reposting from April 2009- Arcade Fire is Emergent Idol Winner

"Churches should replace hymns with Arcade Fire songs,

more kids would sing along."*

This is a reposting from April 2009. I think it is good to reread in light of the new found glory Arcade Fire has found, especially among young, emerging and other Christians. While I would change some of my insights, I decided to leave it in its old form. I would love to rewrite this in light of The Suburbs which expands upon the message of the first two albums. Hope you enjoy:

How many of you guessed this? Ohhh Canada! I had to pick a band that did not hail from these United States and included both genders in its leadership, one that explores the past and future; mining many traditional sounds and world elements, yet is still totally part of its own culture, a band that is obsessed with religion, consumerism, community, activism, etc. It sounds like Emergent, especially its younger future. It also helps Arcade Fire's cause that it is the premiere band to debut since the emerging church conversation's advent in its present form. Plus, I like picking a band that is not even "Christian" which should satisfy Emergent's critics ("I told you they were not really Christians. If they were, their official band would be Caedmon's Call").

Of course, I am basing this on just 2 albums, one of which is really the official album of Emergent more than any band could take the title official band of Emergent. However, based upon this album and what I think we are in over the next decade, I designate Arcade Fire the official band of Emergent.

Just as Emergent has had its Lesslie Newbiggin, Brian McLaren, N.T. Wright and Stanley Grenz and is moving to new voices, Arcade Fire is the next step in spiritual music's evolution, beyond Radiohead, U2 and VOL.

Its first EP made little splash, so many critics and listeners were not prepared for Arcade Fire's debut, Funeral (it reminds me of the early 80s when R.E.M.'s Chronic Town EP which no one heard was followed by Murmer, which blew my bedroom door off its hinges). A bunch of intellectual Canadians working as a community, led by a husband from Houston and his French Canadian wife, astonished listeners by conjuring up the spirits of the Talking Heads and Modest Mouse, while turning those bands on their heads through traditional instrumentation and

choir-like choruses. Funeral sounds like wheels coming off of a Gospel bus, chaotic but ordered, like the beginning of the universe or the warning shots of a band to be reckoned with for a long while.

It is an album that deals directly with the reality of death, but laughs heartily and hopefully in its face, daring it to direct confrontation. Its lens is the "neighborhood" handed to us by our parents. It is to be destroyed, but not angrily. It is to be confronted and destroyed to build a new world, one focused on faith, hope, love and community (a theme expanded upon on album #2). Does this sound familiar?

While not as spiritually direct as its follow up, Funeral speaks to us by creating otherworldly music and new hymns it will perfect on Neon Bible. They reach a transcendence on this album that contemporary praise and worship cannot, beyond the emotional heart pull of your typical never ending crescendo of praise choruses. Listen once to Wake Up and tell me you do not wish church music reached those heights, everyone singing in unison. It is an album of renewal.

But it does not prepare us for the intense spirituality of the next album; the main reason I consider Arcade Fire the official band of Emergent, or emerging Christianity. That album is entitled Neon Bible and I hope you own it. Named after John Kennedy Toole's first novel and sporting a sound church worship bands should study like a sacred text, Neon Bible declares what we considered a possibility with Funeral; this could be the new U2 or Bruce Springsteen (its musical poppa, along with Talking heads).

To call Neon Bible a dark album is to miss the point. Yes it is dark. Yes it is angry. Yes, it is intense and almost devoid of humor. However, like the film Magnolia, it builds the relentless despair to prepare the listener for the hope of the final quarter. In fact, the last 1/3 of the album is on par with the best album ending of all time (Abbey Road's final act). Built on a wholly emergent understanding of community, Arcade Fire shoot broadsides at the church, religion, America, consumerism, war and Western Culture in general. However, as Winn Butler said in an interview, He "is addressing religion in a way that only someone who actually cares about it can. It’s really harsh at times, but from the perspective of someone who thinks it has value.”

