Ash Cloud music from Jónsi...

Iceland, Eyjafjallajökull - May 1st and 2nd, 2010 from Sean Stiegemeier on Vimeo.

Set to the ethereal music of Jónsi - well worth a listen to his incredible single here!

PB h/t @miketodd07

Back to Pub Sunday...

 

I have to confess to a bit of shyness when it comes to walking into places I am not already familiar with. It is always a joy to be made welcome and last Sunday, visiting a new Parish, I noticed I wasn't the only one who was warmly welcomed. The small team of 'Welcomers' made sure everyone was comfortable, understood what was going to happen, where the facilities were and where to get refreshments.

Throughout the evening the joy of all the key people involved in this new 'Outreach' venture was impressive and reassuring at every level even from the top. During the collection, as the bucket went round, it was made absolutely clear that donations were an extra voluntary contribution which would all go to Christian Aid along with an extra contribution from those taking part.

I was uncomfortable, though. I had a knawing sense of guilt and discomfort that actually this is exactly how churches should 'feel'? However, this wasn't even a church initiative put on in the very splendid new music venue 'The Farncombe Cavern' but one run by the Freeholder's Pub team in Surrey who chose to make their opening night a flag to indicate the start of Christian Aid Week...

The Lord be with you... and make mine a pint

O for a shout of sacred joy

The last verse of Isaac Watts hymn: -

The British islands are the Lord’s,
There Abraham’s God is known;
While powers and princes, shields and swords,
Submit before His throne.

Some of it's just transcendental...

A little Easter Sunday treat! The Peter Gabriel cover of Lou Reed's 'Power of the heart' from the 'Scratch my Back' album... enjoy!

P

Peter Gabriel Scratch My Back with New Blood

An artist of the stature of Peter Gabriel is often caught between a rock and a hard place. Even his post Genesis solo repetoire extends back to the 70s with so many massively popular songs it is inevitable that when you try something new your stalwart fans may initially be a bit puzzled. Equally, just rolling out the back catalogue you run the risk being criticised for not offering something new! His latest venture combines the two in an inspired way and manages to deflect either opinion.

His latest 'Scratch my Back' project takes other artists songs (who will, in return, record their version of a PG song) arranged for a full 54 piece orchestra (no drums and guitars!) delivered in a format that is far more akin to a classical music recital than your usual stadium rock approach. The first half comprised ALL the tracks from the CD album in the same track running order whilst the post interval 2nd half saw the orchestra playing arrangements of PG's own songs.

The songs, or pieces, were all supported by simple yet stunning 'arty' graphics which included some video elements (on an array of LEDs rather than projection screens) the focus was clearly the music, with conductor  Ben Foster at the helm, supporting vocals from Peter's daughter Melanie with a charismatic Norwegian lass, Ane Brun and a brilliant pianist Tom Cawley. The opening was David Bowies 'Heroes' which started with one of the LED screens obscuring the orchestra displaying very sparse graphics totally synchronised to the music which eventually raised to reveal the orchestra and PG himself stepping onto the front part of the stage.

As mentioned, the set list followed the running order of the Scratch my Back album, check out the player on my blog here. Highlights were the whole drama of the opening with 'Heroes', the starkness of 'Boy in the Bubble', 'The Power of the Heart' and 'Book of Love' which had a witty and self deprecating sequence on the displays killing off any thoughts of sentimentality! PG found his stride in 'The Power of the Heart' with a passionate and committed vocal performance that drew the most applause in part one. Gabriel fans are very respectful so although the response could not be called rapturous, it was polite even if sometimes puzzled.

For me personally I found it immensely stimulating and inspiring yet very much with the classical music concert similarity to the fore. Often attending classical recitals you are not as familiar with the material, so it is an adventure which may not always be delightful and can sometimes be quite arduous. The lack of familiarity, at times, didn't make for easy listening, not a bad thing in my book, regardless John Metcalfe's arrangements and orchestration throughout were brilliant! I would say the 'high brow' factor placed it somewhere twixt Classic FM and Radio 3 with PG's grace and gifts building an accessibility bridge to the essentially Radio 2 audience.

The genius was saving the familiar material, albeit with the previously unheard orchestral versions, as the whole of the second half. Again the arrangements were stunning and gave new textures to the Gabriel catalogue, with the extensive suite of texture and dynamics an orchestra can deliver new facets of PG's songs appeared. This time it was the audience who found their stride, clapping along, cheering, mimicking PG's gestures and even standing in appreciation!

