Desert Rain - Trinity

Surprised by a multi-cultural sound!

Desert Rain
Artist: Trinity
Label: The Fuel Music
Length: 12 songs/56 minutes

It’s not often when I start to listen to something new that I’m taken by surprise. Such is the case with Desert Rain by Trinity. It starts with the title track, a short instrumental with Andean-like flute, hand percussion, and a few other exotic sounds. It’s a foretaste of a world music experience; a hybrid of folk, pop and rock styles drawing in particular from South America.

“Rise Again” follows starting with gentle guitar and some type of woodwind. It’s like a moving tribute to courage:

Though I’m bending in the storm
I’ll never break

It makes me think of the bravery of people in the Ukraine. If they could hear this, they might be encouraged in their struggle.

Another memorable line is found at the end of an interlude: “truth crushed to earth will rise again.” It can be an anthem for anyone engaged in a noble struggle.

“Metropolitain” is partly in French with a tight, fast rhythm and a definite South American vibe. The lyrics are broad in scope and juxtaposed with some opposites: “City of artists, of searchers and martyrs, of lovers and violence, of lambs and lions. What if getting was giving, what if losing is winning? What if the sacred comes out of its hiding, joining the searchers in finding?”

“A Miracle” is a mid-tempo exploration of the profound mysteries in a relationship. Here as it is throughout the perspective is from a position of faith rather than being overtly about the Christian life. I have nothing against the latter but the subtlety is refreshing. I found it interesting that a non-Christian friend told me the other day that the music by Christian artists that he likes best is when it’s not obvious. This falls in that category. There is as much attention to overall craft as the lyrics.

Low end bass, synth and sassy brass give weight to “Satellite Television.” The playfulness in sound and the use of satire make this a lot of fun and a favorite:

I hardly have a roof
but I’ve got Satellite television
My love life sucks
At least I’ve got Satellite television

A chorus of voices join in on the title to emphasize the gravity of the subject. Music could use more of this kind of humor.

A cheerful tune on the flute. Mandolin strumming. A chorus of voices gaily singing syllables. It adds up to the Celtic-sounding depiction of a father’s tender love for his infant daughter on “The Way That I Do.” It’s promise of constancy mirrors God’s lasting love for his children:

My baby my dear
I wish it weren’t true
But the world and its sorrows will someday hurt you
But know when you fall, I’ll be there with you too
To hold you and love you the way that I do

Festive sounds return on El Sonido De Mi Tierra, a mid-tempo Salsa-style number in Spanish and English. It lends itself to being interpreted as a prayer:

Be the reason that I live today
Be the air that I breathe, fill me now

“It’s All Gonna Change” is the first of three songs toward the end that include Neema Ntalel from Kenya on vocals. They take the form of a duet on the somber “Shooting Stars,” a reflection on bereavement.

C. S. Lewis said, “If we find ourselves with a desire that nothing in this world can satisfy, the most probable explanation is that we were made for another world.” This idea fits with the sentiments expressed on “We Are Born,” whose sound has Middle Eastern influences. A driving rhythm propels the forceful thought:

We are born with an aching for more than we’ll ever know
To be fighters and lovers to know what we are living for
There’s a burning desire inside that can’t be controlled
An unquenchable fire that tells us we’re made for more

Trinity consists of three Dutch brothers, Elbert (lead vocals, flutes, saxophone), Johan (acoustic guitars) and Nick Smelt (drums & percussion), who grew up as missionary kids, and Dutch-raised Bert Bos (bass). It’s amazing that these four produce such a variety of earthy but sophisticated sounds. Listen and find joy in hearing a multitude of diverse cultural influences.

In All the Scriptures - Nicholas G. Piotrowski

 Away with allegory!

In All The Scriptures: The Three Contexts of Biblical Hermeneutics
Nicholas G. Piotrowski
Publisher: IVP Academic
Pages: 289

In All the Scriptures is about contexts: literary, historical and theological realities encompassing the writings of the Bible. This provides first principles to be considered.

The author defines hermeneutics as “the theoretical study of the science and art of how to legitimately and ethically interpret texts” (4). He emphasizes that it’s not just a matter of mastering the mechanics. There is an art to it, which can only come through “time, trial and error, reading and rereading with others” (4). Furthermore, it is all about properly interpreting texts, so that the main idea becomes clear and the interpreter is not reading into the text.

