music

Remedy Drive’s Commodity Is the Album Christian Music Needs

CommodityAbout a year ago, I picked up my friend David from the airport and gave him a ride to The Grid Studio in Lincoln, Nebraska. His band, Remedy Drive, was deep into the recording of their new record, and he was flying in for a few days to record vocals and fine tune a few early mixes.

During the hour-long drive from Omaha to the studio, David opened up to me about how the project was shaping up to be drastically different from their last two studio albums. Remedy Drive was making a conscious decision to forge ahead without a label, to sing and play without second-guessing their lyrical and musical choices. Commodity, as it would come to be known, would be an album on their own terms.

But we’ve all heard this story before, haven’t we? Record labels are evil conglomerates whose sole purpose is to squash creativity and cater to Becky, the 40-year old soccer mom who listens to Christian radio…ahem, religiously. We’re supposed to celebrate when bands “stick it to the man” and do their own thing, right?

Yawn.

If the story of Commodity was just another tale of a band breaking free from the shackles of their label, I wouldn’t be writing about it. Thankfully, Commodity is a record borne out of of faith, conviction, and most importantly, experience.

David told me he wanted to affect change with this record. He wasn’t content just to sing songs this time around; he wanted to do something tangible. In just a few short months, David would be traveling to Southeast Asia to partner with Exodus Road in rescuing children from sex slavery. Commodity is a record about ending this horrendous injustice, and David wanted to take the first step in inviting Remedy Drive’s listeners to get involved.

As a result, Remedy Drive has created a record that is not safe for the whole family (when’s the last time you heard a song on Christian radio that references atom bombs and uzis?). But it isn’t needlessly crass or edgy; rather, it is an album about the dangerous, gritty reality of our time, and how God’s desire is for his people to be a part of the solution. When Remedy Drive sings songs about freedom and hope, we are not given the option to write them off as amorphous, ethereal concepts. Just as Jesus proclaimed freedom to real prisoners and real victims of oppression, we are called to be active in doing justice within our 21st-century context.

Commodity is a record that benefits from the gift of credibility lent by the musicians who created it. I can trust David when he laments, “Jesus, where are you? They’re far too young. Jesus, how long now? Your kingdom come,” because he has witnessed the injustice of human trafficking with his own eyes. These are not cheap lyrics lazily lifted from the Psalms, but the words of a man who is close enough to his Savior to ask questions without the fear of being cut off.

Musically, it is the most cohesive and deliberate record the band has ever made. Producer Philip Zach‘s contribution marks a sea change for Remedy Drive, but the songwriting and musicianship that fans have come to expect remain intact. Songs like Under the Starlight and Love Is Our Weapon benefit from the influence of current pop production, and flashes of the band’s signature sound shine through in various musical moments like the unexpected jam at the end of The Wings of the Dawn. Old school fans are even thrown a bone with The Sides of the North, Remedy Drive’s first recorded instrumental in over 10 years.

Will Commodity be accepted by the wider world of Christian music? Who knows. But what I do know is that this is an important record, and it has the potential to speak both into the musical homogeneity and the lyrical blandness of a faltering industry.

I believe in this record. I recommend this record. If you care about Christian music being substantive, cast your vote with cash and buy this record. The album drops on September 23rd, and you can pre-order it on iTunes right now. To read about David’s experiences with the Exodus Road, check out his blog.

Five Artists that Give Me Hope for the Future of Worship Music

As the Worship and Youth Pastor for a mid-sized suburban church, I’m responsible for selecting the songs we sing from week to week. While we don’t stray very far from the expected contemporary/blended approach to worship, our congregation is generally open to trying anything that’s a) Jesus-centered and b) singable. This gives me a lot of freedom to seek out new music.

Many bemoan the fact that much of modern worship music is vapid and without real substance, but it seems that this stereotype is slowly becoming the exception rather than the rule. Even groups who were once known for their less-than-stellar songwriting are making significant strides (Have you heard the latest album from Hillsong United? It’s excellent!).

There’s also a rich landscape of music that exists beyond the world of Christian radio, and I enjoy uncovering the diamonds in the rough. Below, I’ve listed five artists that give me hope for the future of worship music. It’s entirely possible that you’ve already heard of them, but for many in my circle there’s probably something new to discover.

The Royal Royal
The Royal Royal
I first came across The Royal Royal when they were simply called “Royal” a few years back. A worship leader friend shared a link to their blog, which contained early versions of tracks that would eventually appear on their debut record, The Royalty. I was immediately hooked by their pairing of theologically-rich writing with pop-inspired production. The Royal Royal wears their influences on their sleeves, sometimes coming across as “musical chameleons”; any given song by the band could fit along with the likes of The Cars, Arcade Fire, or The Black Keys.

Real Strength is one of The Royal Royal’s more congregation-friendly tracks:

 
Citizens & Saints
Citizens and Saints
Mars Hill’s music ministry has been stepping up its game in recent years, and one of my favorite bands to emerge from their camp is Seattle’s Citizens & Saints. As you might expect from a Mars Hill band, Citizens & Saints produces their own brand of biblically grounded worship singalongs. The group recently announced that they would begin touring and recording full-time, so don’t be surprised if you hear more about them in the coming year.