'Solsbury Hill' was the clear 'clapometer' favourite and along with 'In your Eyes' plus the pre-encore set closer 'Don't Give Up' being my own personal 2nd half highlights. Selecting 'Don't Give Up' felt significant, whether by design or default I don't know. The whole of the 'Scratch My Back' CD is very much a Lament for the world (more on Steve Stockman's Blog here), where we have screwed up environmentally, ecologically, tribal / civic wars, corruption, terroism, ethnic cleansing, shock and awe etc. Therefore including 'Don't Give Up' so brilliantly gave hope and encouragement for the future.

To be nitpicky I cannot say it was all perfect. The orchestra was not tight, it did not groove and or have the feel that PG's band excels at, the sound was a bit harsh and sometimes some cues were missed. Equally these points are much more noticable in an orchestral format so overall it did not tarnish or diminish my enjoyment. I am so glad I was able to go and experience this firsthand, a very special and memorable eve. If you get the chance, there are not many dates left and only in North America, don't miss it!

Art, Music and falling short on Godpod

So goes the quote from Rita's mother in the wonderful film 'Educating Rita' which formed part of the discussion on the latest 'GodPod #53' which I stumbled across the other day. The main topic was principally on the subject of art by guest artist Charlie Mackesy. The quotation above, which Charlie drew attention to, was actually directed to church music, particularly so called modern worship music. Interestingly the conversation did not draw conclusions other than the rather easy cop-out about personal taste and preference despite promptings by host theologian Graham Tomlin asking whether their should be 'rules' to govern scope.

The consensus was very much that there shouldn't be such rules yet this is where I think things fail bigtime although I would prefer to use the term 'Absolutes' , I do have sympathy with the negative sense of rules! I certainly think this issue is worth a good listen as Charlie's contributions are excellent and, despite, generally, clergy being weak on the subject of music, Graham, as clearly a man of good taste (liking one of my fave bands 'Mumford and Sons'!) and author of the excellent book 'Provocative Church', would, if pushed, have had more to contribute on this subject.

However, the notion that something should be 'better' is profound, particularly concerning music played in churches. For many this seems a simple issue of old versus new and therefore it is just a matter of preference to 'enjoy' worship in your own comfort zone. Whilst there are clearly issues of old v new which has warranted a good few discussions the situation is much more interwoven than that. I would suggest that a lot of the time it is exactly one of how it could be better, so let's have a quick look at a couple of areas to consider:

Interestingly David Byrne has recently delivered a TED talk on the environment that creates music (styles) and refers directly to how certain church music developed because of the building space it was set in. In fact, BBC4's series Sacred Music highlighted how much of the early chants were an effective sound reinforcement system to project the liturgy to the corners of large churches and cathedrals. David Byrne also stated how music becomes 'auditory mush' when a style is played in a space that simply does not match.

One of the big problems with modern church music in the worship music genre is that it is generally 'not very good' to quote Martyn Joseph. The reasons for this are varied and include the church selling out to singer - songwriters, the development of a revenue earning business model and the fact that most so-called worship leaders (and record companies) lead conferences to train more leaders, thereby perpetuating the same mediocrity. Sadly Holy Trinity Brompton, on which even the edgy GodPods reside, is deeply guilty of this!

As far as more traditional music is concerned many of the same issues apply, however, it is more glaringly obvious when there are errors in tuning and choice of music. Church choirs and organs represent an earlier sell-out by the church when the West gallery musicians, usually blokey blokes who were still a bit tipsy from playing at a Saturday night party, were ousted out to make way for the more solemn and staid sucessors. Many say this was a contributing factor to there being a much lower percentage of men in the church.

To expand the 'not very good' aspect we have to realise so many of the singer/songwriters are not naturally gifted musicans (and/or authors). There are many instrumentalists that are pretty good but often they are playing in a style that is not appropriate and encourage the narcisstic issues surrounding the worship leader. Most great songwriters (in the real world) are teams, usually a double act where one focusses on music whilst the other concentrates on creating lyrics that at least rhyme, have a regular metre and are poetic :-) The latter point, hymn or song lyrics, was certainly discussed on GodPod #53 and, thankfully, on this the contributors were more decisive in their critique.