Piotrowski’s approach starts with the literary: discovering the flow of thought in a book. Individual verses and passages must be considered in light of the whole. The historical is learning something of the culture or time that pertains to a given passage. Christological or theological consideration looks at how themes “develop, flow and climax in Christ” (13).

The primary focus is on the underlying principles for interpretation rather than spending time on application. The exceptions being illustrating and briefly covering application in the last chapter, which I thoroughly enjoyed. Initially, I was a little disappointed hoping for more of the latter but the author convincingly argues for the necessity of sound hermeneutics. Plus, listening to popular sermons and teachings in our day one might conclude that application takes precedence. Making teaching practical is a noble aim but if the meaning is wrong than it’s counterproductive.

To start this journey you find an excellent overview of hermeneutic highlights from the past to the present. This section contains the first mention of allegory: “Allegory attempts to dig under the straightforward and historical sense of texts to find hidden, mystical meanings” (21). The author argues against allegory in favor of typology. The latter “starts from the historical sense and perceives the way persons, events, and institutions in the Old Testament prefigure the person and work of Christ” (21). The problem with allegory is that it “has no need for history and often enough runs around Christ” (27). There is more: “Allegory connects to derivative ideas outside the text. Moreover, the Bible was not written as an allegory. Thus it is a violation of genre. What kind of misinterpretation would one produce if they read a history book like a novel, or vice versa?”(70).

Deconstructionism also gets a mention: “Deconstructionism is complex, but we can define it here simply as an attempt to read (and/or rewrite) narratives (in texts or anywhere narratives are told) in a way that moves the center of attention away from traditional (and sometimes obvious) interpretations and give voice to the characters and ideas at the margins. There are social, political, and economic forces at work in all this that now make it hermeneutically in vogue as well” (43). He cites a TED talk by Malcolm Gladwell as an example where the meaning of the David and Goliath story is changed.

This book is a challenge to do interpretation with integrity. It shows the hard but rewarding work involved. It’s much easier to take an isolated verse or verses out of context, reading into it an unintended meaning. Any interested in the legitimate use of Scripture will do well to familiarize themselves with this content. This book can be read with profit many times over.

One reason I read this volume was my exposure to teachings that critics label hyper-dispensationalism. I wondered if it would indirectly address their errors. If their doctrines are measured against these guidelines where would there be problems? It would seem that at least in some areas their hermeneutic and application are defective. I suspect it has to do with the presuppositions that inform their hermeneutic. It highlights why this stage in interpreting scripture is critical. Getting the approach wrong leads to bad theology. Getting it right from the start and along the way is no guarantee of soundness but increases the chances of a better outcome.

As a side note, those who share the author’s ecological or science background will appreciate how he introduces each chapter with an illustration showing how his former field of study relates to the discipline of interpreting texts. It’s a fascinating way to introduce the different topics showing the correlations and making the material more accessible, even if you are not a student of the sciences.

Away with allegory! It’s hard to argue with the logic of the arguments, but the case might be stronger if it included some examples that differentiate application from allegory. Sometimes I wonder if applications made from the pulpit or in books go too far or are they legitimate? This is something that I would ask about if I had the chance to question the author or those who are knowledgeable on the subject.

Get Out Of The Way Of Your Own Heart Deluxe - Chris Renzema

 

The sound of healthy deconstruction?

Get Out Of The Way Of Your Own Heart Deluxe
Chris Renzema
Label: Centricity Music
Length: 15 songs/58 minutes

On Get Out Of The Way Of Your Own Heart Deluxe Chris Renzema colors outside the lines established on his previous release, his debut on Centricity. The first three songs make it clear that Renzema adds to his musical palette.

At times it’s more alternative rock, even a slight punk influence similar to The Cars or even early U2 except not as heavy. Programmed and synthesized elements are featured broadening the sound. I’m intrigued by the intricacy. At the core remains an acoustic element that is more or less depending on the song.

Some tracks might fit well on college radio, having no or only subtle references to faith making them perhaps more palatable to a wider audience.