The ultimate goal of this album, stated in the same interview is to move beyond the fear which has caused so many of the problems our culture has. Winn states, “There are two kinds of fear: The Bible talks a lot about fear of God—fear in the face of something awesome. That kind of fear is the type of fear that makes someone want to change. But a fear of other people makes you want to stay the same, to protect what you have. It’s a stagnant fear; and it’s paralyzing." It is that fear that the emerging church is fighting, and these anthems should become part of its hymnody, a hymnody that stands against (according to Butler) "this idea that Christianity and consumerism are completely compatible, which I think is the great insanity of our times.”

The Christian themes of this album have been explored by those more talented than I, namely David Dark. However, I can tell you that no specifically Christian album has spoken to me like Neon Bible in many years. In fact, I put it with The Joshua Tree, The 77s, Killing Floor, Circle Slide and The Turning as the most spiritually significant albums of my lifetime.

From the Black Mirror of the opening track which illuminates the future, to the golden calf American Christianity has created in Neon Bible, the prophetic cry of Black Wave/ Bad Vibrations and the realization of the damage the church can do to those which love it in the grandiose hymn Intervention ('working for the church while your family dies"), the first half of the album pulls no punches in its indictment and I feel its weight. However, it does not prepare me for the power of Butler and company's descent into the heart of an American Christian (Jessica' Simpson's dad standing in for each of us) in struggling to do the right thing, while trying to live the American dream and failing miserably in the song (antichrist television blues). The final lyric of the song, "Oh Lord, am I the Antichrist" never leaves me without a chill down my spine.

And the album has not even approached its crescendo. Windowsill is probably the most preachy song on an album of sermons, but very few Christians have dealt with the subject of American power, Empire and consumerism in such a compelling manner. This song has become a personal anthem of mine, part of a ritual I do to focus myself when I become to enamoured with myself, my nation, or my lifestyle desires.

And then comes the hope. After showing us the condition of our hearts, our faith and our culture, Arcade Fire chooses to remind us that there is a hope beyond this world we know, one filled with community, connectivity and humanity at its best in No Cars Go. And of course, they end the album with a hymn (organ and all) dedicated to connection with each other and the world beyond in My Body is a Cage. Even though the singer lives in an age that calls darkness light, he cries to have his body and spirit set free.

Amen. Neon Bible is a litugry for these troubled times, a church service we need to go to this Good Friday and Easter, knowing from the darkness of Friday, hope arrives with resurrection Sunday.

An indictment of the American religious condition and Western culture that is only saved through personal responsibility for the needed changes based in community and hope for the future sounds like a Christian movement I want to be a part of. In fact, it sounds like a Christian movement I am part of. And that is why consider Arcade Fire the official band

of Emergent.

Arcade Fire's Neon Bible was my Top Album of 2007. Here is what I said about it then. link

* Michael Spadoni (Reax magazine)

3rd Album Theory (part 1, the theory)- 5 part series

Want proof that Coldplay is not a “special” band? Their 3^rd album X&Y

Want proof that U2 is a transcendent/ rock pantheon band? Their 3^rd album War

Want proof the Beastie Boys are somewhere in between? Their 3^rd album, Check Your Head

Want proof M.I.A. isn’t quite the pantheon artist we thought she would be? Her latest (3^rd) album. But, give this one time. It (and she) may be.

Want proof Arcade Fire is either a transcendent/ rock pantheon band or merely a really good band? Wait until next Tuesday and buy The Suburbs, their 3^rd album. It will tell you (early reviews are looking good).

While it has been rolling around my head for a long time, the sharing of this idea is precipitated by the fact that many bands were coming out with 3^rd albums this year, albums that could define them because they had the potential for greatness or really goodness, bands like: Frightened Rabbit, gaslight Anthem, Blitzen Trapper, and the aforementioned M.I.A. and Arcade Fire.

For a number of years I have subscribed to a musical premise that I call The 3^rd Album Theory. The above examples stand as proof of this hypothesis, irrefutable evidence of my conclusions that the truly great musicians have created a masterwork by album 3. In fact, they have usually already given indication that such a work is just around the corner after a phenomenal debut and avoidance of the dreaded sophomore slump (or, if there is a slump, it is only in light of the perfection attained on 1 and 3).

