The Mercy Seat and The War, full review

The first time I saw Jamie Barnes and Brooks Ritter perform together was in April of 2008. Stars of the Lid was playing at the 930 Listening Room, and I went mostly on reputation. It was a sparsely attended show, but I spotted a few friends in the mostly NPR crowd and pretended I knew something about drone/ambient music. Admittedly Jamie's brand of bluegrass infused indie folk music was an odd opener, but sometimes juxtaposition can really make a show.

I was quite familiar with Jamie's discography (The Recalibrated Heart, Honey From the Ribcage, The Fallen Acrobat), and even though Brooks hadn't yet released his debut album, The Horse Fell Lame, I knew most of his repertoire by heart. I had recently started playing keys with Sojourn band and was just getting used to playing with such talented musicians. I loved playing with Jamie because of his uncanny ability to create, arrange, and deconstruct songs. A profound lyricists with a diverse musical arsenal, Jamie creates lush sonic landscapes pregnant with meaning. Conversely, I loved Brooks because of his uncontainable energy. (Anyone who's ever seen Brooks play live knows he's a combustable ball of light when he plays- always on the verge of a supernova.) Brooks is a skillful songwriter in his own right, but it's his soul that shines through.

That night as Brooks (with Rebecca Dennison) joined Jamie on stage I discovered how incredibly complementary their talents and giftings are. Their harmonies and subtle dissonance sounded otherworldly. It was decidedly moving and I often wish I had a recording of that concert.

Almost three years later when I found out that Jamie and Brooks were doing a split EP together I couldn't help but think that dream had finally come to fruition.

Unlike their previous albums, this collection of songs is for the corporate gatherings of the church, specifically Sojourn Community Church, where both men serve on staff. Of course both artists have contributed heavily to past Sojourn albums, but this is the first time they've released solo material under the Sojourn music umbrella. As such, there is a personal kenosis, an emptying of ulterior motives, that has taken place. In other words, what is primary is not their artistic vision as musicians, but their faithful expression of worship as worshippers of the true God.

"Approach My Soul, The Mercy Seat" is the opening track and also lends its name to Jamie's half of the EP. It's adapted from John Newton's classic hymn that implores believers to boldly come before God, on the basis of Jesus' work. Sparse piano and eerie slide guitar create a somber atmosphere which compliments the gravity of sinful human approaching a holy God. Jamie's trademark 3-finger picking is met with with stirring strings and a huge drum beat, which build into an ecstatic frenzy; the blissful response to divine grace.

"Absent From Flesh" is equal parts stadium anthem and hoe down, by the time the horns kick in (is that a tuba I hear?), it's something like a bluegrass Srgt. Pepper's. I really can't imagine what Isaac Watts would do if heard what Jamie's done to his song, but I kind of hope he would dance ( I guess we'll find out in heaven?!?). Brooks' harmony is the closest we get to a true duet on the album, and leaves me wanting it on more songs.

The title track for Brooks' half of the EP is "The War". Brooks' soulful baritone is joined with a raunchy electric guitar and a no-nonsense drum beat; a less-is-more, Black Keys-esque blues-rock. The chorus unleashes a screaming B3 organ and driving bass, creating an intensive wall of sound that more than justifies the militaristic lyric imagery.

"Good Day" is pretty much good old fashion blues/gospel and could be the only Sojourn song equally tailored for the 7 PM gathering or the next Gaither Vocal Band reunion concert. I'm not even kidding. It's great.

"Rock of Ages" is an apt closing track. 18th Century Anglican minister August Montague Toplady's beloved hymn remains as profound and moving as when it was first penned in 1763. This minimalistic take- very much in the same vein as Sojourn's cover of Before the Throne- emphasizes the lyrical content. Mike Cosper's wailing slide guitar interludes provide space for somber reflection or thankful prayer.

