Okay, last week I was listening to Breaking Benjamin while writing about Puccini's La Boheme. This week I'm taking it one step further and comparing the generation of the latest version of "Dear Agony" with Southwest Shakespeare's production (by Tier 5) of "Meg Jo Beth Amy & Louisa."
I can't just talk about the play because my feelings on it are mixed. On the one hand, it delivered striking emotional chords the likes of which I don't remember seeing since the January 2017 Hamlet (oh, that was one was amazing). On the other, I'm uninterested in mixing things up and modernizing things just for the sake of mixing up and modernizing--for instance, why does the audience get so excited whenever they add in cuss words, is that really that creative?
And I also can't just talk about "Dear Agony." It's part of Breaking Benjamin's new acoustic album, Aurora, and it has the exciting first collaboration with Lacey Sturm formerly of Flyleaf (their Memento Mori is probably my top album of all). So I can say, yeah, that's a great song and so is the story about how they came to collab and the possibility of them doing a whole album together. Her comment to him about how the song is Jesus in Gethsemane is really a reflection of the relation between art, the artist, and the processing of emotion.
And that's where we come back to the play. It is so-titled as it is because it shows Lousia May Alcott writing Little Women and fighting with her publisher over what she doesn't want to write (we all know she had no interest in writing a book for little girls). She is literally onstage with her characters, deciding what they will do, trying to find a connection by writing about her own family, and then along the way realizing that she is invested in this story because it has become something that she does care about.
On one hand, Little Women is as flat as her publisher wanted. On the other, it is quite a contrast to other moral stories of the day and that's why it has continued to be read even today. She did what was asked and somehow tweaked it just enough that it wouldn't be too shocking as to not be published and yet that it would be enough that it would subtly start to shift things. Meg's Mishaps particularly stands out to me; she didn't just write about the good wife, she wrote about a young wife crying over the jelly that didn't jell and getting into the first friction with her husband over buying expensive clothing fabric. So Louisa wrote the moral tale--but she somehow also wrote real at the same time.
What does this have to do with Breaking Benjamin and Lacey Sturm? Throughout the play, we see Louisa struggling with her relationship not just to her publisher but also to her past and to her family and to her society and to herself. Through the creation of the book and the unraveling of her memories that comes with it, she is able to forgive people in her life (whether her sister or her father), to appreciate things in her life (particularly her sisters), and to better come to terms with her place in the world. So it is essentially an emotional unwinding process. Like what led to the Aurora collaboration.
On the one hand, you have Benjamin Burnley writing a rock song with whatever inspiration. Then Lacey Sturm comes in (I love that picture of them where she doesn't even come close to reaching his shoulder) saying, this is what your song is about. And then he in a way agrees to take on that interpretation by inviting her to collab with him on the new version. So the song starts angling into a new or perhaps simply more full meaning as the artist's relationship with it develops. Emotional unwinding.
The play is over, but here is the Spotify link to the Aurora version of "Dear Agony."
Showing posts with label Flyleaf. Show all posts
Showing posts with label Flyleaf. Show all posts
Monday, February 3, 2020
Monday, June 25, 2018
Giving Back in Return
When Lacey Sturm wrote her first book, The Reason, I realized that one of the reasons I had connected with and enjoyed Flyleaf's music so much was Lacey's writing. And she also has an incredible testimony, so getting to hear that story in detail was a gift. Her second book, The Mystery, I found even more applicable to me on a personal level--at least, in the sense of pondering some things in the present and some things before they happen so as to be prepared for when you do come into certain situations. And, you know, God has a way of bringing us exactly the things we need at exactly the right time. Lacey's third book, The Return: Reflections on Loving God Back, was kind of like that.
It was also interesting (as I thought it might be, which is why I chose to read these books in this order rather than vice versa) to come into this book straight after reading Ashley Eckstein's book, It's Your Universe. To me, that book was kind of like the bare bones, straightforward, think on good and do good, live well and be well type of message; then this one came in with more detail and explained the why behind it all.