Some brilliant bands like Radiohead have already attained a masterpiece by album 2 (The Bends), yet do not retreat into the safe confines of re-creation on the next go around, pushing the boundaries beyond the listeners' comfort level to attain a level of artistry unexpected, even by those with high expectations. The yang to Radiohead’s ying is Coldplay. After a well received first album communicating high levels of potential they dropped the brilliant #2 record on audiences, A Rush of Blood to the Head before retreating into the dreaded attempt at re-creation instead of inspiration. It is tantamount to a potentially brilliant director heading into the comforts of big money sequels instead of pushing himself to new heights.

Christian bands are the worst about following success with failure. The Christian band DC Talk gave us Jesus Freak, a brilliant album (#4) before doing what Christian bands do upon creating a commercially successful crossover hit that is critically respected. They retreat into the safeness of re-creation of the album without the same level of passion or ambition (see Switchfoot, Amy Grant as further proof).

Sure the theory has exceptions. Dave Matthews Band’s 3^rd album was Beneath these Crowded Streets. They have never come close to attaining such an artistic, critical high in the aftermath. I feel the same about The Decemberists so far, after the heights of #3 (Picaresque) but that is open to debate. Also, bands that were discovered late and created their first albums with no production help can attain greatness later. The Roots, Regina Spektor and Beck fall into this category or have the potential to. They are like a brilliant pitcher relegated to the minor leagues a little too long.

The other caveat is the 60s. We must remember that until the mid-60s, the album was merely a receptacle for individual songs. Aside from jazz musicians, popular musicians were not thinking cohesively about albums on a regular basis. This is why Bob Dylan (early albums were great, but not cohesive until #5 Bringing It All Back Home), The Beach Boys (I would argue that Pet Sounds is really their 3^rd album) and The Beatles (I would argue that Rubber Soul is really their 3^rd album), along with the Rolling Stones (again, either Aftermath or Their Satanic Majesty’s Request is 3^rd), Marvin Gaye, Bob Marley and Stevie Wonder (Talking Book is the 3^rd album he had the power to create) did not perfect the art of the album until they had the power to create art out of their singular vision as opposed to the record company execs concerned merely with singles and the quick buck (Oh my goodness, history is cyclical in nature). Only when they realized that the album gave them a higher profit margin and kept the artist happy did executives yield to the new art form.

However, since the advent of the album as the definition of self sustained musical vision, a number of artists have attempted to create perfection, with some attaining it numerous times (U2, The Beatles, Radiohead and Prince), while others have merely given listeners one perfect album for which we should be grateful (Wilco, Jeff Buckley, Public Enemy and Lauren Hill).

Sadly, the future does not look good for albums. With iTunes and downloading singles, along with pirating, we have re-entered the era of singles. However, it is my hope that other artists will be inspired by the great works of the past to create their own singular albums... just know that if they ain't done it by #3, they ain't going on Mount Olympus.

tomorrow, exceptions to the rule

A Soundtrack for Clinical Pastoral Education

I may have mentioned that I have been part of Clinical Pastoral Education during the past few months. It is a class that you can take during seminary or serve in a residency for an entire year. It is much more intense than a regular class with weekly personal/ theological reflections, as well as regularly shared pastoral encounters, in which a student shares a pastoral dialogue between student and patient/ parishioner which is torn apart by the class. This allows the student to see his or her deficiencies as a pastor/ chaplain so he or she can provide better care in the future. While it is usually tied to medical chaplaincy, it should be part of any seminary education process because it makes better pastors and ministers. Sadly, only a few seminaries and denominations require it. I wanted it in seminary but was unable to take it. I am now finishing up a unit related to my job responsibilities.

Part of my own discipline in the class is to intersect music which speaks directly to my soul and is the lens through which I see life and my theological/ personal reflections. I pick a song each week as a soundtrack to my reflection, sometimes using it in class (sometimes just sharing its lyrics). In the midst of this I have created a nice little mixtape of my own spirituality as expressed in this class, a soundtrack for Rick Bennett at this moment in his life. Here are some of the selections (I wish muxtape was still around so I could create it to be listened to).

Some of these songs are deeply reflective and personal and some will make no sense without context or familiarity. Such is the aim of CPE. Its desire is to force its participants to dig deep into their own psyche and spirit to better deal with those things which hold us back from caring for others. Yes, it is cheaper than therapy, especially if someone else is paying.