In a Christian music industry characterized by self absorbed spirituality, theological shallowness, and questionable artistic merit, The Mercy Seat and The War are a breath of fresh air. I can't stop listening to it, and I doubt you will be able to as well.

"Hoşçakal" by Emre Aydın

A lot of people here in Turkey really like this song. I may be one of them... not sure yet.

Top 5 of '10

I feel completely uncomfortable trying to make a "best albums of 2010" list- I have not listened to enough albums to make any such pretensions. More so, I realize I've spent most my life developing a highly specified- and dare I say subjective- aesthetic that is completely unfathomable to the uninitiated and thereby disqualifies me from being able to choose what music should be esteemed by popular culture. That being said, I am completely comfortable sharing my "favorite albums of 2010"

#5. Sleigh Bells "Treats"

One of my biggest regrets about 2010: I never got to dance at a party playing Sleigh Bells. This album is big, loud, and genius. Literally every track makes me want to get on the floor. Ghetto-blasting beats, screaming guitar licks, and hipster sensibilities never sounded so good.

#4. Beach House "Teen Dream"

When I first heard this album early this year I thought it might just be my album of the year. It turns out it isn't, but I still love this droning dreamlike record.

#3. Arcade Fire "The Suburbs"

The Arcade Fire prove that a good concept is still a viable means of making a record more than the sum total of its parts. As a product of rural, small town America I can't completely identify with the subject matter, but I certainly understand the angst and disillusionment that comes from being part of middle class America. Thankfully this album is not shallow or sententious, but an honest investigation that's willing to point fingers at the mirror and not just just our parents. Thought provoking line of the year: "Do you think your righteousness could pay the interest on your debts? I have my doubts about it."

#2. Sufjan Stevens "The Age of Adz"

As an individual I'm prone to speak in superlatives and hyperboles. My only regret is that people often don't understand or believe how much I love Sufjan. This album only makes me love him more, and there's a lot of reasons why: the juxtaposition of digital and orchestral instrumentation, the emotional transparency, catchy-yet-complex melodies, the list goes on. But I think what I love the most is that Sufjan made a unique and unexpected album that still fits perfectly in his discography. I really don't see how any fan could be disappointed in this album.

Perhaps the simplest way to determine my favorite album of the year is to see which album I played the most and in that case there is only one option:

#1.The Wild Hunt by The Tallest Man on Earth .

The release of this album coincided with my move to Turkey and in many ways has been my soundtrack for the entire year. The adventure of unexplored horizons, the excitement of dreams coming to fruition, the elation and excruciating pain that loving someone can bring: all of these emotions/experiences have found a voice in Kristian Matsson's carefully crafted album. "Troubles will be Gone" optimistically describes the day I'm still hoping for; "You're Going Back" the frustration that we all experience in the meantime. The dissonance of "Love is All" and hauntingly simple piano of "Like the Wheel" provide pensive inflections in an otherwise positive outlook.

Perhaps more than any other song, Matsson's cover of Paul Simon's "Graceland", released as a single in conjunction with this album, voiced an authentic heartache I found strangely comforting. In a sense, Matsson provides for "Graceland" what Art Garfunkel once did for Simon's early work: a voice that somehow seems to capture the very soul of Simon's pen. When Matsson belts out "I see losing love is like a window in your heart/ everybody sees you blown apart/ everybody feels the wind blow" you feels as though you know Matsson/Simon, and the pain they feel is your own.

Honorary mentions:

Vampire Weekend "Contra"

The Radio Dept. "Clinging to a Scheme"

Wovenhand "The Threshing Floor"

Kanye West "My Beautiful Dark Twisted Fantasy" [admittedly if this had come out a little earlier it probably would have found it's way onto my top 5, but I just picked up this album and am still getting into it. definitely a masterpiece. ]

Too Much

Sufjan has a monopoly on cool

New Material

There's a lot of quality music that has come out recently, but I'm particularly impressed by two releases. If I had to pick a favorite album of the year so far it would be The Wild Hunt by The Tallest Man on Earth. Amazingly, less than six months later Kristian Matsson has already released a follow-up ep . Sometimes the Blues is Just a Passing Bird features both the new and familiar for Matsson, whether it is his typical 3-finger cross picking or simple/bluesy strumming. Opening track 'Little River" and the new guitar version of "Like the Wheel" are the standout songs for me.