I've mentioned in some other posts that I have been discovering, like I never knew before, what worship means and what prayer means--and craving them both. I think that if I hadn't been in this stage of realizing all this in a different way than before, then maybe I wouldn't have been able to take in Lacey's words in the same way (or maybe then they just would have introduced me to what I was missing, who knows). As it was, so many time I would read what she said and think, yes, I know exactly what you mean. Or, oh, you're right, I need more of that or to remind myself of that.
Rather than being in typical narrative form, this book is a little different. There are chapters and part of the chapters are regular text. Part of them, though, are journal pieces from the past twenty years. The journals have Bible verses listed (the verses themselves aren't there, so at least sometimes you'll find yourself reaching out to look them up and read them as you go through), prayers, lists of kind things to do, song lyrics, and recipes. So you're truly going through and seeing Lacey's journey from being a young Christian to the Flyleaf days to having her family to the solo music days and up to the present.
She brings up some topics, like music and fame and family and temptation and depression and health and work and rest and worship. But the most significant thing about it all is never a specific topic: it's obedience to God--and obedience stemming from genuine love and true desire to serve God. Freedom, not bondage. So it's never about do this or do that. It's all about listening to God and reaching out to him constantly and in all things.
When I walk from my car to work, I look at the mountains and I look up at the sky and I feel myself here on earth reaching up toward heaven and I ask to be God's light to whoever it is that I come into contact with. This book feeds that perspective. That perspective of where am I today and right now and what should I be doing today and right now for God? There is a person; let me smile at them. There is something dirty; let me clean it. There is a task; let me attend to it. Wherever you are, whatever you are doing.
There are plenty of great lines in this book, great ways of putting concepts. But I'll let you read all that for yourself. The main message is to listen and to reach. Never forget the beauty of creation, of which we are all part, and the glory of its Creator, from whom all good things come.
It was also interesting (as I thought it might be, which is why I chose to read these books in this order rather than vice versa) to come into this book straight after reading Ashley Eckstein's book, It's Your Universe. To me, that book was kind of like the bare bones, straightforward, think on good and do good, live well and be well type of message; then this one came in with more detail and explained the why behind it all.
I've mentioned in some other posts that I have been discovering, like I never knew before, what worship means and what prayer means--and craving them both. I think that if I hadn't been in this stage of realizing all this in a different way than before, then maybe I wouldn't have been able to take in Lacey's words in the same way (or maybe then they just would have introduced me to what I was missing, who knows). As it was, so many time I would read what she said and think, yes, I know exactly what you mean. Or, oh, you're right, I need more of that or to remind myself of that.
Rather than being in typical narrative form, this book is a little different. There are chapters and part of the chapters are regular text. Part of them, though, are journal pieces from the past twenty years. The journals have Bible verses listed (the verses themselves aren't there, so at least sometimes you'll find yourself reaching out to look them up and read them as you go through), prayers, lists of kind things to do, song lyrics, and recipes. So you're truly going through and seeing Lacey's journey from being a young Christian to the Flyleaf days to having her family to the solo music days and up to the present.
She brings up some topics, like music and fame and family and temptation and depression and health and work and rest and worship. But the most significant thing about it all is never a specific topic: it's obedience to God--and obedience stemming from genuine love and true desire to serve God. Freedom, not bondage. So it's never about do this or do that. It's all about listening to God and reaching out to him constantly and in all things.
When I walk from my car to work, I look at the mountains and I look up at the sky and I feel myself here on earth reaching up toward heaven and I ask to be God's light to whoever it is that I come into contact with. This book feeds that perspective. That perspective of where am I today and right now and what should I be doing today and right now for God? There is a person; let me smile at them. There is something dirty; let me clean it. There is a task; let me attend to it. Wherever you are, whatever you are doing.