Here’s Hail the King, released under their former moniker, “Citizens”:

 
The Liturgists
The Liturgists
I know, I know. For some, it’s anathema to approve of anything even tangentially related to Michael Gungor right now (let alone a project that has stirred up a bit of controversy on its own), but there’s no denying the talent and creativity behind The Liturgists. The ongoing collaborative project has received input from members of Gungor, The Brilliance, Sleeping at Last, and more. While The Liturgists’ recordings are perhaps best suited for personal worship, several of their spoken-word songs and meditations could be put to use in a corporate worship gathering.

I’ve chosen to share Garden from their Easter project of the same name, sung primarily by worship leader Aaron Purdy:

 
Matt Papa
Matt Papa
With worship music, you often have to pick two out of three when it comes to lyrical integrity, singability, and musical quality – Matt Papa consistently hits all three right on the mark. Papa is a worship leader I’ve been telling people about for years, but he unfortunately has yet to receive his “big break.” However, I wouldn’t be surprised if he is content never to attain worship superstar (oxymoron?) status. He would much rather turn the spotlight on Jesus, which is made abundantly clear in his music. Channeling the lyrical spirit of Keith Green, Matt Papa refuses to mince words about the big God to whom he sings.

This unplugged version of All for Your Glory is an excellent example of Papa’s work:

 
David Potter
David Potter
Omaha’s own David Potter is a wonderful example of how you don’t always have to look to CCLI’s top 25 to find songs for Sunday morning (how many weeks in a row were you planning to sing “10,000 Reasons,” anyway?). Potter is one of the many worship leaders who are breathing new life into time-tested hymns, reworking the music yet honoring the words. He is just as careful with his original songs, using scripture and well-known liturgies for his lyrics. I have had the pleasure of working with David in various settings over the years, and I can attest to his desire to serve faithfully in the local church. Perhaps the next “perfect song” for your church isn’t one written by Chris Tomlin or Phil Wickham, but someone within your own ranks.

David Potter’s rendition of Rock of Ages is a favorite of mine:

Mike’s Top 5: Rock | #1: Weezer – Say It Ain’t So

There’s not much to say about this one, really. Say It Ain’t So by Weezer is easily my favorite rock and roll song of all time:

The Blue Album is the first CD I ever bought of my own accord. As a fourth grader, a lot of my musical preferences were shaped largely by my brother: he liked Nirvana, so I liked Nirvana. He liked Green Day, so I liked Green Day. But after seeing the music video for Buddy Holly on MTV, I knew that I liked Weezer without Bill’s help.

It must have been around Christmastime in 1995 that I finally picked up the eponymous “Blue Album”; I can’t think of any other scenario in which my dad would have driven 11-year-old me to Best Buy simply for the sake of buying a CD. I paid for it with my own money, and as it turns out, my first music purchase has proven to be one of the best music purchases of my life.

Weezer remains charmingly unpredictable and weird. Sometimes I’ll whine about their new stuff going too far off the beaten path, but at least they’re having fun and keeping things interesting. Plus, Rivers Cuomo is the quintessential anti-frontman, for which I’m eternally grateful.

Thanks, Weez, for Say It Ain’t So. I’ll still be rocking out to this one when I’m an old man.

Bonus: Here’s the demo version. Both guitar and Matt Sharp enthusiasts should get a kick out of it.

Mike’s Top 5: Rock | #2: Jimmy Eat World – Bleed American

It was 2001, and I was cleaning out my car (a gold 1987 Mercury Cougar, if you must ask) in the driveway. To make the chore go a little faster, I had my radio tuned in to 89.7 The River. That’s when I first heard Bleed American by Jimmy Eat World:

This might sound overly nostalgic, but the discovery of Jimmy Eat World marked a turning point in the development of my musical tastes. I was “coming into my own” as a music fan, and their songs struck such a chord with me that I’ve pretty much spent the last 10 years trying to re-write Clarity. I haven’t come close.

Their last couple of albums haven’t interested me as much. Futures was an amazing powerpop album, but since then the hooks and memorable melodies have been few and far between. Even so, I still consider myself a diehard fan. I’ll buy their new album when it comes out next year, but I’m hoping for a return to form.

All that said, Salt Sweat Sugar Bleed American is modern rock at its finest. Don’t be surprised if Flight Metaphor covers this one someday.

Bonus: Check out this solo set from Jim Adkins back in March.

Mike’s Top 5: Rock | #3: Foo Fighters – Everlong

Is it just me, or was 1997 a great year for music? Here’s just a sampling of the records that came out that year:

Jars of Clay – Much Afraid
Radiohead – OK Computer 
Sixpence None the Richer – Self-Titled
Spice Girls – Spiceworld (Ok…maybe not that one)
Five Iron Frenzy – Our Newest Album Ever
Switchfoot – The Legend of Chin

And of course, Foo Fighter’s The Colour and the Shape, featuring Everlong:

Musically, lyrically, and emotionally, Everlong is a near-perfect song. Seriously. It ebbs and flows in all the right places. The lyrics are vague enough for you to apply your own meaning, but singer Dave Grohl’s delivery communicates a passion beyond the words. If I was banished to a desert island with an iPod that could only hold five songs, I’d think long and hard about including Everlong.

It’s no stretch to say that Foo Fighters is one of the best rock and roll groups of all time. Say what you will about Nirvana, but in my book Dave Grohl’s little “solo project” has become five times the band they ever were. Grohl himself would likely disagree with me, but in any case, we should all be thankful that he turned down that gig drumming for Tom Petty.

Bonus: My friend Marc and I first hit it off when we discovered our mutual appreciation for this song.