Anyone might appreciate the vulnerability. I wonder if I’m hearing healthy deconstruction: getting rid of toxic ideas about self, faith and God. It doesn’t sound like Renzema is losing his religion, just in the process of discovering a purer form. This might be the current animating much of the flow.

“Stronger Love” is my favorite, with Leeland who co-wrote and performs. The lyrics speak to our tumultuous time:

Don’t have the answers, I’m just tired of picking sides
Done drawing these battle lines
Could our conversations look less like picket signs?
’Cause we’re not alone in these hard times

The bridge is a mesmerizing combination of blended vocals and melodious pop. It’s a sublime convergence.

The title track highlights how hard we can be on ourselves.

Now, take yourself down off the line
Now, show yourself a little grace

“Let it go,” Renzema sings in relation to our self condemnation.

“No Body (feat. Matt Maher)” is an expansion of Saint Teresa’s prayer. Renzema imagines how it can look.

Christ has no hands now but yours
Reaching down deep in the dirt
Covered in the soil, aching from the work
Christ has no hands now but yours

Maher and Renzema harmonize and trade stanzas.

“Just As Good (feat. Ellie Holcomb)” is a third collaboration. Each one is unique and excellent.

“The Right Things” states a new resolve:

I wanna hold on to the right things
And let go of the rest
’Cause time’s worth more than money
And I’m done buying what won’t last

“Blessed Are Those Who Follow You” closes the original release. It’s a paraphrase of the words of Jesus known as the Beatitudes. The only accompaniment is an electric guitar until you hear Dylan-like harmonica playing towards the end.

This deluxe addition is the definitive version. It has three new songs with varied styles giving the listener almost an hour of music.

Holy Spirit Come EP - Patrick Mayberry

Hear the sound of explosive, victorious worship

Holy Spirit Come EP
Patrick Mayberry
Label: Centricity Music
Length: 6 songs/25 minutes

If you listen to Air1 you will most likely be familiar with the popular title track on Patrick Mayberry’s Holy Spirit Come EP. Among their listeners is my sister who keeps up on worship music. She not only knew the song but was impressed enough to consider buying it, which doesn’t surprise me. The intensity and massive sound stand out. It’s an anthem for those who long to experience God’s presence and power.

Though not defined in the promotional material, this sounds like a studio recording but could pass for a live one. With sing-along choruses and it’s worship orientation it’s made for congregations. The choruses sound like the vocals have been multi-tracked or include others, which gives it a live feel. It’s similar in sound and scope to the plethora of modern worship available.

Immediately I am reminded somewhat of Matt Maher. The lyrics and vocals are raw. The music somewhat rugged with a rock edge. It tends to be guitar-driven with some excellent acoustic and electric leads. Keyboards add texture.

Mayberry’s songwriting focuses on God’s attributes and our need for his miracle-working power. That is especially evident on the title track and “Breakthrough Miracle Power.” Those who appreciate revival-oriented songs will want to check this out. Desperate need meets God’s inexhaustible resources.

“The King Has Set Me Free” is a brilliant opening track. A rousing testimony to being set free in Christ. Anyone who has ever struggled with anything can take this as their victory song. I feel energized after listening to it. It’s an antidote to the world’s despair.

My favorite is probably “How You Love Me.” It’s more acoustic and introspective, which is what I gravitate towards. Are God’s love and grace more simple and wonderful than we have grasped? This ponders the question.

This release isn’t one that takes repeatedly listens to enjoy. It’s high quality, and I would expect no less from Centricity. Mayberry is a fitting addition to their fine roster of artists.

This is Mayberry’s third EP, a prior independent one was released by Centricity in 2020. On the strength of this a full-length is in order and should be well-received.

A King & His Kindness - Caroline Cobb

A Jesus record to help God’s people remember and rehearse his story

A King & His Kindness
Caroline Cobb
Publisher: Integrity Music
Length: 9 tracks/37 minutes

A King & His Kindness by Caroline Cobb is her Jesus record. If you are familiar with Rich Mullins, you may recall that prior to his untimely death he planned to release a batch of songs about the life of Christ. After his tragic accident friends and fellow musicians completed the The Jesus Record. Cobb accomplishes something similar here in every song.

