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I should have posted about this weeks ago, but Waterdeep’s new album Pink & Blue is awesome. I got an advance copy a while back, but I’ve just been too busy to review it until now. I only hope the world will not stop spinning because of my tardiness. God help us all.
Moving on… The album is amazing. Don and Lori continue to astound me with every offering. Whether it’s Don’s weird alt-folk Khrusty Brothers, or their worship stuff on albums like You Are So Good to Me, or their best offer to date (in my opinion) Heart Attack Time Machine, Waterdeep is a band that knows what it’s doing and does a great job of it.
I started an over e-mail interview with John Mark McMillan yesterday over here, and today you get the second half.
The Blah Blah: Describe your process of writing songs. Where do most of your lyrics come from?
John Mark McMillan: For me it usually starts with sounds. I just begin to experiment with chords, sounds or words until something strikes me as interesting. Then I experiment more in that direction. I rarely sit down with a specific topic in mind. In fact I usually just kind of mumble to myself for awhile until I find a group of words that seem to be aesthetically pleasing or particularly powerful for some reason. I just kind of vamp until I like something I’m hearing, then I begin to pick it apart and ask myself what I’m trying to communicate.
That’s when I let myself get more intellectual with the song. At first I don’t question myself much because I don’t want to hold up the creative process, but eventually I have to ask myself where the song is going and begin to tighten it up, edit myself, and make these words and phrases into something cohesive.
I also journal alot without music. Sometimes I play with words and phrases all day long in my head. Turning things around and flipping them back and forth. I learned this from Kevin Prosch and I’ve heard that Dylan did this quite a bit. Sometimes it’s like a game to take regular words and use them together in different sequences to say different things.
At some point I’ll take my ideas to the band and often this is where they really begin to flesh out. The energy they create gets me excited about the ideas and new ones start to flow. Then they get excited and they come up with new ideas and we develop a kind of creative momentum.
TBB: I assume that you’d consider yourself to be a Christian – can you describe the process that God has used to bring you to Himself?
JMM: I grew up going to church. My dad, who is also one of my greatest influences, was and still is a Charismatic pastor. I actually enjoyed certain aspects of church when I was young. I liked seeing people and interacting with lots of other kids. I really liked the stories.
But as I got older something about the Christian culture just seemed to turn me off. Maybe it was the religious expectation or the lack of creativity in Christian environments but something just made me angry. I can’t give you one good reason for it but I became very angry at Christian people.
Even to this day certain aspects of Christian culture make me literally sick to my stomach, and I can’t tell you exactly why. I guess it’s because I’m really interested in the man Jesus and it seems to devalue him whenever people feel like they have to hype him up or help him out. Either he’s real or he’s a fairy tale. I think he’s real, and if I’m right then I don’t need to hype him up. If I’m wrong then no amount of hype in this world is going to make a difference. I think he’s an incredible person and most people would agree with me if they had the chance to be properly introduced.
So I guess you could say that things changed for me when I met the man Jesus as apposed to the idea or philosophy. There was a point when I told God that I wasn’t sure if I believed in him at all and that if he loved me the way people said he was supposed to love me, then to please make things clear or I was going to have to do something else. Not to give him some kind of weird ultimatum or anything. I just figured if there was any reality to what I said I believed then He would have to help me out.
God works in his own time, but things certainly changed from then on out. I think God was waiting for me to be honest with him and myself. He wasn’t offended. He already knew what I was thinking and far more about what was going on in me than even I did.
I think sometimes our idea of reverence can keep us from having a real relationship. As a whole, I believe that Christians have communicated very poorly to the rest of the world the real personality of Jesus. You can hardly have a conversation with someone about Jesus without insighting a riot because their idea of him is so skewed.
Unfortunately, I think its our fault. We’ve communicated Christianity as a performance-driven system of morality with a pretty superficial idea of reverence. I believe the major difference between Christianity and other major religions is the fact that it is not, in anyway, a performance-driven religion. I believe that the overall message of the Bible is this: being good doesn’t make you righteous. Abstaining from evil doesn’t make you righteous. On the contrary, we have been made righteous by the blood of Jesus. And only then, by realizing that he has made us righteous, do we have the ability to be good or abstain from evil. And even then it’s a process.
So I guess I realized that Jesus was not like the people who wore his t-shirt, but after that I was able to turn around and love those people too, even if I thought some of the things they did were a little silly. I do some pretty silly things myself.
TBB: If you could have any one of your songs heard throughout the world, which would you pick?
