[Disclaimer: The author is married to a backing singer on Garage Hymnal’s debut album, Take My Life.]
The rise of Garage Hymnal as a major contributor to the local worship music scene has been nothing short of impressive. Their 2006 debut, Take My Life, was a slightly patchy affair, born out of the environment of a loose collaboration of musicians bound by a healthy dose of raw talent and a delight in the Word of God. Nevertheless, it boasted several strong moments (the title track and “Rejoice” in particular) that signalled that these were a young bunch to keep an eye on. By the time of their self-titled release of 2009 the group had coalesced into a much tighter unit, with the focus on the honeyed lead vocals of Alana Rodgers and Stephanie Vanden Hengel. Sonically the group offered delightful tunes that betrayed the influences of modern pop rock (e.g. Coldplay, Evermore, Something For Kate) and quirky indie (e.g. Architecture In Helsinki).
However, by this stage it was clear that they band had grown into a different kind of “worship band”. While spins on Christian Radio increased, precious few of the band’s songs made it into widespread congregational use (with the possible exceptions of their home churches). Is it possible that Garage Hymnal were making a genre switch from Worship Music to Christian Pop?
Perhaps in an attempt to ‘get back to their roots’, Garage Hymnal elected to make Album #4, Unity, a live album. Not only that, but it was to be recorded at St Stephen’s Anglican Church, a traditional edifice amid the hip grunginess of Newtown. Their website says that Unity...
“...offers twelve new songs for churches to sing together. Centred around the theme of our life together as a church, this album is a passionate prayer for unity...”
The rise of Garage Hymnal as a major contributor to the local worship music scene has been nothing short of impressive. Their 2006 debut, Take My Life, was a slightly patchy affair, born out of the environment of a loose collaboration of musicians bound by a healthy dose of raw talent and a delight in the Word of God. Nevertheless, it boasted several strong moments (the title track and “Rejoice” in particular) that signalled that these were a young bunch to keep an eye on. By the time of their self-titled release of 2009 the group had coalesced into a much tighter unit, with the focus on the honeyed lead vocals of Alana Rodgers and Stephanie Vanden Hengel. Sonically the group offered delightful tunes that betrayed the influences of modern pop rock (e.g. Coldplay, Evermore, Something For Kate) and quirky indie (e.g. Architecture In Helsinki).
However, by this stage it was clear that they band had grown into a different kind of “worship band”. While spins on Christian Radio increased, precious few of the band’s songs made it into widespread congregational use (with the possible exceptions of their home churches). Is it possible that Garage Hymnal were making a genre switch from Worship Music to Christian Pop?
Perhaps in an attempt to ‘get back to their roots’, Garage Hymnal elected to make Album #4, Unity, a live album. Not only that, but it was to be recorded at St Stephen’s Anglican Church, a traditional edifice amid the hip grunginess of Newtown. Their website says that Unity...
“...offers twelve new songs for churches to sing together. Centred around the theme of our life together as a church, this album is a passionate prayer for unity...”
It is also a strong bid for mainstream acceptance of their worship vision.
While live worship albums have on the increase in recent years, following on the success of the Hillsong and Sovereign Grace teams, it is worth remembering that such recordings have been popular ever since the days of Thomas A. Dorsey. Yet bringing a set of new songs in front of a live audience and counting on their enthusiastic support is an act of courage. Judging by the applause, Garage Hymnal seemed to have had no trouble winning over their crowd on this occasion.
In keeping with its title, the lyrics on Unity abound with plural pronouns. The songs remind the listener that individual salvation has both contemporary and eternal communal applications. Worship is not restricted to my heart or voice, but only when the voices of the elect are joined together is Christ truly honoured. We live together, we worship together, we expect together...
Unity grounds part of its message in an homage to Christian worship of past generations. The adaption of Charles Wesley’s lyrics in “Psalm 140” isn’t revolutionary, but the theological focus on the uplifting of Christian affections through the work of Christ is most welcome (particularly following the recent visit of John Piper). “We Praise You” on the other hand taps into a more ancient stream through its reworking of the Te Deum, revealing a maturity and knowledge of worship history that is encouraging. Unfortunately, “Fairest Lord Jesus” (based on a 19th Century translation of lyrics from German Jesuits) has roots more in Romanticism than Scripture, and the winsome vocals make the song more than a little twee.
The original songs on offer follow a theme of faithful perseverance while awaiting eschatological redemption. “Unity” takes its cue from Jn 17:11 in applying Trinitarian relationships to the proper expression of Christian unity. “Stand Firm” reminds of the necessity of waiting together for the return of Christ in faith. The fact that there is no Penal Substitution song does not mean that the cross is absent, but rather the death and resurrection of Jesus are the unspoken foundation of present hope.