It’s also fitting that the final song, “Let It Be So with Your Church,” is like a benediction for Christ’s church. Having heard about and coming to know this Savior, now follow in his steps. This encouragement is in harmony with what bible scholar N. T. Wright has envisioned. The community of God is to be characterized by love, sacrifice and service as expressed in the song: “As Jesus bent low to serve in love/So with us let it be.” It’s such a fitting application to a beautiful depiction of the life of Christ spread across the preceding eight songs.

Christ’s gentleness is even expressed through the music. “Who Is This Jesus?” opens to the sound of gentle strumming of stringed instruments, including mandolin for a gorgeous sound. Light pedal steel sounding as if far-off in the distance adds to the lovely texture.

It’s ironic that the songs with little or no percussion, like the aforementioned, carry the most weight. They are quiet but stunning in their impact. Similar to “Jesus …” on The Jesus Record. Ashley Cleveland, the lead singer, is most often associated with rock but here the soft vocals make this ballad all the more powerful.

Count “Jesus, Full of Compassion” in the same category. There is a soft interplay between acoustic guitar and piano. The latter having a slight echo and combined with the sparse setting creating an ethereal background.

Here Cobb identifies with a variety of desperate people whose stories are in the gospels: “I am the outcast leper/Falling helpless to my knees … I am the bleeding woman/Desperate reaching for your robes.” How often as readers do we fail to see ourselves in these stories? We might see ourselves as far removed when we are just as needy, though in different ways. The repeated identification in the song with the lowliest is arresting, helping me to see that like them I’m in need of grace.

This brings me to the wonderful concluding and repeated lines in “Find Rest (Matthew 11)”

All the work is done, it is finished
No, you’re not enough, but it is finished

What a sense of relief comes with the realization that though I will never be enough, what Christ has done on my behalf is more than enough to satisfy my deficiency.

So as not to leave the wrong impression, the songs alternate between a minimalist approach and ones with a full-bodied sound. Either way it’s not morbidly introspective. Some like “Turn the Tables” and “Don’t Want to Miss Your Heart” are mid-tempo and lively. The former is anchored by a joyful piano hook.

The opening “The Year of His Favor (Isaiah 61)” has a gospel-flavored chorus courtesy in part from Resound, a gospel trio. What strikes me too is the drumming on this song. Drummers who don’t overplay are rightly lauded for their restraint. That’s what I thought of when I heard the steady beat here and elsewhere. The same might be said of all the musicians and the production in general. It’s never overdone.

If Rich Mullins was here to express it, I think he would approve of this Jesus record. He would probably want Cobb to join him on a tour highlighting the life of Christ. Artists like Steve Bell, Carolyn Arends and Sandra McCracken would also fit right in. And since Bruce Cockburn was recently found anonymously playing in a worship band, let’s invite him as well.

If you are looking for biblically-rooted songs expressed primarily in straightforward arrangements and organic sounds, don’t miss this one.

First Nations Version: An Indigenous Translation of the New Testament

 

A refreshing, thoughtful translation that helps readers see anew what can become overly familiar.

First Nations Version: An Indigenous Translation of the New Testament
Publisher: IVP
Pages: 481

Those who like to use different translations of the Scriptures, will want to consider getting First Nations Version: An Indigenous Translation of the New Testament. Since receiving it I have used it for the New Testament portions of my Bible reading plan. As of this date, it’s taken me through the book of Romans and 1 & 2 Corinthians. I do recommend it for reading as opposed to study. It’s beneficial to have a more literal translation available as a supplement for study purposes.

The text flows beautifully unlike some literal translations that lack it. The language is earthy; no difficult theological terms to decipher. It feels like I’m listening to a wise Native American storyteller who proclaims the Great Spirit and his ways in easy to understand terms.

Without resorting to technical analysis, which I will leave to someone more qualified, my impression is that the meaning is being accurately conveyed. This is not a literal translation, a word for word rendering. It’s closer to what is sometimes called dynamic equivalency, conveying thought for thought done in a style of language that may be familiar to many Native Americans. Again, it’s a little like an elder passing down the history and traditions of a sacred record.

One of the editorial decisions I appreciate is the choice to use the meaning of names when a name is mentioned. Jesus is Creator Sets Free. This is followed by the traditional rendering in parenthesis so that it’s clear who is being indicated. “Father of Many Nations (Abraham)” is an example. Paul is Small Man. He might see that designation as fitting, given that he considered himself the chief of sinners, even persecuting the “sacred family.”

