Music

U2: Seeking An Ecclesiology

U2 at the Billboard Music Awards. Photo via Helga Esteb/shutterstock.

By now you have heard that Apple gave you music. Free music. From U2. Now, they paid U2 a lot of money for those tunes and it's pretty clear that it's not the first time that someone paid a U2 a lot of money for their music so that you could have it for free as long as you were a loyal customer.

The U2 back catalogue has done pretty well this week.

Some of us are rather peevish customers, it would seem. There have been numerous articles on the betrayal by either U2 or Apple. Don't they know that our iDevices are private property? Don't they know that we have put a fence around our little corner of the cloud?

Sadly the tech doesn't really work that way and the agreement you checked - we all checked, really - makes it pretty clear that they own the cloud and you merely lease space there. Your iDevice is a portal, no more, no less.

U2: The Art of Hitting One's Stride

U2's 'Songs of Innocence' cover, via Facebook.com/U2

U2's 'Songs of Innocence' cover, via Facebook.com/U2

Perhaps you heard. U2 has a new album. You can download it from iTunes for free right now. Go. I'll wait. It's free.

Yes, free. This is what has my mind spinning right now. Bono wrote:

"It’s also free to everyone on iTunes thanks to Apple. To celebrate the ten year anniversary of our iPod commercial, they bought it as a gift to give to all their music customers."

So, free to us thanks to the largesse of Apple. Why would that be? Well:

"We’re collaborating with Apple on some cool stuff over the next couple of years, innovations that will transform the way music is listened to and viewed. We’ll keep you posted. If you like Songs of Innocence, stay with us for Songs of Experience. It should be ready soon enough … although I know I’ve said that before …"

Gown of Grief: The Collection’s Songs of Mourning and Celebration

Photo by Stephanie Berbec Photography http://stephanieberbec.com/

Photo by Stephanie Berbec Photography http://stephanieberbec.com/

No abundant bright bloom of flowers on the CD cover or obscure Latin in the title or gentle dance of cursive font describing the song list, nothing can hide that this is not your light-and-breezy summer release of cruising-with-the-top-down jams, but rather, a full-blown concept album of folk hymns about the art of dying.

The Art of Dying (officially Ars Moriendi) represents a brave and risky move for the make-it or break-it breakout album of an up-and-coming band. The Collection’s courageous collection of orchestral pop hymns chart and curate the grieving heart of a gifted songwriter and the community of bandmates and fans that surround him.

At a time when the flame of the alternative folk explosion still burns bright despite much backlash, this North Carolina ensemble shows up as the son of Mumford and Sons, married to Edward Sharpe’s second cousin, with too many members to pack the tiny stages of clubs and bars, with a sound fit for mountaintop vistas, and songs as mystic visions that pierce the veil between life and death.

Despite the heavy earnestness of the entire package, it’s exactly the grief-support-group that my ears need, and I imagine a rendering of fragile faith and hope against hope that our world craves. The Collection manage to sing about Jesus and Thomas and the prodigal son without getting pushy, dancing on the fringe of explicit CCM, exploring sacred-meets-secular crossover paths and gritty crossroads that groups like Needtobreathe, Drew Holcomb and the Neighbors, and Gungor have already traveled.

Death remains that earthly finality to render our denial mute — and our religious musings about whether it represents cosmic reunion, bodily resurrection, or eternal rest are powerless when we admit that the mysterious premonitions of the “heaven is real” crowd are but passing glimpses and not bulletproof facts. The Christians that remain relevant in our world have invested in the Kingdom here, now, and all around us, and they don’t shove tracts that guarantee afterlife fantasies in our faces on the same street corners where tramps and hobos sleep and sometimes starve.

Waiting for the Music

Cienpies Design/Shutterstock.com

Cienpies Design/Shutterstock.com

I am waiting for the music to return — the sonorous graces of laughter and kitchen clinking, of bird call on the hillside. 

I am waiting for the music to return — the precarious arrangement of hope and memory that uplifts and guides. 

I am waiting for the music to return — the band, the orchestra, the seisiún, the jam, the people who make and craft sound.

Instead, I am stranded in an eschatological posture like pause on my mp3 player. The Wifi Spirit does not respond and even if I could connect, the playlist I have randomized is sore lacking. I miss the people who make these sounds. I miss their voices. 

The Space Between the Notes

Sheet music, Franz Metelec / Shutterstock.com

Sheet music, Franz Metelec / Shutterstock.com

The French composer Claude Debussy once said, "Music is the space between the notes." His compositions were a part of Impressionism in music, a movement in the late 19th and early 20th centuries that focused on suggestion and atmosphere and favored short forms of music like nocturnes, arabesques, and preludes. This movement was a correction of the excesses of the Romantic period, where the focus was on strong emotion and the depiction of stories and the favor was toward long forms of music like symphonies and concertos.

People Love Their Nickel Creek

Photo by Brantley Gutierrez

Nickel Creek. Photo by Brantley Gutierrez

The last time I listened to Nickel Creek was to analyze their adaptation of Robert Burns’ poem, “Sweet Afton,” in my English literature class in college three years ago. Indeed, the waters of Nickel Creek flow gently, a trait reflected in “Sweet Afton” and many other Nickel Creek staples. And that general lack of bite, paired with an almost robotic mastery of each band members’ respective instrument, pushed me away from the band.

So it was strange that, with no expectations and an arbitrarily negative perception of the classic folk band, I really enjoyed seeing Nickel Creek reunite in Washington, D.C. after a six-year hiatus. The show, in sum, was really, really good.

Pages

Subscribe