JMM: Probably “Ten Thousand” or “Skeleton Bones.” The answer to this question changes daily.
TBB: In a similar vein, what’s your goal as a musician?
JMM: As a musician I want to be good enough to the point where I don’t have to think about the music at all and I can communicate what I’m feeling as fluidly as if you and I were having a conversation on the phone.
TBB: What artists are you currently listening to?
JMM: I really love the Fleet Foxes, Bon Iver, and My Morning Jacket. I’ve had a love/hate relationship with Ryan Adams for years that I can’t seem to shake and which is probably a little too obvious. I’m always down for some Springsteen, and lately, believe it or not, I’ve been digging on some classic Guns’ N’ Roses and a little Thriller era Michael Jackson.
Right at this moment I really can’t stop listening to these guys out of central Kentucky called The Embers.
TBB: What books are you reading?
JMM: Right now just a book called The Black Swan, though I’m realizing it may be a little out of my league intellectually, but I hear Malcolm Gladwell is putting out a new book in a few weeks and I’ll be onto that one pretty fast. I’m sorry to say I’m not reading anything incredibly spiritual right now.
TBB: I’m pretty frustrated with most “Christian music.” What’s your take on the whole thing? What’s good? What needs to change?
JMM: I know we hate to think this way but ultimately Christian Music, like any other industry, is driven by a market. Christian publishers will only push the kind of music that they think their audience likes. Right now they seem to believe that Christians mostly want music that has a very clear utility, meaning that people know the exact purpose and place for the music inside of a specific model or program. So, often, if a song doesn’t have an obvious function or strict religious message then they don’t think it will be valued by the greater Christian population.
Personally, I think this mindset supports a pretty narrow creative environment at best. I think the only way for this to change is for artists to spend time and energy building new audiences and serving people who want more than just topical songs written to enhance sermons. I don’t have a problem with those kind of songs necessarily – there are just plenty of them and very few with what I would consider a massive amount of artistic integrity (though I’m sure you could find plenty of people who feel the same about my music).
It’s just so easy to fall into the standard sort of situation because the resources for those kinds of things are so readily available, much more so than for the typical or even above average general market band. I really don’t like to be negative or reactionary about all this but I certainly have strong feelings about it. It may be that all people really need is a vision for something new or different. I mean, you and I seem to want something different so there has to be people out there who feel the same way. Just someone has to be willing to take the risk.
TBB: Any final thoughts?
JMM: I think I wrote way to much…
Thanks, John Mark! Hope you all enjoyed the interview.
Sorry for missing over a week on The Blah Blah. Between shoveling piles and piles of snow, moving into a new house, and the usual ministry stuff, life has been busy. And, man, do I have a lot to talk about…
So let’s get going. I’ve mentioned artist John Mark McMillan quite a bit on The Blah Blah, and just recently he proved himself to be just the awesome guy I figured he was by answering a few questions over an e-mail interview. Here is part one today, with part two coming tomorrow. Enjoy.
The Blah Blah: Who are you, in as many words and descriptives as you’d like to use?
John Mark McMillan: John Mark is a husband, a dad, a friend, and occasionally an enemy (but usually only with transportation personnel and aggressive sales people). He is a songwriter and a singer of songs. He has, at times, been considered an artist and would like to think of himself as an artist. Though his work is not always entirely original (and whose is?) he wants to expand the boundaries and explore the peripherals of what it means to be both an artist and a person who gives language to a community. John Mark is tall, loud and usually hungry. He adores his wife and baby boy. Loves to play music but loves listening to music even more. Has a strong distaste for pretense yet is occasionally pretentious. He enjoys controversy. He sports a beard because his wife thinks he looks to young without it. Though he doesn’t see what’s wrong with looking young.
TBB: Describe your style of music.
JMM: I would have to classify it as “Alternative”, or just plain “Rock” occasionally bleeding into the arenas of “Folk” , “Americana” or dare I say “Southern”. You may find my music on the rack at the store under the moniker of “Christian” or “Gospel”. Though I do profess to be an imitator of Christ and a purveyor of the Gospel thereof, I don’t think that the word “Christian” describes the sound of the music I write or music in general for that mater. So I personally wouldn’t say it’s “Christian Music,” but I’m not entirely offended by someone who would want to call it Christian music. I understand why they would.
TBB: How did you start doing music?
JMM: I started playing music when I was in my late teens. Mostly because I wasn’t good at sports and because my passion, drawing comic books, didn’t seem to impress the girls. So I started playing music for the shallowest of reasons and the truth was it didn’t really work. I never did impressed anybody. But I did discover that I truly loved playing music and especially writing songs.