There are plenty of great lines in this book, great ways of putting concepts. But I'll let you read all that for yourself. The main message is to listen and to reach. Never forget the beauty of creation, of which we are all part, and the glory of its Creator, from whom all good things come.
Friday, April 8, 2016
Lacey Sturm in Concert
I suppose I'm not a big concert person; I don't usually go to concerts just for the sake of going out somewhere. And the people whose music I listen to don't always come to Arizona (Hayley Westenra and Emma Shapplin, here's looking at you--at least make it to L.A. one day and maybe I can make it over there). With that being said, when someone I like is going to be nearby, it becomes all the more important to me that I get to see them live (just because there are only so many concerts that I do want to go to).
Flyleaf is one of my favorite bands and has been hugely influential to me and my life and my creation of art through writing. I never saw them live. Now the band itself is still around but Lacey stepped down as lead singer, putting our her solo album earlier this year after taking a bit of a break. While I enjoyed Flyleaf's newest album with their new singer, I loved Lacey's solo album: there is just something about the way that she sings and writes lyrics. So when I found out that she was going to be kicking off her solo tour in Scottsdale, well, I started to wonder if I couldn't make time to go. (Getting back home at nearly 1:00 AM on a Thursday night isn't exactly ideal.)
I don't really go see rock bands. I think the first concert I went to was Chris Tomlin with Matt Redman--maybe some pop rock but completely different. I see more in the semi-classical range: Josh Groban, Andrea Boccelli. I got to see Blondfire a couple years ago (though I used to love their music, strangely, right around the time they came to Arizona was when they were starting to release new music that I just can't enjoy)--they have an airy, indie pop, euro pop sound (incidentally, they came to the same venue that Lacey did). I did see U2 last year, which was great, but it was also such a big venue.
So seeing Lacey live was something a little different for me I guess. I usually listen to music with headphones, so to actually get all of the drums and guitars at full volume is really another experience. And then to get to hear the vocals live, to see Lacey up close and see the passion with which she delivers her performance. (This is the great thing about small venues: you can be all the way in the back and still be right there.) It isn't just a repeat of the studio sound: it's freshly delivered and therefore comes with a fresh emotional impact. As near as I can remember, here was the set list (or something like it):
"Impossible"
"The Soldier"
"I'm Not Laughing"
"The Chasm"
"Rot"
"You're Not Alone"
"Feels Like Forever" (I think)
"Run to You"
"Faith"
"Roxanne"
"All Around Me"
"I'm So Sick"
"Fully Alive"
"Call You Out"
Most tracks were from her album, Life Screams (though she didn't play the title track). There were also a couple from Flyleaf's Memento Mori, one from New Horizons, and a couple of others (there was a good one that she said she doesn't get to sing often, but I didn't recognize it or catch the name of it). She skipped the words/conversation for "Vanity" but delivered the ones that start off "Rot;" that was cool to see live and I think helped me understand some of the messages in the pair of tracks. That's the thing about Lacey's songs: sometimes their meaning (or at least general meaning) is clear but sometimes there is a backstory that you kind of need to know to realize who the speaker is or what the setting is or what the exact message is. She shared something about "You're Not Alone," for instance, that gave a new perspective to it.
Such energy she brought onto the stage. Moving and singing like she has something very important to say--and she does. She only talked a little bit during the show, but just enough to complement the songs, to remind you of their significance. "I can't hold my head up in this dark room anymore. I need a lightning bolt to save me from this grave. Here comes fresh fire. . . . Oh my God, you've won the coldest battle we've fought. Deliverance is mine from more of this beauty that'll rot." The pain, the answer, and the decision to accept the answer and to live it. "Every morning I see another miracle. I can't believe I'm living the impossible. We are the sign and we are the wonder. . . . I choose to be alive."
Lacey screams out a message and she wants to make sure everyone hears it. That makes for an incredible live performance. And she reminded me anew to live with passion. Whatever you do, do not be passive--and drive your passion from the right source toward the right ends. Live. Live because you know what it is to not be alive, because you have found something greater than that--and you want to be it and to share it. Don't fall back.