So I strongly feel we have to consider that there are 'Absolutes' as far as church music is concerned. It seems there is no common sense guidance to get people to think that what they do is to enable congregations to worship rather than be the worship, to serve rather than perform, to be special with a committment to excellence (yet ideally not necessarily perfect!) and try to be distinct rather than presenting a poor copy of world culture. The 'Absolutes' approach helps form strategies so that appropriate styles would be considered, standards of music and lyrics adhered to and that the musicians and singers have a greater understanding of music, basic theology and even why they are there in the first place.

Oh, yes, I have so much more to say on this...!

PB

Jeff Buckley - BBC Soul Music

UPDATE: Newer post includes 2nd half of this BBC Radio's Soul Music broadcast with Sarah Connolly, Jeremy Summerly, Alison Moyet and Philip Sheppard on Jeff Buckley's amazing interpretation here

BBC Radio 4's recent edition of 'Soul Music' which featured Dido's Lament turned out to be really special! It always gives me enormous encouragement (and pleasant surprise!) to hear top notch classical maestros admitting truths that most of their colleagues would consider heresy.

The program moved from a fairly conventional start covering thoughts from the mezzo soprano Sarah Connolly and the view of the conductor of the band at the Cenotaph for Remembrance Day.

Jeremy Summerly, the big boss of the Royal Academy of Music and a renowned conductor, issued the first challenges to conventional thinking about the approach to singing the piece. He asked how would anyone know how 17th Century singers would sound and then introduced Alison Moyet's version, praising her approach, the clarity of her timbre and the fact that every word is intelligible. For someone of Jeremy's stature in the classical world to say this is really something, especially as he stated that Purcell's masterpiece is 'the great tune of the 17th Century'.

The closing section of the programme introduced Philip Sheppard, cellist and now composer. He spoke about how he was invited along to be part of the supporting orchestra for Elvis Costello's Meltdown Festival in 1995. One of the pieces was to be Dido's Lament which would be sung by charismatic rock singer Jeff Buckley. Although Philip had never heard of Jeff Buckley before once he heard him singing it had a most profound effect on him:

He seemed to screw every ounce of meaning out of the words and physically he looked like he was wracked with pain and anguish as he was singing it. But what was coming out was beyond ethereal his voice had this quality where it meant so much more than when I had ever heard it before.

But then when he sang it it seemed to be a Lament so much more and it really went beyond what I would consider to be classical music...and to date it's actually probably the greatest musical
experience of my life, in as much as it turned my world inside out.

As a result Philip had to admit:

I know NOTHING about music - at all!

Up to that point I was a musican who played through study rather than a musician who played through feel and now I have to say I seek out people to work with who do not necessarily read music who have their first sense is one of 'ear' rather than of 'technique'...

Philip then goes on to say how this became a pivotal moment in his career which helped him to become a composer, enabling him to move away from being 'a player who just repeated other people's music'.

Jeff Buckley died in a tragic accident just two years later in 1997, sunsequently his version of Leonard Cohen's 'Hallelujah' reached number one in the US Billboard charts and is considered by many to be the definitive version.

Now Philip thinks of Jeff nearly every day and is ever grateful for the effect of the encounter, even though he only met him for around half an hour...

Listening to this has changed me forever, too, thank you so much...

P

Scratch my Back... Peter Gabriel preview

Peter Gabriel's latest project is a suite of cover versions recorded with an orchestra. Some of the songs are in a very stripped down style, giving huge emphasis to the lyrics. One of the joys of this is tracking back to some of the original versions, especially of some by lesser known artistes. All the composers are returning the compliment by recording a Peter Gabriel song themselves.

Check out a video mini documentary of Peter Gabriel and Paul Simon discussing their respective approaches to 'Boy in the Bubble' and 'Biko'.

P

All the small things... really matter

Sometimes truth is stranger than fiction... however, the wonderful 2009 BBC drama series 'All The Small Things' represents fiction which so closely matches Mersea truth it's uncanny.

This song is a choral version of American popular teen combo Blink 182, one of many excellent musical pieces on the DVD which should be watched by every church choir, pastor and congregation. The plot covers an comprehensive array of social, religious and family issues that touch the spirit deeply... it is a tragedy that plans for a new series have been dropped... buy this gem on DVD.

P

Computer destiny post iPad domination...

Pc Coffee Maker

See more funny pictures and videos at Fugly.

A use for all the old PCs after Apple iPads take over the armchair world... as long as it's Fairtrade coffee, of course!