The second album technically isn't out yet. Readers of this blog are quite familiar with my obsession with Sufjan Stevens. From A Son Came, to The BQE, to even the obscure tracks he's never officially released, I'm in love with everything this guy puts out. But after reading the press release about his new album The Age of Adz, I was more than a little apprehensive about Sufjan abandoning a narrative approach to song writing, because let's face it, even if it's is genius, Enjoy Your Rabbit is barely listenable. Thankfully my fears have been assuaged by the first two preview tracks he has shared from the forthcoming album. Both "I Walked" and "Too Much" are ambrosial, electronic ear candy with all the eclectic eccentricities we've come to to expect from Sufjan. The expanded digital palette is a decidedly new flavor (previously hinted at in parts of The BQE and his cover of Castanets' "You are the Blood"), but it doesn't feel forced or unnatural. Most importantly, they're tracks I want to play over and over again- catchy but intricate enough to invite repeated listens.

Sorry for doubting you Sufjan. By all means, do whatever you want with music.

All Delighted People

Just when I had given up all hope on a new Sufjan album (largely due to interviews like this one where Sufjan basically says he isn't making new albums), the elusive song-writer and indie-demigod drops a digital Pearl-Harbor of an EP, All Delighted People, with virtually no warning. The title couldn't be more apt, as I for one am quite delighted with it after a few preliminary listens.

You can listen to and buy the album here. That would be a very good idea.

Exerts

I brewed the last little bit of my Counter Culture Guatemala iced, so refreshing in this humid 33 C heat. Kind of scary to be out of (drinkable) coffee, but glad to know some of Louisville and Phoenix's best is on the way. Kahve geliyor!

Really been enjoying playing "Treats" by Sleighbells as my get-motivated-for-a-full-day-0f-Turkish-class soundtrack on the train every morning. A lot of fellow mass transit commuters must be wondering why my head is bobbing so early in the morning. The answer is infectious beats my friends.

Speaking of Turkish class, I'm finally learning conditional clauses, something I've longed to be able to say for a while now. Türkçe öğrenirsen, çok pratik yap!

After what's been essentially a 4 year hiatus, I've decided to start writing poetry again. Not sure how it's going to turn out now that I've lost most of my brooding teenage angst.

Been enjoying reading T.S. Elliot, Orhan Pamuk, and N.T. Wright lately- when there is time, which isn't often.

The Tallest Man On Earth

I like this song.

Bazan in Bloomington

People who have read this blog long enough know that David Bazan of Pedro the Lion and Headphones is one of my all-time favorite song writers. This evening I had the very bitter-sweet experience of seeing him play in Bloomington, IA.

From a performance aspect the show was great. Headlights was a fantastic opening band and the venue was clean, smoke-free, and had good acoustics. Bazan's skill as a performer is just as compelling as his witty song writing. I was glad to hear him play songs like "Transcontinental" and "Penetration" which I have loved for the better part of a decade.

On the other hand, the concert was a sobering experience for me because of Bazan's blatant rejection of the Christian faith. While much of Bazan's earlier work such as "The Secret of the Easy Yoke" or "The Fleecing" documented his wrestling with faith and doubt, Bazan's most recent album "Curst Your Branches" moves beyond doubt to a heart-felt rejection of Christianity. The concluding lyrics from "In Stitches" show the contempt Bazan has for Christianity's understanding of god:

When Job asked you a question,
You answered, "Who are you?"
That sounds a bit defensive
Did you just bite off more than you could chew?

