IN THE TITLE song of Aimee Wilson's new album, Unto Us the Sun, the music begins soft and gentle, like a slight shaft of light breaking over the morning horizon. Gradually the song intensifies, both instrumentally and vocally, until it reaches an almost ecstatic crescendo—a musical embodiment of the process she lyrically portrays of the subtleties of nature opening up its unspeakable beauty, a grand chorus of creation praising its Creator. It is also hardly incidental that the song evokes biblical language of resurrection, while both the title and images such as "tender as the shoot" subtly hint at the presence of Christ—not a heavy-handed doctrinal Christ, but the saving incarnation of a loving God.
Wilson is part of a remarkable network of young, spiritually rooted musicians (such as the Psalters) who are fashioning a very new and dynamic musical language of radical faith—a faith that is searching, exploring the edges of experience, probing human hurts and joys as well as divine mysteries and manifestations. Wilson's personal journey has taken her from the hills of her native Tennessee to inner-city Philadelphia. Her songs cover a range of moods, many reflecting her mystical apprehension of God's presence in creation. Other songs, drawing on her experience working with women who have struggled with homelessness and mental illness, convey the power of grace amid human brokenness.