I Think I Believe I am Jesus' little brain cell

8Dec/092

Metal praise, anyone?

I was browsing through iTunes today, coming perilously close to buying a praise and worship album. To counter-act this uncharacteristic impulse I went to the Christian metal section, subconsciously trying to stir up the ironic nostalgia I feel for the music of my youth, putting some distance between myself and these unfamiliar feelings of Keith and Kristyn Getty-inspired piety while still remaining in the Christian musical territory. I looked through some Mortification, some Bloodgood, some Extol (a band I still count in my top 10), some Believer.

I then came across a rather literally named Scandinavian Metal Praise. Apparently this is a Finnish band, quite obscure (in that the band members are anonymous) but relatively popular. It's hard to find much info on them since the Christian metal scene in Finland is annoyingly self-contained, with large parts of their online presence in their native tongue and thus indecipherable for us foreigners. Finland has a tradition, headed by Nightwish, of female fronted metal, but to find the best comparison for SMP you should look to Holland to Within Temptation. That is to say, while the band is fronted by a girl, she's not doing the opera thing. She's no metal singer, that's for sure, but she knows how to use her chords and while her voice fits a regular worship band more naturally, she pulls this metal stuff off quite well. The music is heavier as well. It's melodic, mid-paced and chuggily groovy. As far as I can tell, the mix both cover songs and original material. With some of the covers I wish they would have taken more liberty and moved away from the sometimes much too nice, churchy melodies and made things more metal. I'll survive though. As a guitarist, I especially enjoy the over-distorted, down-tuned guitar work. He's got some serious attitude in that picking hand and the occasional solos while not exactly flashy do rip. I'm not sure, but I'm willing to bet that the keyboardist is a girl though. Anyways. While initially sceptical, Scandinavian Metal Praise kind of won me over. I haven't bought the album yet, but I just might. Here's "Praise Adonai", from what I can tell a pretty representative track.

While listening through the songs I came across their version of "Take Me In", as it turns out a classic in rock n roll praise and worship. More on that later. First, here's their version.

This is a perfect segue to the wider topic at hand. Because what them covering "Take Me In" suggested to me is that they were inspired by good old Petra. Back in 1989 Petra released their classic Petra Praise: The Rock Cries Out! The album sold gold and was the first tape yours truly ever owned. With this album they not only pre-empted by a decade or so the worship album craze that hit virtually all slightly popular Christian bands (bands with enough of a fan base to make a quick buck of a worship album or two) a couple of years ago, but they also started something of a tradition for themselves, following the album up with other praise projects, all with inspiring names such as Power Praise, The Petra Praise Experience, Petra Praise 2, The Power Of Praise and Revival. In addition to these subsequent albums, Petra had flirted with praise and worship on albums released before the first Petra Praise, most notably with "Somebody's Gonna Praise His Name" on On Fire! and the rather great and "Hallelujah"-chorus quoting "Praise Ye The Lord" from Never Say Die. Here's the original Petra version of "Take Me In".

Before we leave Scandinavian Metal Praise behind, here's some interesting trivia: SMP are on Finnish label Bullroser, which, as far as I know, is headed by Manu Lehtinen, bassist in death metal band Deuteronomium. On their first EP, way back in 1997 called "Tribal Eagle", Deuteronomium had this little worshippy ditty, "Northern Praise".

One more metal praise song from Scandinavia. I mentioned Extol earlier, a band I've been into since their first demo tape and which I still regard as one of the best ever in Christian music period. Their first album, Burial, ended with a rather amazing version of "Jesus kom til jorden for å dø" (Norwegian for "Jesus Came To The Earth To Die"), a hymn written by then guitarist-vocalist Ole Børud's father Arnold Børud. If you are an Evangelical Christian in one of the Nordic countries you know Arnold. He's like our Bill Gaither. He has a huge legacy of eclectic gospel music spanning decades. "Jesus kom til jorden for å dø" is part of that legacy. The song is a bit different from what you'd usually expect from him, since it channels a Nordic minor-key melancholy which usually isn't the case for more upbeat Børud. It works well as a hymn though (it's even translated into Faroese!) - but even better as metal praise!