When I was about 19 I was asked to play one of my songs at a large church conference. There were about 5000 people there and I was way under-qualified. Even at that time a few hundred people would have been quite intimidating. So, as you can imagine, I was incredibly nervous. I got up on the stage and pretty much froze. The background singers actually had to start the song for me. But I eventually fell in and when I got to the chorus the place erupted. It just about knocked me over. To hear 5000 people screaming lyrics that I wrote in my bedroom one lonely afternoon generated a feeling that I think only a handful of people on earth will ever experience. For just a few seconds I think that I actually stepped into a taste of the destiny that God had called me to. Needless to say I was ruined and I knew that I would spend the rest of my life writing songs, especially the kind that help people say the things that I think they really want to say.
TBB: What do you do when you’re not making music?
JMM: I like listening to and purchasing music, especially on vinyl. I also love going to shows whenever I can (I’m out of town a lot). I like to spend a lot of time with people. I really can’t think of many things that I enjoy more than to sit around and waste time with other human beings. Especially ones that I love or find particularly entertaining. I think it’s a very important thing to enjoy people, so I’ve made it a priority.
I really like gangster movies. I like to read, especially books about sociology and people. I’m really fascinated by the reasons behind why people do what they do. I also enjoy reading theology and apologetics by Lewis or Zacharias. I used to read the Lord of the Rings Trilogy once a year but now I just watch the movie (not quite the same but it works out better with my schedule).
TBB: I’ve definitely worshiped God through a lot of your songs, but only a few come across as “worship songs” per se – do you see yourself as a worship leader?
JMM: Sure, I totally do. But also beyond the Sunday morning choruses I want to write music that people want to sing everyday. I think that also could be considered worship leading, just maybe not in the traditional sense. I think whether you’re Bob Dylan or Lil’ Wayne, if you’re important to anyone as an artist, it’s because you help a group of people articulate something. I think the only real difference is what exactly we’re helping people articulate. The most common place for a worship leader to do this is in a church building on Sunday. I certainly enjoy doing that but I also want to have an effect on people beyond what they do inside of a building, when they’re out living their lives. I think real worship happens at work, at school, in the car or in the shower. It’s not something that stops after a service, though I do consider the service to be important as well. I don’t want to belittle that at all. I just like the idea of creating music that’s more than simply a platform for a message.
TBB: I’ve heard the story of the song “How He Loves” before, but for those who don’t know, how did that song come about?
JMM: Several years ago my best friend was killed in a car accident. I learned about it while I was in Jacksonville, Florida, working in the studio. I was pretty devastated as you can imagine. I woke up the next day and wrote that song. I had a couple lines of the song before he died but I felt like the song was supposed to be for him so I sat down that morning and finished it.
The song is basically about dealing with the anger of his death and how I was pretty tempted to believe that God didn’t love us but that even in this death I can see that God does. I guess my question was if God loved him then why did he die, and the answer, I believed, was that he died because God loved him and wanted to be with him. It’s a difficult conclusion to come to and I’m not sure most people who sing the song completely understand where I was coming from when I wrote it, but I’m glad it’s touching people.
In fact I receive messages pretty regularly from kids who have battled with depression and suicide who tell me that the song actually turned them around and saved their lives. So I would never complain, and after all, I think a song can have more than one meaning.
My friend was actually in a prayer meeting the morning before he died and told the Lord that if his death would shake people up then he would give his life. I don’t entirely understand the implications of this prayer, but I do believe that the effect this song has had on people is part of a promise that the Lord made when He took my friend’s life.
There are kids who are alive now because they heard that song and that’s the only explanation I have for it. Just the facts. I don’t understand how all that works theologically. I just know that’s the way it is.
TBB: One of my favorites of your songs is the song “Closer.” Any interesting stories about that song?
JMM: This is just a really honest song I wrote one afternoon. I wrote a good bit of Song Inside the Sounds in the midst of some pretty serious pain. I’ve done this song in church pretty often.
Theologically I’m not really sure that we’re really supposed to beg God for anything. Sons and daughters don’t beg. I was just in a place of such turmoil that I felt like I needed more than good stories and chicken soup for the soul. I needed a living person. So often we equate Christianity down to good vibes and what I needed was a person. The truth in the song is that Jesus is a person not just a good bedtime story.
TBB: How does your new album The Medicine compare to The Song Inside the Sounds of Breaking Down?