When I began this class I made a list of probable songs, most of which I have not used. Of course, maybe I will use some of them for a second unit of CPE. But it does strike me that what I thought I would use and talk about did not come to pass. Some of the assumed, but unused songs include: Windowsill/ My Body is a Cage / No Cars Go/ (antichrist television blues) by Arcade Fire, Fake Empire by The National, Best Imitation of Myself / You've Got to Live with Who you are by Ben Folds, Could be Worse by Eef Barzelay, I Might Be Wrong / Jigsaw Falling Into Place by Radiohead and The War Criminal Stands to Speak / Our Life is not a Movie by Okkervil River.

Here is the list of what was used weekly, with a lyrical taste:

Constructive Summer by The Hold Steady ("I heard your gospel, it moved me to tears, but I couldn't find the hate and I couldn't find the fear")

The Charging Sky by Jenny Lewis ("and it's a surefire bet I'm gonna die, so I'm taking up praying on Sunday nights... as insurance or bail")

Static on the Radio by Jim White ("Everything I think I know is just static on the radio")

When Angels Fall and All This Time by Sting ("2 priests came round our house tonight to offer prayers for the dying, to serve the final rite")

Both of Us'll Feel the Blast by Waterdeep ("I hope we sit together when Jesus serves the wine, so I can look into your eyes when I taste it the first time")

Furr by Blitzen Trapper ("and now my fur has turned to skin/ and I've been quickly ushered in/ to a world that I confess I do not know/ But I still dream of running carelessly through the snow)

Still Fighting It by Ben Folds ("everybody knows it hurts to grow up/ and everybody does/ Let me tell you what/ The years go by/ and We're still fighting it")

I Saw the Light by Hank Williams, Sr. ("Then Jesus came in like a stranger in the night/ Praise the Lord, I saw the light")

Sympathy for Jesus by Don Chaffer and the Khrusty Brothers ("I'm saddled with a job you know of interpreting my Dad, to a bunch of frightened people/ frightened or just mad")

Throw it All Away by Toad the Wet Sprocket ("with the time I waste on the life I never had, I could have turned myself into a better man")

Bastards of Young by The Replacements ("those who love us best are the ones we' lay to rest, and visit their graves on holidays at best/ those who love us least are the one's we'll die to please...")

Intervention by Arcade Fire ("working for the church while your family dies")

Righteous Path by The Drive By Truckers ("I don't know God, but I fear his wrath, I'm trying to keep focused on the righteous path")

What are some of the songs on your soundtrack?

interesting Arcade Fire quotes

Quotes from Arcade Fire, usually Winn Butler, that I find intriguing (though most of them are not as compelling as the quotes from the previous article)-

on performing: “A good percentage of rock bands, when they perform it’s a totally sexual thing. But I don’t think we’re that sexual. At least that’s not what we’re singing about or acting out. On a goodnight, it’s more like the ecstasy of St. Theresa.”

on how the band makes decisions: "We basically share the same general vision. It's not quite the Quakers, where you have to be unanimous. I guess we're a democratic republic, a federal system."

why they remind me of the emerging church world and its ethos, instead of the modern megachurch system: (Richard Reed Perry- multi-instrumentalist): "We're trying to navigate a culture where people manufacture a lot of garbage. The goal is not to sell the most records or be the most famous. I think everybody in our band thinks we're trying to do something that's real and has some lasting value to it."

on community: "Boarding school, the army, or church are the only places where people are forced to be in a community with people they wouldn't choose to be. I think it's valuable to be in a community with people you have nothing in common with."

and

"The band is definitely a community. The bands that last are the ones that realize that and put priority on that first. But it's the same principle with a two-piece band. In a large band, there's just more relationships to maintain."

on religion: "There are things about organized religion that I find interesting. I'd probably have a more interesting conversation with the Pope than with Howard Stern. I think that people mistake describing something for understanding it- that happens in religion a lot. There's a lot of metaphorical language in the Bible, but I think that the human imagination isn't equipped to deal with the idea of eternal life."