In the Introduction the authors state that “at times reasonably implied statements were added within, above, and below the text…. These added statements are not intended to change the meaning of the text but rather to bring clarity” (xii). These additions are in italics.

Occasionally, as in First Corinthians 11, the editors insert a block of italicized test to provide background. The following example is in relation to a man praying or speaking for the Great Spirit with his head covered, thus bringing shame to his head.

This could be because, in the traditions of the tribes of Wrestles with Creator (Israel), some men would cover their heads and faces when they prayed, being ashamed of their broken ways. So covering their heads and faces would then be a sign of shame. The Chosen One has taken away all shame, so man should not cover their heads in shame when they pray.

Such is the wonder and beauty of the text that one can get immersed in the drama and might think First Nations people are being addressed when Tribal People are mentioned. When Small Man (Paul) speaks of the Tribal People he, of course, is referring to the tribes of Israel. People from Outside Nations are Gentiles, those not part of Israel.

A favorite passage for me and probably many others is the one where Small Man talks about Creator’s strength coming to the fore in our weakness. This is 2 Corinthians 12:9 in the First Nations Version:

“The gift of my great kindness will give you the strength you need,” our Honored Chief said to me. “For the greatness of my power comes to the ones who understand how weak they are.”

So then, I am glad to brag even more about how weak I am, so it can be clearly seen that the power resting on me comes from the Chosen One.

Included in the back is a fascinating glossary of terms. You find, for example, this explanation of why “sin” is translated “bad hearts and broken ways”:

For many of our Native people, the English word sin evokes the memories of boarding school, where “sin” was often the length of our hair, or speaking in our native language, or anything related to our cultures.

This is only the first line of the term but it’s striking in light of the recent discoveries of mass graves at former First Nations boarding schools.

This clear translation allows one to see the Scriptures in a different light. If you have any inclination, don’t hesitate to get what is truly honoring to First Nations people. It’s not just for them, as this will retain a special place in my Bible collection.

Mixtape Vol. 1: Side A - Coby James

 

Warm and fun, “Golden” celebrates God’s love

Mixtape Vol. 1: Side A
Coby James
Label: Centricity Music
Length: 4 songs/14 minutes

On Mixtape Vol. 1: Side A Coby James opens with a fun and happy song. The playful feel to “Golden” is a mixture of expertly woven styles, predominantly R&B and pop. The captivating melody is punctuated by snappy sounds and sunny lyrics about God’s love. I feel better just hearing it. Horns at the end add to the magic.

“Castles” is more pop/rock. One of my favorite moments comes during a bridge that takes its thought from an old hymn:

You’re the rock
Where I stand
All other ground
Is sinking sand

It’s during this declaration that some loud, feedback-laden guitar is mixed in, which is strangely appealing.

Building apart from God is a castle made of sand that ultimately will wash away. Thus, the repeated refrain, “I’m gonna do what God says.”

“Simple” gets personal as the singer wrestles with the drawbacks of fame. Oswald Chambers, the author of My Utmost for His Highest, reckoned that aside from disobedience a refusal to be simple is a source of stumbling. Christians may identify with the longing for the simplicity found in early faith.

This release becomes more personal with each song, the closing “New Roots” being the most intimate of all, reflected in some of the softest moments. It starts with gentle strumming slowly building to a climax where it becomes more dynamic.

I like the reference to family and home in verse 2:

When I miss my mom, miss my dad
Miss my home and the wide open skies
In the mystery, the unseen
I know you will be, be my guide

A pre-chorus consisting of two short lines is beautifully sung in falsetto over a starry-sounding keyboard.

The maker of the stars
Is holding up my heart

It makes for a fitting end. The release begins with fun and ends in worship.

The cover image looks like an old record with ring wear. It shows a giant sunflower surrounded by a sunny, mountainous terrain. I wonder if Centricity will consider making this available on vinyl along with the companion releases?

Side A has a pop focus, Side B highlights acoustic guitar skills, and Side C explores a more experimental side.

This 19-year-old from a small town outside of Raleigh, NC considers himself a student of John Mayer. Guitar is his instrument of choice, which he uses to write and produce his own music.