rhodes electric piano, keytar synth, fluid guitar, and a powerhouse rhythm section.” Picture David Crowder with a little more emphasis on the electronics. It is a consistent, identifiable and mature sound and does seem to be a band “finding itself,” it’s just a bit more “consistent” than was the Reset EP.
Lyrically, the themes are not overt but well-within a Christian worldview. “Typical” for example, laments “I know there’s got to be another level,” and “Chaos” (seems to) point to God, “I know you stay true when my world is false/Everything around’s breaking down my chaos/I always see you when my sight is lost.” While not Scripture, it’s also not AC/DC. Meany succeeds in writing lyrics that present the Gospel’s impact on all of life without beating the listener over the head with the message. Those wanting more explicitly expressed faith might be disappointed, though I’d encourage them to dig a bit deeper and stop asking Christians to continue preaching the Gospel to other Christians to a funky beat.
In the end, it must be remembered that this is technically the first full-length release for the band, and as such, it is an incredible debut, one which promises many more avenues to exploring. Bottom line: highly recommended.
- Visit Mute Math’s official website (myspace).
- Read Christianity Today’s review of Mute Math’s self-titled debut.
- Read Christianity Today’s review of Mute Math’s Reset EP.
- Read Christianity Today’s interview with Mute Math after the EP release.
- Read the Tucson Weekly interview.
- Read my previous piece discussing Mute Math and the Tucson Weekly interview
Introducing their review of Derek Webb’s new album Mockingbird, Christianity Today argues that Webb is “one of today’s best songwriters in Christian music, and quite possibly the bravest.” What they mean is that he is garnering for himself a reputation for stepping on toes, saying much that needs to be said, and some that doesn’t.
Derek Webb, former member and songwriter of Caedmon’s Call has been a solo artist for a little less than three years now. In that time, he’s released three proper albums and a live compilation, not only proving himself outspoken but prolific.
His album She Must And Shall Go Free profoundly affected me. A meditation on the Church, it came at a time when my wife and I were wrestling with a call to ministry. Seminary professors were tell us that if we could picture ourselves doing anything other than ministry and being content, then we should. At the same time I was becoming convicted of the central role that God has designed for the Church in the Christian life and my heart was (and still is) breaking that so few take the idea of Church seriously. Webb’s lyrics “You cannot care for me with no regard for her, if you love Me you will love the Church” were literally music to my ears.
I See Things Upside Down seemed significantly less focused both in sound and content. Suffering from bland arrangements and the lack of central focus of his previous effort, the album felt rushed. The standout track for me was The Strong, The Tempted and the Weak, but it was not a strong enough track to keep the entire album in repeat rotation.
In many ways, Mockingbird stylistically picks up where Upside Down left off. Many of the moody pop structures reappear as opposed to She Must and Shall Go Free’s stripped Americana. The significant factor is that where Upside Down added pots rattling in the background and other clangings, Mockingbird incorporates Beatles’ influenced string and woodwind elements, conjuring an almost 60’s feel to many of the tunes. One has to wonder if this was intentional given the pacifistic message of songs such as My Enemies Are Men Like Me. The track itself is inconsistent, on one hand arguing that “teaching peace through war is like teaching purity through fornication,” and then saying “I will protest the sword if it’s not wielded well” all to the chorus of “I would rather die than take your life.” Webb apparently protests the sword because, in his opinion it’s never wielded well.
Lyrically the album has other problems. Many will be uncomfortable with his poor choice of imagery, particularly on the track Please Before I Go in which he sings “like an addict to his fix, so am I to your sweet kiss, the wife of my youth, my drug of choice.” Yes, it conveys the emotion quickly but Shakespeare it isn’t. The imagery is neither helpful nor good poetry. Webb also needlessly includes a line in the song A King & A Kingdom: “nothing unifies like a common enemy and weve got one, sure as hell.” Yes, I understand that its there for emphasis, but I also understand that its unnecessary and in poor judgment if your goal is truly edification (which it ought to be, even when pointing out problems in the way many live their faith).
Webb takes aim at several sensitive issues. Using the motif of a mockingbird throughout the album, Webb challenges the shallow faith that far too many live, simply repeating the last song that we’ve heard. On New Law, Webb challenges, “dont teach me about politics and government; just tell me who to vote for. Dont teach me about truth and beauty; just label my music; Dont teach me how to live like a free man just give me a new law.” Taking one more comical swat on his way through the china shop, Webb sings “Don’t teach me about moderation and liberty, I prefer a shot of grape juice.”
While such lyrics are certainly provocative and challenging in an artistic context, they are anything but helpful in this thing we actually call the Christian life. Such comments are the antithesis of a true understanding of liberty and anything but helpful. Like a little boy who has not quite grown into his best suit but still insists on wearing it, Webb sincerely parades several big ideas that he’s apparently not quite grown into yet. Do we lean towards legalism? Absolutely but that parading liberty is equally (if not moreso) dangerous. Do we turn the other cheek and love our enemies? Absolutely, but that does not mean pacifism is a Biblical system in the slightest. Do I love my wife and her kisses? Absolutely but that doesn’t make drug imagery appropriate.