JMM: Not sure entirely. They seem to be two different animals really. While I was recording The Medicine people would ask me if it sounded like Song Inside The Sounds or if it was much of a departure. I always told people that it was pretty similar, but the truth was I hadn’t listened to Song Inside the Sounds for years until recently. When I did put the old album back on I realized that the two sounded totally different.
Recording can play tricks on you. I remember much more of what things sounded like in the process than the actual final product sometimes and it’s hard to get those things out of my head. When I think about the albums, I tend to think more about the 6 months I spent recording them rather than the 60 minutes that actually reach the general public. As far as I could tell, the process for each seemed similar enough. It was the same group of musicians and the same producer. I just assumed they would turn out similarly. But nope. They sound totally different.
In the three years between them I’m pretty sure I grew a ton as a writer and as a singer and the rest of the band grew as well. I had a more focused idea of what I wanted to accomplish this go around and we focused less on studio production and more on live performance this time.
It’s really funny to me when people say they think The Medicine sounds so much more polished because we purposely let things hang loose from a performance side of things in ways we never would have done before. We certainly had a bigger budget and it’s certainly bigger sonically. But we let it all hang out to the point where we wondered if people would find it a bit too indie.
TBB: Speaking of your new album, I really enjoy the song “Ten Thousand.” What’s the idea behind that song?
JMM: “Ten Thousand“ uses a number as a vehicle to tell a story from the perspective of a kind of old revelator. I incorporated lots of imagery picturing both death (rivers run red) and resurrection (graves yawning). At the time I wrote this, and much of the album, I was somewhat fascinated with the idea of death and resurrection representing two sides of the human experience. In this particular situation it’s not, so much, a Biblical presentation of resurrection but a picture of death and resurrection in everyday life. But that certainly isn’t an unbiblical concept.
TBB: What about the song “The Medicine?” I can venture some guesses, but I’d like to hear the “official” meaning…
JMM: “The Medicine” is a song about how we, as humans, like to self-medicate and how, often, the things we do to avoid pain are the very things that bring us pain.
I remember what it was like when I was young and trying to run from loneliness. I used to have this stone in my chest that I just couldn’t shake and it was the worst at night when I had to be alone with my thoughts. So what you do is keep yourself busy with anything you can find so when you lay down, you’re out cold.
Dealing with heartache is such a painful process, but it doesn’t have to be as bad as we make it. I see people I love and I want to reach out and save them from all the agony they’re experiencing, but sometimes you just have to watch them go through it and its heartbreaking.
TBB: Which of your songs is your favorite to play?
JMM: In church I love to play “Skeleton Bones” because I love to hear people sing the chorus. I think I wrote it with the idea that lots of people would have to sing it together for it to really have the desired effect. Also I love to hear people sing words that you don’t generally hear in church worship.
In a club situation, I like to play “The Medicine” because it’s just such a beautiful greasy ruckus.
… OK, you’re probably overloaded already. Come back tomorrow for part two!
I’m not even sure what I can possibly say about Josh Garrels, other than the fact that he brings some of the most authentic and unique music to the Christian indie scene. He writes songs that would be considered overtly Christian, but most likely so Christian that you would never hear them on any contemporary Christian station or like avenues.
The music is a mixture of classic beats with a modern folk twist. I saw him for the first time when I was at a conference in California, and I honestly think people didn’t know what to do with him. He was using some old school beats, like from the 40’s and 50’s, mixed with his masterful guitar playing and amazing voice. I left that night at that coffeehouse greatly encouraged, and very surprised that someone this good has been under the radar for so long.
The sad things is that Josh Garrels most likely will never rise to Christian stardom, but he is more talented than most Christian rock stars. He sounds like Jack Johnson meeting classic Simon and Garfunkel, but even better! He has a few albums, at this point, and just released his latest full-length titled Jacaranda.
Josh is an Indianapolis/Muncie Indiana native and now currently resides in North Carolina. I am not sure what else to really say about him, other than the fact that he is one gifted individual, and he uses his talent not for his glory, but to be an authentic and real voice in a Christian world that thrives on the exterior. He brings deep insight and challenges the listener with his call to be real.
Check out his website. I’m pretty sure there are a few downloads on there, but here are some songs that he wanted me to pass along:
Note: All MP3s will be removed after one week
Joe Dorsey knows rock and roll. I don’t mean that stuff you can hear on MTV or VH1. That’s not rock and roll. You’ll get some pop, some hip hop, some R&B, but you don’t get a whole lot of rock anymore.
Nor do I mean that stuff you can hear on your favorite alternative radio stations or that cool indie rock college station in town. I love all that stuff, but that’s not what I’m talking about when I say rock and roll.