In the song "When We Fell" Bazan goes as far as to blame god for human sin:

When you set the table, When you chose the scale
Did you write a riddle that you knew they would fail
Did you make them tremble
So they would tell the tale
Did you push us when we fell

What am I afraid of?
Who did I betray?
In what medieval kingdom does justice work that way?
If you knew what would happen
And you made us just the same

Then you my Lord can take the blame

Essentially Bazan has been bold enough to articulate the manifesto that every unbeliever in practice is living out: Who is god to tell me what to do?

As a Christian, I have a very different confession: That Jesus is Lord.

Therefore God has highly exalted him and bestowed on him the name that is above every name, so that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue confess that Jesus Christ is Lord, to the glory of God the Father.

Continuing Thoughts on Considering Birds...

Most of us have heard crashing so loud.
We hear a constant wave that spins between our temples piercing content with its sound.
We lost the 20,000s several years ago.
Gradually we feel it washing blank the range in which we hold the things we know.
Put your ear to a hummingbird's wing.
Place the hum against the ring.
Listen to its still and violent motion making.
Treading water.
We are dense waves.
We don't float.
Our stories all just sink below the mess of wake the millions of paddled palms our cupped hands make.
Overhead the goose flies low, necks curve darted straight as compass needle, dislocated from his mate.
He found her body rafting toward the mouth of the river when she disappeared with the current underneath the tree trunk bridge.
Out toward the mouth.
Out with the spilling water.
We saw it coming like a spirit soars directed.
Gunshot smoke and a sinking thereafter.
He fell fast to the ocean while the red painted feathers floated down.
John Audubon thought about the wiring as he swam toward the twisted neck and the broken boat body bobbed.
Examining the belly for the bullet's tiny piercing, he cried, "Oh!"
When a secret fluttered, a migrant hummer detached its grip.
Overhead his heart sped spooked and we splashed as the gail swung cold and some fish folded in the crest slap.
It lapped at our heads, but we received it like a reprimand that we were too consumed by motion to perceive or understand.
John J. Audubon, his gifted replication.
Painted with precision, perfect vision like the shot stain.
And the whole world swam in deaf anticipation til the goose fell like a shed shell from which the humming secret sprang.

"John J. Audubon" by Anathallo

New Music

In less than two months, 2010 has already seen a lot of great music.
The album I've been playing the most is definitely "Contra" by Vampire Weekend. I initially was underwhelmed by the lead track "Horchata", but the quality of the following tracks, particularly "Taxi Cab" and "Giving Up the Gun", disarmed my cynicism towards their new direction. VW has outgrown their Ivy League frat house, but thankfully not infectious pop music.
The Album Leaf has been one of my favorite bands since I first heard their enchanting cinematic music in the old Quills. Although "A Chorus of Story Tellers" never leaves familiar territory, innovation is not a necessary component of a compelling album. In this case, Jimmy LaValle proves you can find a new story exploring the same pages.
"Teen Dream" by Beach House completely blew me away. When Victoria Legrand's haunting contralto bemoans, "More, you want more, you tell me/ More, only time can know you" on "Walk in the Park", it's all goosebumps. Lush synthesizers and flourishing strings provide bewitching incongruity. It's definitely an early contender for album of the year.

A Knife at the Opera

Swedish electronic duo The Knife is releasing an opera in March (read more here). If the whole thing is anything like this 11 minute preview track, I'm very interested.

Regina Spektor

About a year ago, I was terrified that after releasing "Begin To Hope" Regina Spektor was going to slip into female singer-song writer obscurity. Thankfully, my fears were fallacious as her third LP, "So Far", is a remarkably mature album that has been well received by a wide audience.

Amazingly, Regina decided to finish her North American tour in Louisville, and I was fortunate enough to see her perform tonight at The Palace with a few friends. Granted, we had to brave an onslaught of adolescent girls whose existence is somehow given meaning by Regina's quirky lyrical imagery and wistful-yet-optimistic arrangements, but it was an obstacle/annoyance we were willing to face.