Flyleaf is one of my favorite bands and has been hugely influential to me and my life and my creation of art through writing. I never saw them live. Now the band itself is still around but Lacey stepped down as lead singer, putting our her solo album earlier this year after taking a bit of a break. While I enjoyed Flyleaf's newest album with their new singer, I loved Lacey's solo album: there is just something about the way that she sings and writes lyrics. So when I found out that she was going to be kicking off her solo tour in Scottsdale, well, I started to wonder if I couldn't make time to go. (Getting back home at nearly 1:00 AM on a Thursday night isn't exactly ideal.)
I don't really go see rock bands. I think the first concert I went to was Chris Tomlin with Matt Redman--maybe some pop rock but completely different. I see more in the semi-classical range: Josh Groban, Andrea Boccelli. I got to see Blondfire a couple years ago (though I used to love their music, strangely, right around the time they came to Arizona was when they were starting to release new music that I just can't enjoy)--they have an airy, indie pop, euro pop sound (incidentally, they came to the same venue that Lacey did). I did see U2 last year, which was great, but it was also such a big venue.
So seeing Lacey live was something a little different for me I guess. I usually listen to music with headphones, so to actually get all of the drums and guitars at full volume is really another experience. And then to get to hear the vocals live, to see Lacey up close and see the passion with which she delivers her performance. (This is the great thing about small venues: you can be all the way in the back and still be right there.) It isn't just a repeat of the studio sound: it's freshly delivered and therefore comes with a fresh emotional impact. As near as I can remember, here was the set list (or something like it):
"Impossible"
"The Soldier"
"I'm Not Laughing"
"The Chasm"
"Rot"
"You're Not Alone"
"Feels Like Forever" (I think)
"Run to You"
"Faith"
"Roxanne"
"All Around Me"
"I'm So Sick"
"Fully Alive"
"Call You Out"
Most tracks were from her album, Life Screams (though she didn't play the title track). There were also a couple from Flyleaf's Memento Mori, one from New Horizons, and a couple of others (there was a good one that she said she doesn't get to sing often, but I didn't recognize it or catch the name of it). She skipped the words/conversation for "Vanity" but delivered the ones that start off "Rot;" that was cool to see live and I think helped me understand some of the messages in the pair of tracks. That's the thing about Lacey's songs: sometimes their meaning (or at least general meaning) is clear but sometimes there is a backstory that you kind of need to know to realize who the speaker is or what the setting is or what the exact message is. She shared something about "You're Not Alone," for instance, that gave a new perspective to it.
Such energy she brought onto the stage. Moving and singing like she has something very important to say--and she does. She only talked a little bit during the show, but just enough to complement the songs, to remind you of their significance. "I can't hold my head up in this dark room anymore. I need a lightning bolt to save me from this grave. Here comes fresh fire. . . . Oh my God, you've won the coldest battle we've fought. Deliverance is mine from more of this beauty that'll rot." The pain, the answer, and the decision to accept the answer and to live it. "Every morning I see another miracle. I can't believe I'm living the impossible. We are the sign and we are the wonder. . . . I choose to be alive."
Lacey screams out a message and she wants to make sure everyone hears it. That makes for an incredible live performance. And she reminded me anew to live with passion. Whatever you do, do not be passive--and drive your passion from the right source toward the right ends. Live. Live because you know what it is to not be alive, because you have found something greater than that--and you want to be it and to share it. Don't fall back.
Tuesday, March 10, 2015
The Reason
You know that effect everyone talks about, where all the things you're reading in different classes (no matter how different they are) suddenly converge and seem like they're all expressing the same exact theme and message? Well, I've been having that experience lately despite being some time out of college.
