There's an incredible underground community of hipster Christians in New York City – people who are sophisticated and cosmopolitan while simultaneously spiritual and rooted in the Christian traditions. Although we're looking for something deeper tha [+]There's an incredible underground community of hipster Christians in New York City – people who are sophisticated and cosmopolitan while simultaneously spiritual and rooted in the Christian traditions. Although we're looking for something deeper than generic pop music, Nashville-y contemporary Christian music doesn't quite fit us, either. This album is my attempt to express who we are.
The album is roughly based on the liturgical year, the gospel story, and changing of the seasons. It's meant to be a song cycle and, thematically, the last song could also have been the first.
A very eclectic group of musicians worked on this project, although I didn't set outside to mix together so many different styles of music - I'm generally of the opinion that diversity for it's own sake is rather silly. The nature of New York, however, is that many cultures are jam-packed next to each other (it's the only place where you can order Sangria at Chinese restaurants) and it was within this environment that these songs developed. I think it's cool.
The tracks are:
1) Incarnation – this track uses text from the 1st Century Liturgy Of St James, the tune of a 17th Century French Carol, and blends downtempo electronica with middle eastern modes. This tune is a much beloved hymn from several traditions, although it isn't usually done in 7/4. I came up with that myself..
2) Ministration – Mykal brings a great R+B feel to this tune, which is a collaboration between TjSnodgrass and myself.
3) Misconception – Another text from TjSnodgrass, this tune has an intro from Moroccan vocalist and oud player Yoel Ben-Simhon. The Hebrew text is Eliyahu HaNavi, a traditional prayer begging for the return of Elijah and is set in the Arabic mode of khijas. The transition from the intro into the actual tune might be my favorite moment on the album. This song is also notable because it's a fast waltz superimposed over a funky 10/4. Except, of course, for the honky-tonk bridge, which is in four. I included this song because people kept wanting Christ to be Elijah – i.e., being all hardcore with the gentiles, calling down fire from heaven, etc. Even today, people keep trying to turn Christ into a conquering, national symbol, but that's just not what he was about.
4) Pr
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