The set list:

The Calculation

Eet

Folding Chair

Ode to Divorce

Machine

Laughing With

One More Time With Feeling

Blue Lips

On The Radio

Dance Anthem of the 80's

Silly Eye-Color Generalizations

Bobbing for Apples

That Time

Apres Moi

Poor Little Rich Boy

Man of A Thousand Faces

Encores:

Samson

Us

Fidelity

Sailor Song

Hotel Song

Love You're A Whore

Sans "Musicbox", the concert was everything I expected and hoped. In fact, I think I would have been happy with just the encores. I was also glad to discover Regina spent most of the day exploring Louisville and informed us that is was a "$@*&ing awesome city."

That it is.

Holiday at Sea

One of my favorite songs is "Holiday at the Sea" by Anathallo. The lyrics are as follows.

I looked down at my shoes, because I felt the drip

of blood fall from my hammer to the leather

through my socks. The knots kept tightening their

grip. The cords (chords) ring out the history, and

time is a mocker as a remedy. The preacher wore a suit,

I knew he would. The tiny print rice paper

books, I hated how they saw me so transparently.

This heart, my thread, I tried so hard. The best

that I could sew was death, no matter how I

covered it with deeds. What's there left to do?

Because the mud only covers up the stains... who

could imagine a holiday at the sea? Down there, in

the sea, I should hold my breath 'til this other

person's blood is washing off of me. Down there,

in the sea, I should hold my breath 'til this

other person's blood is washing over me.

It's difficult to trace the structure of the fragmented, stream-of-concious lyrics, but musically there's three movements. The song begins in solemn lament. At the beckoning of a pastor, the singer contemplates the crucifixion, and, rather graphically, takes personal responsibility. Acts 2:23 seems to be in view here.

His response is to try to make up for his crime through good works, which only yields futility and further despair.

The second movement is abrupt and unexpected. The pensive dirge erupts into a jubilant chorus, filled with horns, shout-outs, and all of Anathallo's other glorious peculiarities. This is salvation, redemption, regeneration. Having reached the end of himself, the singer experiences divine grace. Musically, the sheer magnitude clearly makes this the focal point of the song, as further evidence by appearance of the song's title, which is a quote from C.S. Lewis's Mere Christianity:

We are half-hearted creatures, fooling about with drink and sex and ambition when infinite joy is offered us, like an ignorant child who wants to go on making mud pies in a slum because he cannot imagine what is meant by the offer of a holiday at the sea. We are far too easily pleased.

The third movement settles into what is a best understood as the synthesis of the first two movements. The broodiness has returned, but is decidedly optimistic. Having experienced divine grace in movement two, the singer now struggles with the application of his new faith. Although he is is still conflicted, he is trusting in Jesus' atoning sacrifice for his salvation.

In recent years, Anathallo has incorporated lyrics from Hannah Marcus's song "Laos" in their live performance of "Holiday at the Sea", which form an inclusio to the original lyrics. This additional element creates a brilliant juxtaposition.

he was a pretty boy

stayed at our house

he took his girlfriend and

they went off to Laos

they took a photo there

of his heart

somethings you should never see

somethings you should never see

somethings you should never see

but there they are

there they are

at the last supper sits

jesus christ

neath his disciples fits

some device

holding double A batteries

on the side

and make the halo

circling round his head

twinkle on and off in red

as he holds up a piece of bread

and rolls his eyes

rolls his eyes

how could that poet stay

such a phrase

never look an angel straight

in the face

he knows they like to wait in the strangest places

motel rooms pharmacies

photographs batteries

some things you should never see

some things you should never see

but hey

you see them anyway

anyway

This song seems to be a personal struggle with the problem of evil and suffering. When faced with the tragedy of a close friend's brutal death, the songwriter seeks some sort of rational or meaning, but reaches no conclusion. The commercial, electronic Jesus the singer knows (most likely in American evangelicalism) is disinterested and offers no consolation.