I watched Swept from the Sea (which is based on Joseph Conrad's story "Amy Foster," which I really need to read) and Divergent and certain things about them seemed so similar in my head that at one point I was thinking of a quote that I literally couldn't remember if it had come from one movie or the other. I read the Divergent trilogy. I listened to "Beating Heart" and then bought the Deluxe Edition of Ellie Goulding's Halcyon Days and somehow ended up listening to it in tandem with Fireflight's two new singles from their upcoming album, Innova--and the sound of everything was coming together. I went to Picacho Peak (State Park) and reread parts of The Host (which takes place in that area). And I read Lacey Sturm's autobiography, The Reason (she was the singer in Flyleaf before she stepped down). And it is all converging into this one theme and I can't separate any of it because I'm just seeing connections everywhere, in these things and everywhere I look.
Though this book came out towards the end of last year, I didn't hear about it until January. I already knew a little of Lacey's story, but given how much I love Flyleaf, I really wanted to read her book. At the same time, I think this book was what I was expecting and something a little more. Before I get into that, though, I just want to take a moment to appreciate Jordan Clarke's illustrations: they add just the right touch and perfectly express what is on the page.
Coming in, I had thought it was more of an autobiography. It is--but not entirely. Lacey gives out the most details for the early days of her life, then she focuses more on a thematic journey through the following years, giving descriptions of certain important moments. So I think if you want it to be an autobiography as in a detailed account of every stage of her life and everything she's done, then you won't be getting that. Her focus is more on the theme of her life--just like Flyleaf's music, in fact.
It's the story of going from rebellion and obsession with darkness to discovering the light. That in itself is powerful, as is Lacey's deep commitment to telling this story. For me personally, I think there were two things that stood out to me most. First is Lacey's love of people. It's easy to say that you care about people but then forget that the people around you at a store or class or work or hair salon or wherever you happen to be are these people--everyone you come across deserves your respect and your love and it's easy to stray from that, whether in making fun of a stranger's outfit behind their back or saying something rude or whatever it might be. That is no way to promote light.
The second thing was empowerment (you see my connection to Divergent now, right?). Maybe as a quieter, I'd-rather-stand-in-the-back-than-go-up-front type of person, this was something I really needed a reminder of. There is power in knowing that there is a God greater than you who watches over you and helps you in all that you do--alone, what can we do? But if we are not alone, then we need not fear or cower in the background; we can. We can live and we can do. Here is where you start playing Fireflight's "We Are Alive." Or if you'd rather stick to the Flyleaf theme, try "Fully Alive," "All Around Me," "New Horizons," and "Beautiful Bride." That last song played in my head quite a bit as I read: it's that feeling of unity. Let's not forget that unity.
I watched Swept from the Sea (which is based on Joseph Conrad's story "Amy Foster," which I really need to read) and Divergent and certain things about them seemed so similar in my head that at one point I was thinking of a quote that I literally couldn't remember if it had come from one movie or the other. I read the Divergent trilogy. I listened to "Beating Heart" and then bought the Deluxe Edition of Ellie Goulding's Halcyon Days and somehow ended up listening to it in tandem with Fireflight's two new singles from their upcoming album, Innova--and the sound of everything was coming together. I went to Picacho Peak (State Park) and reread parts of The Host (which takes place in that area). And I read Lacey Sturm's autobiography, The Reason (she was the singer in Flyleaf before she stepped down). And it is all converging into this one theme and I can't separate any of it because I'm just seeing connections everywhere, in these things and everywhere I look.
Though this book came out towards the end of last year, I didn't hear about it until January. I already knew a little of Lacey's story, but given how much I love Flyleaf, I really wanted to read her book. At the same time, I think this book was what I was expecting and something a little more. Before I get into that, though, I just want to take a moment to appreciate Jordan Clarke's illustrations: they add just the right touch and perfectly express what is on the page.
Coming in, I had thought it was more of an autobiography. It is--but not entirely. Lacey gives out the most details for the early days of her life, then she focuses more on a thematic journey through the following years, giving descriptions of certain important moments. So I think if you want it to be an autobiography as in a detailed account of every stage of her life and everything she's done, then you won't be getting that. Her focus is more on the theme of her life--just like Flyleaf's music, in fact.