Joe Dorsey knows the rock and roll of Chuck Berry, Bob Dylan, The Rolling Stones, The Who, and Cream. Classic rock and roll, back when it was still infused with the soulful sounds of blues, before grunge took over and changed everything.
I’m a huge fan of grunge music and all it’s touched, but there’s just nothing like hearing some good old-fashioned straight-up rock and roll.
And for that, you’ll do good looking toward Joe Dorsey and his new album Rest.
I’d like to take a quick moment to thank Matt Modrich of True Tunes for this, his first “official” contribution to The Blah Blah, though he has for some time been supplying me personally with music tips and suggestions behind-the-scenes, thereby making me look cooler than I really am.
Starflyer 59 continues to break new ground with a cult following
despite always eluding the attention of the mainstream. Starflyer is Jason Martin’s solo project with a revolving cast of band members.
With 15 years in the books Martin continues to rock despite the “kids who want a faster beat”.
Dial M is Martin’s latest annual project and it fires on all
cylinders. With a sound reminiscent of the Brothers Martin album released last year, Martin picks up where My Island left off. Demos of Dial M were released last year as the vinyl box set Ghosts of the
The Dial M versions of the Ghosts material are fresher and more produced. Songs like “The Brightest of the Head” and “I Love You Like the Little Bird” have received a bit of a makeover. As with any makeover there will be those that approve and those that prefer the old versions.
Lyrically, Martin exhibits growth whereas in some of his earlier albums he said the lyrics were “just there”. The theme of his father’s death is the topic of “Mr. Martin” and the bonus track “Magic”. The subject of personal struggle is evident when Martin quotes the Apostle Paul: “‘To live is Christ; to die is gain’ I try and I try, I try and I try.”
Dial M is an excellent collection of tried and true songs, which proves Martin still has what it takes after all these years. But it seems as though the story is not yet complete because Martin still has more left in the tank. Let’s hope he keeps his taxi on the road.
Here are some sample tracks off the album, but please go and buy the whole thing:
Don Chaffer is a pretty recognizable name in certain circles of the music industry. Whether it’s his solo projects, his years with Waterdeep, or his new project The Khrusty Brothers, the guy deserves the attention he gets.
The first time I heard of The Khrusty Brothers, I thought, “Who the heck would name their new band that?!” It’s a weird name. Relax, the music is weird too, so it fits.
With that, the first time I heard their self-titled album, I didn’t like it. It was weird, but not quite weird enough; normal, but not quite normal enough. It felt stuck somewhere between really weird, trippy, cool alt-folk… and more normal, well-written, expertly-played classic folk. Read the rest of this entry »
If you’ve been paying attention, you’ll recognize Todd Berger’s name from his work with Enter the Worship Circle on the Village Thrift Circa 2005 album, back from… uh… right around 2005. Together with Ben and Robin Pasley, Ryan Lott, and Doc Harrill, Todd helped create something genuinely new in worship music, which is a rare thing when it happens. Overall, I liked the album. I thought some songs were phenomenal, some were really good, and some just shouldn’t have made the final cut. Like most albums, it was a mix of good and bad, but what it did more than anything was prove that a worship album didn’t have to be Chris Tomlin-influenced worship-rock (which there’s nothing wrong with), redone hymns (also, nothing wrong here), or simple acoustic songs ala Enter the Worship Circle’s normal stuff (again, nothing wrong with that either).
There’s a new Village Thrift album in the works, which should be even better than the first, but while you’re waiting, Todd Berger is about to release his own solo album, And Have Not Love.
I stumbled across this video the other day of David Crowder playing a Guitar Hero guitar for the song “Neverending” at a concert this past March.
I want that guitar.
I filled in for a friend this past week on his paper routes again, and one night I stuck the MP3 player on repeat with Cory Asbury and Matt Gilman’s new album Holy. To be honest, I didn’t care for Matt Gilman’s style that much, so I didn’t download any of his songs from the album, only Cory’s.
I like to play worship music while driving through the night delivering papers. It helps me stay focused on God, gives me some time with Him amidst the insanity of paper delivery, and keeps me from whining and feeling sorry for myself.
I once listened to Colour Revolt for four hours on the routes, and as much as I love those guys, I’d rather have lines like “Be exalted in our praises, be exalted in our love” get stuck in my head than “We call it mattresses underwater but the gutters are seeping.” Then I’m not just hanging out in the middle of the night listening to good music – I’m actually building myself up.