Going back to America, here's another case of metal praise overlap: The song "Jehovah Jireh". It's one of those rather atrocious worship songs that channels Hebrew folk music. Not nice. But as praise metal? Very nice. The first version I know about comes from the 1989 self-titled debut album of one of my favourite bands back in the day, Deliverance. Very epic and dramatic, though hampered a bit by less than stellar production.

A much better and even more dramatic version of "Jehovah Jireh" came three years later in 1992 on the super group album Metal Praise. On the vocals for this track is former Bloodgood front man Les Carlsen. You gotta love the screaming guitar in the intro! And the solo! As you listen to this song, remember that this album was released in the year when Nevermind by Nirvana went to number one. Greasy hair and baggy shirts were topping the charts and Christian metal releases a praise album with a leather jacket on the cover.

Let's go back to Deliverance briefly. Not all metal praise songs are covers of conventional praise songs. Although this way of doing things is the easiest one and there the most attractive, lots of bands have written their own praise songs. On the half-amazing, half-ridiculous third Deliverance record What A Joke we find "J.I.G." (short for "Jesus is God"), which perfectly embodies the schizophrenic awesome/awful quality of the album: The song rocks and it rocks hard. It's really amazing that anyone can play - and sing! - that fast. But the idea of the song... It's ridiculous. Here are the lyrics of the fast part, by the way, if you're having trouble keeping up: "King of kings, Lord of lords, Emmanuel, God is with us/First and last, He erases past/He's Lord and King, He's everything/High Priest touched with the feelings of our infirmities/Advocate, one with God/The true and only Son of God/Jesus is God". As I said, ridiculous.

Another one of these sort of novelty praise tracks is an enduring classic from Australian death metallers Mortification. On their self-titled debut from 1991 we find "The Majestic Infiltration of Order", whose only lyrics are "God rules". The video for this song gives in to the ridiculousness with a Python-esque compounding of violent video footage. The video is made even more absurd by the serious introduction long time band leader and bassist/singer Steve Rowe gives it (as originally featured on their classic video tape, Grind Planets). Check it out.

Ok, I'll admit that Mortification's "Majestic Infiltration of Power" straddles the border of praise and, what, regular metal. So to reel it in, here's P.K. Mitchell's classic glammed up version of "Nothing But The Blood Of Jesus" from his classic 1994 album All Hail The Power. Mitchell originally played in the outrageously named Californian metal band Neon Cross, but put together this album after he left them in the early 90's. The talk box on this one almost rivals "Living on a Prayer". Almost.

That's enough for today, eh? As you perceptively might have noticed, most of these tracks are pretty old, which only says something about me and when I stopped listening to Christian metal. I know there's a lot of more modern praise metal out there, especially from American bands on Solid State and the like. There was even a genre once called "Spirit-filled hardcore". Something tells me those bands did a couple of praise songs - per album. So if you know any good metal praise songs, point them out to me and we can do a part two in the future.

25Aug/094

Petra, (other)worldliness and the irony of Christian contemporary music

1983-Not

This is the cover of Petra's classic 1983 album, Not of This World. In addition to having just an amazingly cool and rock n roll cover (with the Christian Eddie, the Petra spaceship guitar - which I always found slightly ironic, since they were so synth-driven in those days -, also to be seen on the covers of Never Say Die, More Power To Ya, Captured in Space and Time and Back To The Street) and featuring Greg X. Volz, in my opinion a better singer than John Schlitt (and Bob Hartman, if anyone remembers the first Petra record), its title track, an amazing song and one of Petra's best, is in a way the definitive statement of contemporary Christian music's self-understanding1.

Here it is, with the "Visions (Doxology)" intro.

There's much you could say about this song. Historically, contemporary Christian music arose in highly millennial, rapture ready Evangelical subset of Protestant Christianity. That fact is pretty obvious from the song. The rapture is written all over this one.

With each passing day it seems so clear/This world will never want us here/We're not welcome in this world of wrong/We are foreigners who don't belong

But what I want to draw attention to is the otherworldly self-understanding that the song expresses and that is latent in large swathes of CCM.

At the basis of CCM, why it's produced and why it's consumed, lies a suspicion of the "secular", the world, understood as the realm outside of the church and wider Christian community. In this worldly realm, people drink, eat and have merry sex - preferably with individuals of their own gender who they have just met and have no intention of seeing ever again. Or something like that. The secular world, or just the "world", is seen as anarchic, selfish, hedonistic and demonic. It's a world that Christian bands and their fans eschew. They feel uncomfortable in the presence of beer and become uneasy when someone cusses. Their separateness from the world is evident in everything from praying before and during shows to thanking God profusely in liner notes.