It's the story of going from rebellion and obsession with darkness to discovering the light. That in itself is powerful, as is Lacey's deep commitment to telling this story. For me personally, I think there were two things that stood out to me most. First is Lacey's love of people. It's easy to say that you care about people but then forget that the people around you at a store or class or work or hair salon or wherever you happen to be are these people--everyone you come across deserves your respect and your love and it's easy to stray from that, whether in making fun of a stranger's outfit behind their back or saying something rude or whatever it might be. That is no way to promote light.
The second thing was empowerment (you see my connection to Divergent now, right?). Maybe as a quieter, I'd-rather-stand-in-the-back-than-go-up-front type of person, this was something I really needed a reminder of. There is power in knowing that there is a God greater than you who watches over you and helps you in all that you do--alone, what can we do? But if we are not alone, then we need not fear or cower in the background; we can. We can live and we can do. Here is where you start playing Fireflight's "We Are Alive." Or if you'd rather stick to the Flyleaf theme, try "Fully Alive," "All Around Me," "New Horizons," and "Beautiful Bride." That last song played in my head quite a bit as I read: it's that feeling of unity. Let's not forget that unity.
Monday, January 12, 2015
Between the Stars
Sometimes music just takes a while to absorb. It can take time to listen to new music multiple times and learn the lyrics and ponder everything it's saying. Then when Flyleaf's latest album came out last year, there was also the new singer to get used to.
That's the first time a band I've listened to has changed singers. While I was never sure what I thought of Lacey's voice exactly, I did know that I liked the way she sang, which might be the same thing, anyway; she just has such a specific way of singing with her heart in her throat that really became synonymous with Flyleaf. Kristen sings differently and while I appreciate that she doesn't try to just imitate Lacey (that would never work, anyway, since it would be false or hollow), her voice did take some getting used to. The EP that came out before the album helped me become familiar with her voice, but then I had to get used to the new sound all over again with the album.
For a moment, everything felt different. I listened to the album and it was alright, but it didn't satisfy something that I wanted. So I waited and I listened more and I waited more. And then I recognized Flyleaf, the same as always, behind the one difference. The thing is, I'm not a musical person. So I don't think in terms of bass solos or drum beats . . . but I do really enjoy the sound that Sameer, Jared, Pat, and James put together. And that sound remains the same even with a new singer; that specific sound that is edgy and atmospheric all at once. Like the start to "Head Under Water." Don't even ask me to try describing it, but it's wonderful. And then once the music drew me back in, I was able to go back to Kristen's voice. She has a powerful voice to be able to match the music, gliding swiftly or slowly, sharply or softly. I accept her now.
I admit that I was a little less than awed at some of the lyrics at first. Memento Mori remains my favorite Flyleaf album, but I suppose not every album needs to go so far and so deep into stories and the symbolic. Between the Stars is closer to the vein of New Horizons. I think the title speaks to that weightless feeling of exploring what different moments in life mean, that atmospheric sound to the music; the stars also can stand for all of the people that you come across and meet and live with. This album is about taking floods and turning them into life, about sprouting growth and goodness from what could keep you down instead.
"Set Me on Fire," "Sober Serenade," "Head Under Water," and "Magnetic" are some of my favorites. "Thread" and "Marionette" are also good. I have mixed feelings about "City Kids" and "Blue Roses."
Given that Flyleaf is one of my favorite bands (Memento Mori is one of my favorite albums ever), it is nice to continue to get new music, new things to add to the mix. There's getting to be rather a variety now.
That's the first time a band I've listened to has changed singers. While I was never sure what I thought of Lacey's voice exactly, I did know that I liked the way she sang, which might be the same thing, anyway; she just has such a specific way of singing with her heart in her throat that really became synonymous with Flyleaf. Kristen sings differently and while I appreciate that she doesn't try to just imitate Lacey (that would never work, anyway, since it would be false or hollow), her voice did take some getting used to. The EP that came out before the album helped me become familiar with her voice, but then I had to get used to the new sound all over again with the album.