While I am uneasy with such imagery, I can concur. An etheral, disinterested savior offers no solution to our sin (movement one) or suffering (Laos). However, the biblical Jesus took on real flesh and blood and lived among us, bore our sins on the cross and conquered death in the resurrection. This Jesus, the real Jesus, freely offers true grace and authentic comfort.

Osso and the BQE at 21c

Brooklyn-based string quartet Osso performed a selection of songs from their album Run Rabbit Run at 21c last night. The album is a re-envisioning of Sufjan's obscure second album, Enjoy Your Rabbit, an advent garde instrumental electronica project which has eluded the mainstream success of his other albums.

If it sounds just crazy enough to work, it's because it does. The exceptional musicianship and clever arranging of each song captured my attention immediately and almost made me forget that Sufjan didn't show up like he was suppose it. The chaotic dissonance of "Year of the Monkey" was a befitting foil to the delicate aura of "Year of Our Lord". "Year of the Dragon" was as imaginative as it was energetic and "Year of the Boar" was a compelling climax to the set. Osso's musical flexibility was beautifully demonstrated by the accompaniment of opener DM Stith.

The BQE was a fascinating but frustrating film. Visually and musically it encapsulated Sufjan's meticulous attention to detail in the midst of lavish grandeur. The continual use of mirrored images towards the end felt repetitive, but the rather absurd (and completely unexpected) electronic overture reminded me why I feel in love with Sufjan's music in the first place.

However, many fans will be left hypothesizing about how many states he could have covered in the year and a half he spent on this film.

Sufjan unveils new song!

Is this Sufjan's new direction? Not his most accessible work ever, but seems to be part of a discernible trajectory in light of his previous work. Can't wait to hear about what LP this might be part of.

God Help the Girl

I can't wait until they release the full length film!

Abram or Abraham?

Abraham, worth a righteous one.
Take up on the wood,
put it on your son.
Lake or lamb.
There is none to harm.
When the angel came,
you had raised your arm.

Abraham, put off on your son.
Take instead the ram
until Jesus comes
-Sufjan Stevens, "Abraham"

Abram, either wake up or go to bed
You're sleepwalking with a delirious head
You were programmed a long, long, long time ago
Your stories are old, old and your acclimation is slow
Oh, go to sleep
Not much of what you say makes any sense
Cook up some myths then ask for obedience
Even though you mean well, well most of the time
You've aided delusions and created bias in our minds
Oh, go to sleep

-Jose Gonzalez, "Abram"

Better late than never concert reflection

I had a dream last week that after the mewithoutYou concert in Covington Michael and Aaron Weiss came over to Drew and I and thanked us for coming. 

I checked with Drew and that didn't actually happened, but it was a great show nevertheless. 

Damien Jurado seemed to not be especially amused playing after the Psalters, but his set alone was the worth the drive.  "Ohio" remains one of my favorite songs and I was very glad he played it.

I am not against smoking, but I am against smoking inside a crowded music venue. Its mostly just rude, especially towards pregnant women. Michael Weiss concurred. 

The Mad Hatter is a horrible venue and I hope a band I want to see never plays there again. 

The Weiss Bros. put on a great show sans the rest of the band. The whole schtick was very sing-songy but that isn't undesirable in my opinion.  It was my second time seeing Aaron perform but my first with Michael and I felt the sibling chemistry helped carry the show. 

It saddens me that I never got a chance to see the mewithoutYou that I fell in love with: unabashed, stream-of-conscious emoting/spiritual musing over chaotic guitar riffs. But I'm also glad the Weiss Bros. aren't living in the past. 

I was there!

Aaron Weiss at The930 from Sojourn/The 930 Art Center on Vimeo.

Here is the entirety of Aaron Weiss's solo performance that kicked off Cultivate Beauty Month at Sojourn. Thanks Drew for posting this unforgettable show!