Coffee much needed today at the half way point on After The Fire's wee Help for Haiti tour of Essex and Sussex, last night centre of the lesser known universe, Mersea Island, tonight down in Burgess Hill.

P

This is how the world will end...

... and this video from The Elms was shot and edited BEFORE the earthquake and gives an idea of the scale of poverty in Haiti... we can send money, we can help raise money... we MUST cancel the debt.

P

Mumford and Sons - Music to mend...

Sometimes I hear something that can change me forever:

It seems that all my bridges have been burnt,
But you say that’s exactly how this grace thing works
It’s not the long walk home that will change this heart,
But the welcome I receive with the restart

From the song 'Roll away your stone' 4th track on the amazing album 'Sigh no more' from Mumford & Sons. Passionate songs to restore the spirit - vitally energetic, acoustic, anthemic, imaginative, intelligent, poetic genius...

From the title track 'Sigh no more':

Love that will not betray you
Dismay or enslave you and will set you free
Be more like the man you were made to be.
There is a design an alignment to cry,
of my heart to see,
The beauty of love as it was made to be

Wonderful!

Art and Christianity Part Three - Music

This my third post on the Art and Christianity meme commenced by Jonathan Evens.

Artwork: Antony Gormley - 'Field for the British Isles'
Drama: Film 'Chariots of Fire' (1981)
Music: J S Bach - St Matthew Passion
Novel: Victoria Hislop - The Island
Poem: Wilfred Owen - The Parable of the Old Man and the Young


Music: J S Bach - St Matthew Passion. I remember filing in the Royal Festival Hall at 10:00am on a Good Friday to experience Bach's epic Passion and wondering what to expect having been told by my hosts that we would not be leaving until 3:00pm! On advice I had managed to obtain a choir score from Upminster library to help me navigate my way through Bach's interpretation of Matthew chapters 26 and 27. Now whilst I still don't read music I would say it was pretty essential to peruse the score to be able to greater appreciate the composer's genius in using motifs and phrasing to highlight activity and mood.

I was familiar with the beautiful hymn, 'O, Sacred Head! Sore wounded', (also known as the Passion Chorale) yet as soon as the double choir launched into their opening chorale I was transported heavenwards by the breathtaking and all enveloping wall of sound undergirded by the massive double orchestra and pipe organ. There appeared to be around 10 soloist parts and I came across the word Recitative for the first time... had already heard of Arias!

However, it is not an easy piece to listen to in its entirety and despite the sublime chorales the tension Bach creates musically is tangible. Nowadays we are so used to a high solo violin scraping away to semaphore impending doom in a film or tv drama but this would have been very early examples of this sort of technique. Whenever Jesus has narrative or 'speaks' there is a 'sound' Bach has scored a special full violin section sound to emphasise what we can consider to be Jesus' 'Spirit', the pre-Pentecost Holy Ghost. This musical effect, which is referred to as Jesus' 'halo', is conspicuously absent as Christ utters 'Eli, eli, lama sabachthani' and I found this deeply moving.

Here is the moment of utter desolation (and multiple Recitative performances) that narrates 'Now the Lord is brought to rest'. Then in the finale chorale, as per the youtube example above, the choirs can be heard 'answering' one another and the stereo effect of the double orchestra can clearly be heard... as the final chord resolved and faded I do not recall whether there was applause or not as I made my way out, I had been transported to another place, I do remember tactfully averting eye contact so folk around me would not spy my wet cheeks.

It took me until Sunday to recover physically. I ached from feeling the palpable tension, from concentrating on the passage, the sense of loss as the Passion unfolded (such a vital part of the Easter weekend) and I will never, ever forget...

P

Everything That Happens Will Happen Today

Some live recordings from songs that former Talking Heads mainman David Byrne and world renown producer and artist Brian Eno worked on together, collaborating across the internet...

David says:

Some time ago Amnesty International asked if I might do "something" for that organization this year- (in previous years I had done one of my tour dates as a benefit for them). Amnesty has such an amazing and consistent track record of speaking out and helping to illuminate courageous people who might otherwise not be heard from so the answer was "yes." It was decided to record some songs from my current tour for them to be sold as a download with the proceeds going to Amnesty. As there are no physical costs with digital distribution this means more of the sales percentage actually goes to where it's supposed to. So, thank you for supporting a great organization and I hope you like these recordings too.

Read more here....

Well groovy!

h/t Martin Wroe

P

O Magnum Mysterium...