For a moment, everything felt different. I listened to the album and it was alright, but it didn't satisfy something that I wanted. So I waited and I listened more and I waited more. And then I recognized Flyleaf, the same as always, behind the one difference. The thing is, I'm not a musical person. So I don't think in terms of bass solos or drum beats . . . but I do really enjoy the sound that Sameer, Jared, Pat, and James put together. And that sound remains the same even with a new singer; that specific sound that is edgy and atmospheric all at once. Like the start to "Head Under Water." Don't even ask me to try describing it, but it's wonderful. And then once the music drew me back in, I was able to go back to Kristen's voice. She has a powerful voice to be able to match the music, gliding swiftly or slowly, sharply or softly. I accept her now.
I admit that I was a little less than awed at some of the lyrics at first. Memento Mori remains my favorite Flyleaf album, but I suppose not every album needs to go so far and so deep into stories and the symbolic. Between the Stars is closer to the vein of New Horizons. I think the title speaks to that weightless feeling of exploring what different moments in life mean, that atmospheric sound to the music; the stars also can stand for all of the people that you come across and meet and live with. This album is about taking floods and turning them into life, about sprouting growth and goodness from what could keep you down instead.
"Set Me on Fire," "Sober Serenade," "Head Under Water," and "Magnetic" are some of my favorites. "Thread" and "Marionette" are also good. I have mixed feelings about "City Kids" and "Blue Roses."
Given that Flyleaf is one of my favorite bands (Memento Mori is one of my favorite albums ever), it is nice to continue to get new music, new things to add to the mix. There's getting to be rather a variety now.
Thursday, January 30, 2014
Remember the "Memento Mori"
Has it really been over four years since Flyleaf's album Memento Mori came out? Flyleaf, along with Emma Shapplin, has remained one of my most-played artists; their music speaks to me over and over again, and I am in turn constantly creating my response to it.
Something recently put in mind the cover art for Memento Mori. I've always thought it had sort of odd imagery, but it is a rock band, after all. And I figured there was some sort of symbolic side to it, even if my own interpretation was only scratching the surface. The album title, you will recall, means "remember death" or "remember you will die." So when I went back to the digital album a couple days ago to look back at the cover art, I realized that the album contains the story of the songs. I must have assumed, four years ago, that the tiny words in the digital file were just the lyrics.
The story is told in journal entries, written by a fictional character, describing a sort of symbolic-spiritual world that reminded me of C.S. Lewis's The Screwtape Letters. There is one entry for each song. So for every song, there is a complete story. While I had understood the gist of the songs, these stories helped to give even more depth to the lyrics I had heard time and time again. They also helped me understand that cover art better.
I don't want to describe everything that is in the mini journal; I just wanted to make note of my discovery and pass it along to anyone else who overlooked it. Basically, the way the album text illuminates the songs is what I love about Flyleaf. I love the boldness; I love the artistry; I love the symbolic side. And I love the hope.
Something recently put in mind the cover art for Memento Mori. I've always thought it had sort of odd imagery, but it is a rock band, after all. And I figured there was some sort of symbolic side to it, even if my own interpretation was only scratching the surface. The album title, you will recall, means "remember death" or "remember you will die." So when I went back to the digital album a couple days ago to look back at the cover art, I realized that the album contains the story of the songs. I must have assumed, four years ago, that the tiny words in the digital file were just the lyrics.
The story is told in journal entries, written by a fictional character, describing a sort of symbolic-spiritual world that reminded me of C.S. Lewis's The Screwtape Letters. There is one entry for each song. So for every song, there is a complete story. While I had understood the gist of the songs, these stories helped to give even more depth to the lyrics I had heard time and time again. They also helped me understand that cover art better.