Many of the issues tackled here are done so thoughtfully and sincerely, Webb bears his convictions strongly, even when they’re a bit misquided. We could all use a bit of his zeal. Webb presents challenging issues in a challenging way. Musically, he seems to be gaining stride formulating nice pop structures and nuanced, atmospheric production. Both he and Cason Cooley have crafted a very full warm album and ought to be congratulated for their production work.
Like David Crowder’s A Collision, we are reminded that it is often the initally difficult albums that prove rewarding in the long-term. Though I don’t agree with some of Webb’s conclusions (or the way he chooses to communicate some issues), this album is head and shoulders above anything else “CCM” or any of its derivatives is churning out. It is both challenging and rewarding; both creative and sincere.
Bottom line: highly recommended (with some theological cautions).
Read the Challies interview part one.
Read the Challies interview part two.
Read Christianity Today’s review of Mockingbird.
Visit the Derek Webb page at Christianity Today Music.
Visit Derek Webb’s official website.
As you know if you’ve read here for any length of time, I love music. I have absolutely no musical ability whatsoever and I think this gives me a greater appreciation for those who do. As an avid music lover, I’ve also grown to love artists truly pursuing creativity of expression; music as art rather than simply recycling established motifs. This is exactly why I have such a difficult time with much “Christian” music.
As discussed here previously, I struggle with much “Christian” music. I struggle because it is exceedingly difficult to find a balance between sound, God-centered lyrics and true musical creativity. Too often, one or the other (or both) is sacrificed. Much of what passes for Christian music contains no Christian content and simply regurgitates secular trends to an uninterested audience. So I find myself listening to a handful of Christian artists or primarily instrumental music. I love music, and I love God enough not to compromise.
So when a Christian artist comes along visibly struggling for artistic integrity and God-centeredness, I can’t help but take notice. For me, since the release of Illuminate, the David Crowder Band has been one of these handful of acts (along with Anathallo, Derek Webb, Jeremy Casella, Ever Stays Red, Robbie Seay and a handful of others) truly pushing themselves creatively while striving for truly “Christian” lyrics.
I have to admit, I have not looked forward to a “Christian” release for quite some time, so it has been an odd experience anticipating this release. The tension only heightened under the spectre of Christianity Today’s five-star review. And the question remains: does the album live up to the hype?
This question is not as easy to answer as it ought to be. As you’ve probably gathered, I have extremely high expectations for music and little patience for cliche and rote mimicry. The upside of this is (for me) intensely rewarding musical ventures while the downside has often been a double-standard. I am much more quick to dismiss a secular artist than a Christian one because the sad truth is that there is precious little good Christian music out there.
With that said, A Collision is heads and shoulders above just about anything else even vaguely within “Christian” bounds. The obvious dedication to pushing the level of creativity and willingness to experiment are rare qualities for a Christian artist. But, would I listen to A Collision if it were not expressly Christian? I think that I
would. With A Collision, we are presented with a band openly willing to experiment and push themselves creatively, and for that alone, we ought to take notice.
Yet it is exactly the experimentalism that has soured many to this album. I’m not opposed to experimentalism (as my love for Medeski Martin and Wood would indicate) if it works. The problem is that I’m not sure it consistently works on A Collision. As one friend said, we seem to be presented with a concept album without a clear concept. However, the more I live with this album, the more a concept emerges: our depravity which drives us to God, then away from Him and finally back to Him. The opener Everybody Wants To Go To Heaven, But Nobody Wants To Die (A Walk Downstairs), clearly presents us with the problem of depravity and divinity and the costly solution. The weight of the subject matter only increases with the refrain “Let me tell you what He’s done for me” of Come and Listen. This is admittedly a heavy album seeking to explore depravity, divinity and the necessary relationships therein.
Crowder tries to do this through interspersed nods to country and bluegrass. We have nods to Hank Williams Sr. and Johnny Cash, both of whom openly struggled with themes of depravity and redemption, but too often, the result is disjointed at best. The “country” sections only seem to jolt the mood (which they may have been meant to do) and bring a feeling of inconsistency. Though it works thematically, musically it’s a bit jarring.
The turning point of the album seems to come with tracks #10 and 11. Sufjan Stevens‘ O God, Where Are You Now? (In Pickerel Lake? Pigeon? Marquette? Mackinaw?) effectively and dramatically asks “O God, Where Are You Now,” setting the stage for A Beautiful Collision, as the centerpiece of the album. A man overwhelmed (again) by depravity calling out (again) for God’s deliverance and finding assurance (We Win!).
With few exceptions (Here Is Our King, We Win!), the album is not all that radio-friendly; moody and sometimes dark, it seems to be meant to be listened to as a whole. The foundation of dance-rock is still present, but A Collision truly showcases a band coming into their own and finding their true artistic voice. This is not an album for everyone, but the best one’s usually aren’t are they?
Bottom Line: Highly Recommended.
Visit the David Crowder Band website.
Read Christianity Today’s review of the album.
Read [retro]evangelical’s review.