All of this, and much, much more, is based on the idea, the world-hermeneutic, of a binary reality of sacred and profane. Contemporary Christian bands understand themselves as being part of an altogether different world than the one a secular band is part of, a world set apart in Christ. Their relationship to that world is pretty much limited to missions. The theological basis for this separationist way of doing things seems clear with verses like Romans 12:2 ("Do not conform any longer to the pattern of this world, but be transformed by the renewing of your mind.") and John 18:36 ("Jesus said, 'My kingdom is not of this world.'"). Christian contemporary musicians see themselves as radically distinct and cut off from the unholy world of the secular.

Which is ironic. Because at the heart of this Christian music is a deep, deep love of the world. As Frank Schaeffer showed in the classic, Addicted to Mediocrity, where Christian art used to be leading in the world and overall just excellent, it is now chronically trailing behind non-Christian art - and doing so deliberately. CCM bands are seen, and see themselves, as alternatives to secular music, a sanctified licence to rock out with your conscience clean (and parents worry-free). They deliberately take their cue from secular bands in a very pragmatic and almost cynical way. They say they do it in order to reach those who like the secular music and there may be some truth in that - in the intention, not the actual result. But as time passes I am - as a musician, DJ, journalist and just fan - more and more convinced that Christian bands imitate their secular counterparts because they think secular bands are super cool and know that their fans do so too. They, both the bands and their fans, desperately want to enjoy the utter coolness of rock n roll, which they see the world enjoying, and do so by playing and listening to contemporary Christian music.

This fascination with the world is probably best illustrated by the utter infatuation with converted celebrities, like Head or Stephen Baldwin. I met a guy once who had drummed for Elvis. People like that are very cool, because, somehow, they've been in touch with something great and it's almost like you're in touch with it too when meeting them and hearing their stories. It's like a mediated experience of something great. Maybe that's why Christians love converted celebrities. They taken drugs, they've part-taken in orgies, they've bought cars on whims. They've done what Christians want to do, deep inside, and Christians love them because they somehow mediate this experience.

So, contemporary Christian music might say that it's not of this world, that it's otherworldly and part of the sphere set apart from the world. But the irony is that in reality CCM is, to a very large degree, based on a deep love of exactly what it says it denies.

(Bonus points if you remember Galactic Cowboys' superb cover of "Not of this World".)

  1. I call it "Christian contemporary music", since "Christian music" is too wide and can be misunderstood. Also, "Christian contemporary music" or CCM is widely accepted term
15Aug/090

Music saturday: Petra – Grave Robber

I'm working on a post about Christian rock n roll that uses my first favourite band, Petra, pretty substantially. So I've been going through their catalogue lately and it has been a pure joy actually. Some profound deja vu-experiences and rediscovery of old songs. One of the best ones I've rediscovered, which might actually turn out to be the best Petra song, is "Grave Robber". An absolutely beautiful song about the resurrection. Simple, yet profound and deep. Emotional and theological. The music compliments the lyrics perfectly, with the pensive and melancholy verse and triumphant chorus. So good.

Grave Robber

Words & Music by Bob Hartman

There's a step that we all have to take alone
An appointment we have with the great unknown
Like a vapor this life is just waiting to pass
Like the flowers that fade like the withering grass

But life seems so long and death so complete
And the grave an impossible portion to cheat
But there's One who has been there and still lived to tell
There is One who has been through both heaven and hell

And the Grave will come up empty handed that day
Jesus will come and steal us away

Where is the sting tell me where is the bite
When the grave robber comes like a thief in the night
Where is the victory where is the prize
When the grave robber comes
And death finally dies

Many still mourn and many still weep
For those that they love who have fallen asleep
But we have this hope though our hearts may still ache
Just one shout from above and they all will awake

(And) in the reunion of joy we will see
Death will be swallowed in sweet victory
When the last enemy is gone from the dust will come a song
Those asleep will be awakened - not a one will be forsakened

He shall wipe away our tears - He will steal away our fears
There will be no sad tomorrow - there will be no pain or sorrow

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