Musically, this album aims for high standards and unquestionably delivers. Arrangements are tight, with the piano and guitar interplay of Andy Judd and Greg Cooper tastefully done. Perhaps the greatest strength of the album is that the lyrics consistently scan well and are emotionally engaging. For example, the opening verse of “Sunday Came”:
While live worship albums have on the increase in recent years, following on the success of the Hillsong and Sovereign Grace teams, it is worth remembering that such recordings have been popular ever since the days of Thomas A. Dorsey. Yet bringing a set of new songs in front of a live audience and counting on their enthusiastic support is an act of courage. Judging by the applause, Garage Hymnal seemed to have had no trouble winning over their crowd on this occasion.
In keeping with its title, the lyrics on Unity abound with plural pronouns. The songs remind the listener that individual salvation has both contemporary and eternal communal applications. Worship is not restricted to my heart or voice, but only when the voices of the elect are joined together is Christ truly honoured. We live together, we worship together, we expect together...
Unity grounds part of its message in an homage to Christian worship of past generations. The adaption of Charles Wesley’s lyrics in “Psalm 140” isn’t revolutionary, but the theological focus on the uplifting of Christian affections through the work of Christ is most welcome (particularly following the recent visit of John Piper). “We Praise You” on the other hand taps into a more ancient stream through its reworking of the Te Deum, revealing a maturity and knowledge of worship history that is encouraging. Unfortunately, “Fairest Lord Jesus” (based on a 19th Century translation of lyrics from German Jesuits) has roots more in Romanticism than Scripture, and the winsome vocals make the song more than a little twee.
The original songs on offer follow a theme of faithful perseverance while awaiting eschatological redemption. “Unity” takes its cue from Jn 17:11 in applying Trinitarian relationships to the proper expression of Christian unity. “Stand Firm” reminds of the necessity of waiting together for the return of Christ in faith. The fact that there is no Penal Substitution song does not mean that the cross is absent, but rather the death and resurrection of Jesus are the unspoken foundation of present hope.
Musically, this album aims for high standards and unquestionably delivers. Arrangements are tight, with the piano and guitar interplay of Andy Judd and Greg Cooper tastefully done. Perhaps the greatest strength of the album is that the lyrics consistently scan well and are emotionally engaging. For example, the opening verse of “Sunday Came”:
Sunday came, darkness hides in shame
Desert plains, greet the morning sun
Mourn no more, feel the rising joy
Hearts revived, dust returns to life
Desert plains, greet the morning sun
Mourn no more, feel the rising joy
Hearts revived, dust returns to life
Pure poetry!
So, if all that is true, why am I less than enthusiastic about this album?
First, there are sonic problems. Producer David Nicholas has an impressive pedigree, but the high ceilings of the recording location have produced a cavernous echo that results in a sonic wash which obscures many delicate musical moments (particularly in the quiet passages). While echo worked for Pink Floyd in Pompeii it doesn’t work so well for Garage Hymnal in Newtown. Another issue (common to live worship albums) is that the audience applause often intrudes on the beginning of songs, making it awkward for under-resourced churches who may rely on recorded music to lead their congregations.
But, more importantly, I am unconvinced that Unity has achieved its stated goal. Garage Hymnal wanted to make a Contemporary Worship album; what they made was another Christian Pop album.
A music co-ordinator who is keen to find appropriate material to introduce to their congregation will find the pickings on Unity sadly slim. Melodies are not well developed and are unnecessarily syncopated. The result is that those songs which are potentially singable would require too much work by a time-poor worship leader to rearrange with no guarantees that a congregation would pick up the tunes easily. The songs are undeniably catchy, but more “sing along in the car” than “worship together in church”. This is a shame, as Garage Hymnal is better than a Sydney Anglican version of Cold Chisel.
Garage Hymnal’s track record suggests that they have the potential to make a great contemporary worship album. Sadly, Unity ain’t it. As it is, this is still a fine collection of tunes that would be perfect for your next carpool up to Katoomba.
So, if all that is true, why am I less than enthusiastic about this album?
First, there are sonic problems. Producer David Nicholas has an impressive pedigree, but the high ceilings of the recording location have produced a cavernous echo that results in a sonic wash which obscures many delicate musical moments (particularly in the quiet passages). While echo worked for Pink Floyd in Pompeii it doesn’t work so well for Garage Hymnal in Newtown. Another issue (common to live worship albums) is that the audience applause often intrudes on the beginning of songs, making it awkward for under-resourced churches who may rely on recorded music to lead their congregations.
But, more importantly, I am unconvinced that Unity has achieved its stated goal. Garage Hymnal wanted to make a Contemporary Worship album; what they made was another Christian Pop album.
A music co-ordinator who is keen to find appropriate material to introduce to their congregation will find the pickings on Unity sadly slim. Melodies are not well developed and are unnecessarily syncopated. The result is that those songs which are potentially singable would require too much work by a time-poor worship leader to rearrange with no guarantees that a congregation would pick up the tunes easily. The songs are undeniably catchy, but more “sing along in the car” than “worship together in church”. This is a shame, as Garage Hymnal is better than a Sydney Anglican version of Cold Chisel.
Garage Hymnal’s track record suggests that they have the potential to make a great contemporary worship album. Sadly, Unity ain’t it. As it is, this is still a fine collection of tunes that would be perfect for your next carpool up to Katoomba.
No comments:
Post a Comment