An absolutely breathtaking version of Morten Lauridsen's piece by the Nordic Chamber Choir that puts King's College to shame with its sheer beauty, control and heavenliness. You haven't lived until you hear angels sing, this comes so very close! In my opinion, humble or otherwise, one of the most amazing choral pieces ever...

P

Joy to the world, Heaven and The Beatles sing

And now for something completely different...

Yeah, yeah, yeah... I know it's not really The Beatles. Just another bit of fun from Beatles tribute band The Fab Four which made me smile broadly! I predict a review of both the year and decade soonish...?

P

On the side of the Rebel Jesus...

This amazing song from Jackson Browne is one of my fave Christmas pieces with so much truth and depth compared to other commercial stuff and what we sing in church. Verse two is really hard hitting linking 'Temple Trading' to both the church and environmental issues way back in the early nineties:

Ah, they call Him by the "Prince Of Peace"
And they call Him by "The Saviour"
And they pray to Him upon the seas
And in every bold endeavor
And they fill His churches with their pride and gold
As their faith in Him increases
But they've turned the nature that I worship in
From a temple to a robber's den
In the words of the rebel Jesus

In the last verse he apologises for appearing to be judgemental (which I wonder if that's another sideswipe at the established church!) before closing the song with the fantastic proclamation:

So I bid you pleasure and I bid you cheer
From a heathen and a pagan
On the side of the rebel Jesus

More and H/T from Steve Stockman's Blog.

P

In the air tonight... Advent 3

Let everything that hath breath Praise the Lord... yes, everything you hear is created by the human voice: bass, drums, percussion and the synthesiser effects! I love the combination of beatbox techniques, hip-hop, gospel and re-imagining creativity going on here. So appropriate for Advent ;-)

P

Love will always make you cry...

A wonderful piece of artwork drawn at our gig last night in The Cut Theatre, Halesworth, Suffolk by the delightful Katie (yes, we do have a younger audience too!). I definitely see an album cover here?

After The Fire are now on the last leg of our 2009 mini Autumn tour, up in Cambridge tonight and finish next weekend, Saturday in Godalming and our End of Tour (free entry!) gig in Billericay on Sunday Afternoon 5pm... we'd love to see you!

I don't understand your love...

On Sunday 22nd we welcomed Lily Hope ....... into the church family through the sacrament of Holy Baptism. So why do I choose to impart this to Blogworld you may ask...? I'm very glad you did!

It was special! Not the service itself, certainly the all too well used phrase 'the worship did nothing for me' could justifiably be applied as it was relative chaos with musical mistakes aplenty (aka Jazz!) and the usual undercurrents that happen in churches all going on....

So why was it special? We started with the blockbuster 'Crown Him with many Crowns' (celebrating 'Christ The King') blasted out on the organ and I was delighted to see the Baptism family guests enthusiastically singing along for starters. As the service moved along we sang 'The River', with its provenance of inspiration from tragedy and forgiveness. The sermon was a familiar message (albeit with theology that makes me squirm somewhat) then the ceremony was lovely, kids running around, a 'Happy Christening Day' balloon floating aloft and the Junior Church singing.

For the last hymn we brought on a late sub, swapping a trad hymn for a song the baptism parents had sung at their wedding, 'Give me oil in my lamp'. Again, that was belted out with obvious joy and exuberance despite, in many quarters, being thought of as naff and passé.

Even though this family have only been coming to church relatively recently as part of their Baptism preparation they had laid on abundant munchies and cake, choosing to celebrate with our worshipping community in the church hall during our regular coffeetime... what a spread! It was during this that I was completely floored by a comment from the mum... 'this (as in 'coming to church') is my constant at the moment'... wow, suddenly that little phrase made everything worthwhile. And, unsurprisingly, it also made everything else a total nonsense, all the other church crap we worry and obsess about. Through our flawed efforts and imperfections this had become Holy!

I was recently reminded, when listening to a talk Frank Schaeffer gave at Greenbelt 2008, about how we attempt to rationalise the sacraments. Therefore we assume, in human terms, that it is not 'right' for a child to receive Holy Baptism until they can make up their own minds yet we acknowledge a mother whispering to her newly born 'I love you' is fine despite knowing the babe is unable to actually understand what is being said. It came home to me so powerfully to allow God to act in a 'mysterious way' we need to forsake our human rationality.

And God saw (to it) that it was good!