Archives for category: music

Although I am inclined to listen in on conversations about worship and music anyways, lately I have noticed quite a few people weighing in on this issue. There seems to be a growing dissatisfaction with the state of modern worship music. In particular, many have taken the infamous Jesus Is My Boyfriend genre to task. John Stackhouse, a professor from Regent College in Vancouver, Canada, weighs in decisively in his post Jesus, I’m NOT in Love with You. Albert Hsu, author of The Suburban Christian, shares his insights in Pitfalls of Romanticizing Worship.

While Stackhouse’s post is a bit of a polemic (more on that at the end), both he and Hsu point to the underlying problem of emphasizing the individual over the community in expressing our worship and love for God. Stackhouse shares this insight:

But the New Testament never calls Christians Jesus’ fiancées or his brides. Instead, it is the Church collectively, and only the Church as a whole, that relates to Jesus this way–just as individual Israelites did not relate to Yhwh as so many spouses, but only the nation of Israel as nation was his beloved bride

However, it was Albert’s post that spoke most powerfully to me. His nuanced historical perspective on individualism and romanticism, along with his biblical insight, provided quite a bit about which to think. In many ways, individualism/romanticism is the cultural air we breathe. We are born into it, and sometimes it takes a voice calling out in the wilderness to wake us up. As Hsu writes:

Culturally, I think that when we Christianize romantic motifs in our worship, we often merely substitute one idolatry for another, rather than challenging the very validity of romantic love as a controlling narrative in our culture.

To borrow a phrase from Brian McLaren, we must stop and consider what story we find ourselves in. This is an essential question: What narrative controls us? Is it the story that says even if you were the only person on earth, Jesus still would have died for you? While I think I understand the heart of this well-worn story, it is firmly rooted in the individualism and romanticism that Albert describes in his post. And, if Jesus pretty much exists for my personal happiness, what are the consequences for our worship together? From my experience, this ends up being a room full of people (whether it is ten or ten thousand) who are singing the same song but, despite being completely lost in love with Jesus, are completely disconnected from one another. They are physically together but miles apart in their hearts.

Or, do we understand the story and reign of God as being much, much larger than the scope of our individual lives?

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In his criticism of the “love song to Jesus” genre, Prof. Stackhouse says, “it gives me the homoerotic creeps to declare that I am ‘in love with’ another man.” At first glance, this seems to be an honest expression of his discomfort with these kinds of lyrical expressions of love and adoration to Christ. However, what he writes immediately afterwards gave me pause, “And I don’t apologize for saying so.”

As Jamie Arpin-Ricci observes, this second sentence “seems to suggest to me that he considered how some might take this comment, but still felt it appropriate to say it.” Honest expression is one thing, but it should not be considered burdensome, especially for someone of Stackhouse’s erudition, to find a better way to express this feeling. It saddens me that so many in the Christian community have trouble distinguishing between being “real” and being rude.

Perhaps it is that rebellion within us that cannot stand it when someone shows us where we have gone astray. Instead of humbly acknowledging our mistakes, we launch into defense mode — justifying and responding with our own counteroffensive, “Well, I’m insulted that you’re insulted by my words.”

All too often I see people, especially when confronted with their own racist or prejudicial attitudes or actions, respond with a self-righteous, “Well, should I have to think of what everyone will think every time I say something?” Of course, it is unreasonable for us to expect people to consider the feelings and experiences of every other human being on the planet — but there is something to be said for a general sense of empathy and understanding, especially coming from followers of Christ. And often, this line of reasoning is used as a cover for laziness — it’s easier to fall back on the broken default setting than to actually change the way we speak, think or interact with others.

I went downtown toward the end of last week to pick up tickets for our family to catch the Architecture in Helsinki show at the House of Blues in November. Our four year old daughter is a big fan — lately, she has been specifically requesting their new single, Heart It Races, during our car rides. Needless to say, we’re really looking forward to this show — especially after seeing their joyous Take Away Show performance below:

While I was at the box office, I realized that it would only be a quick jaunt to Horton Plaza to pick up a beloved fried — not baked — apple pie at the McDonald’s there. I was practically skipping as I made my way up the escalators in anticipation. But instead of being rewarded with this rare delicacy, I was greeted rudely by this sign:

bye-bye-fried-pies.jpg

I briefly considered taking their advice and visiting the food court for other dining options, but I knew that despite their wide international variety, any other dessert product would be a cheap substitute. Guess it’s back to the old fried apple pie locator for now.

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As long as I’m on this Take Away Show kick, check out these clips of Francois Virot. I hadn’t heard his work before this, but I must say the intimacy and immediacy of his performance has made a fan out of me.

Vincent Moon has created a series of brilliant short films called The Take-Away Shows. Moon has filmed artists such as Beirut, Menomena and Tapes’n Tapes performing their songs in surprising locations — perhaps walking down the street or playing in a basement stockroom. From the Take-Away Show site:

You meet a band. You take them outside, in the streets, and ask them to play there, shoot the movie in one unique shot, whatever happens. Those are the Take-Away Shows, the weekly video podcast from French weblog La Blogotheque.

This clip of the Arcade Fire gang crowding into an elevator to play Neon Bible — playing the snare drum by tearing pages from a magazine and the bass drum by pounding the walls — and then performing Wake Up in the middle of the audience is breathtaking. Moon doesn’t edit out the band laughing or tuning, or even the occasional musical misstep; the result is a vibe that is immediate, real and filled with joy. As Arcade Fire performs from the middle of the audience, you can almost see waves sweeping over the crowd as they become part of the band.

Many people have shared their insights into the problem of the “worship industry” recently. To highlight a few:

I am all for excellence in worship. Half-hearted, out of tune, I just picked these songs five minutes ago worship sets hardly bring glory to God. However, too often that drive for excellence results in slick, overproduced songs that are indistinguishable from the latest hits by Chris Daughtry or Kelly Clarkson (actually, I wouldn’t mind a worship “hit” that is as catchy as “Since U Been Gone”) — songs that hit all the right notes, but lack soul.

I realize that my particular musical aesthetic skews toward jangly indie collectives like Arcade Fire, Architecture in Helsinki and Broken Social Scene (or Los Campesinos! who are new to me), but it might breathe some much-needed life into our worship if we made a little bit more of a racket. In this Take-Away Show of Architecture in Helsinki performing Heart It Races, the band recruits a small backing choir of fans, which turns into a conga line, which becomes an impromptu invitation into a private party:

Architecture in Helsinki thought about everything : the choir, the bass drum and portable amplifiers. Alas, during the procession that starts shortly after, the amps die. So, with an extension cord, we borrow power from the locals, overlooking from their 2nd floor windows. Electricity from a kitchen !

Cameron Bird, shiny-eyed, asks me whether he can go up in one of the apartments, as he would like to sing from the window. Kelly goes in yet another flat and shows off the ice tea her hostess gave her. In our flat, dinner is cooking in a huge pan, the kids swarm towards the window in excitement, the mom goes about her business in the back of the place, and Cameron sings along with the small crowd down in the street. He winks laughingly at Kelly, he’s having so much fun. Behind us, the kids look impressed. We brought the Take Away Show to their home, in between the living room and the kitchen, we got in the place just by asking politely, we are an accident to this family. Just as Take Away Shows are an accident to the artists we follow. As soon as the song ends, everybody goes back down. The little girls put on their shoes, they run down the stairs before us.

Meanwhile, in the street, the little choir turned into a troop. The line is already long in front of the Flèche d’Or. Architecture in Helsinki, not even all there yet, have everybody form a “congo line”. Then that’s how it goes : something’s going on at the front, in the middle, in the back, everybody moves forward. Vincent Moon bumps into the percussionnist, goes again, wants to be everywhere at once, doesn’t have time, bumps into me. In the street, a blind man wiggles to the sound of the band passing by. Since the beginning, everybody is really out of tune. Cameron sings so loud, the mic is out… We go inside the Flèche d’Or, not open yet, a private cocktail is going on. The people follow us, twenty, thirty people, invited without a word. It was good, it was fun, it was about an invitation, returned almost immediately.

Sure, it’s kind of rough around the edges, but what a joyful noise! Wouldn’t it make God’s praise glorious if we replaced some of the sheen with more joy? What if we took Moon’s words from an interview with Spin, “I don’t want to see a band on the stage; I want to be on the same level” and realized that we are the band — all of us? Of course, someone has to play the instruments, but we’re all participants. I long for the day when we can “open up the doors and let the music play” and our worship becomes contagious, creating community and opens doors so that we can celebrate together.

Well, here’s one thing we can all agree on: Sufjan Stevens needs to perform from rooftops more often.

 

On my way to church today I was listening to The Queen Is Dead by The Smiths. Apart from the nostalgia I always feel when listening to The Smiths (and many other new-wave era bands that formed the soundtrack to much of my teenage experience) and the profound influence this album has had on scores of artists since its release in 1986 (!) — check out My Old Kentucky Blog to see how many bands have covered There Is A Light That Never Goes Out — there are a couple of lyrics that good ol’ Moz penned for this album that cut deep, for followers of Christ in particular. To wit, from the song Frankly, Mr. Shankly:

Fame, fame, fatal fame / It can play hideous tricks on the brain

But still I’d rather be famous / Than righteous or holy / Any day, any day, any day

Most of the time, I think we strive for the right things — humility, servanthood, authenticity, community, love — but it’s so easy to value and uphold fame over righteousness or holiness. Fame is obvious and easy to quantify; not always the case with either holiness or righteousness. Sure, there are probably cases where people become famous because of their holiness or righteousness, but our subculture’s fixation on fame is troubling.

And, as long as we’re traveling together through this album, Moz hits close to home with this lyric from I Know It’s Over:

It’s so easy to laugh / It’s so easy to hate

It take strength to be gentle and kind / Over, over, over, over

Kind of flies in the face of the myth of redemptive violence, which David over at Next Gener.Asian has been exploring lately [read Lost In Translation? here]. The way up is the way down; if we want to be great, we must become small; the first shall be last and the last shall be first — that is, until push comes to shove and what we really believe kicks in.

I still get hits from this post from awhile back about lyrics from the latest Arcade Fire album, “Been working for the church while your life falls apart.” Uncomfortably close to the reality many of us in vocational minstry live out everyday.

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Relive the glory days of The Smiths below!

I first picked up an issue of The Believer back in the summer of 2005 — mostly because of the great compilation CD, I Am Not Going To Stab You, that came with that particular issue. I find it hard to keep up with those literary-type magazines (all those little words crammed in together, and not enough photos!) — but The Believer has once again delivered the goods with their most recent comp: Cue The Bugle Turbulent.

Of particular interest is the track delivered by Sufjan Stevens, which has become one of my new favorite things. Apparently, the compilers asked Sufjan to write a “rock” song, and so he did. In the Words of the Governor is a face melting barn burner by Sufjan’s usual gentle, symphonic standards. Reviewers have compared this song with fellow Michiganders The White Stripes and with avant-noise enthusiasts Polvo. It’s nice to hear Sufjan and company play it loose & fuzzy once in awhile — it provides a clever counterbalance for the achy acoustic plucking, sweeping strings and peppy horn arrangements we’re used to hearing from them. Listen to “In the Words of the Governor” for yourself here.