I don't want to describe everything that is in the mini journal; I just wanted to make note of my discovery and pass it along to anyone else who overlooked it. Basically, the way the album text illuminates the songs is what I love about Flyleaf. I love the boldness; I love the artistry; I love the symbolic side. And I love the hope.
Wednesday, November 7, 2012
New Horizons & Heights
I suppose a week should be long enough for me to have brought some thoughts together on Flyleaf's new album, New Horizons, right?
It did take some time for this album to soak in; I needed the time to contemplate the tone (Flyleaf's all about the tone for me) and listen to the lyrics. The sound of the album is something of a combination of Flyleaf's previous two, the harder sound of Flyleaf and the more melodic one of Memento Mori. And of course it also came with the announcement of Lacey's departure, which inevitably had to color my listening to the songs just a little bit. But this announcement had none of the awkwardness that might be expected (*cough* Paramore); you can read the official statements on their website. Lacey's message is so wonderfully put that I can't exactly have a reaction to this news. I can't rebel, I can't be sad--because there are three wonderful Flyleaf albums sitting in my iTunes library, songs that have grown with me and into me. To quote "New Horizons," I would say, "there is no such thing as time, inside this moment."
On to the album. I would characterize this one as standing on the edge of a cliff, feeling near weightless but not exactly breathless, stretched out and ready--not exactly to jump or fall, but to be lifted off into new area, New Horizons. The songs tend not to be painfully sad or necessarily painfully joyous. They are up and standing and thinking and doing. Besides the title song, I'm also really enjoying "Cage on the Ground," "Great Love," "Freedom," and "Stand." Of course, "Broken Wings" is also wonderful, and "Saving Grace" has really grown on me. And I like "Bury Your Heart" and "Fire, Fire," too. What's that? I've only left out two songs? I guess that expresses the main fact: another great Flyleaf album.
It did take some time for this album to soak in; I needed the time to contemplate the tone (Flyleaf's all about the tone for me) and listen to the lyrics. The sound of the album is something of a combination of Flyleaf's previous two, the harder sound of Flyleaf and the more melodic one of Memento Mori. And of course it also came with the announcement of Lacey's departure, which inevitably had to color my listening to the songs just a little bit. But this announcement had none of the awkwardness that might be expected (*cough* Paramore); you can read the official statements on their website. Lacey's message is so wonderfully put that I can't exactly have a reaction to this news. I can't rebel, I can't be sad--because there are three wonderful Flyleaf albums sitting in my iTunes library, songs that have grown with me and into me. To quote "New Horizons," I would say, "there is no such thing as time, inside this moment."
On to the album. I would characterize this one as standing on the edge of a cliff, feeling near weightless but not exactly breathless, stretched out and ready--not exactly to jump or fall, but to be lifted off into new area, New Horizons. The songs tend not to be painfully sad or necessarily painfully joyous. They are up and standing and thinking and doing. Besides the title song, I'm also really enjoying "Cage on the Ground," "Great Love," "Freedom," and "Stand." Of course, "Broken Wings" is also wonderful, and "Saving Grace" has really grown on me. And I like "Bury Your Heart" and "Fire, Fire," too. What's that? I've only left out two songs? I guess that expresses the main fact: another great Flyleaf album.
Friday, August 24, 2012
Flyleaf's "New Horizons"
I often can't quite describe what it is I like about Flyleaf: it's their tone that I like, and I can't further define it.
So while their new single has some people commenting about their new, slightly more pop sound, I can't say I would have made as much of an issue out of it without hearing this commentary. "New Horizons," whatever slight musical differences to previous works it may have, is still consistent with the Flyleaf repertoire. The song won me over about as soon as I pressed "play."
It may be that some of the lyrics speak exactly to what I was lightly complaining/worrying about yesterday. "New Horizons" speaks to worry, stress, desperation, and the need to look forward to something greater and to still choose to continue along the path you know is right. It's about temporality and eternity; accepting and deciding.
One question: does this mean there is a third album coming out soon? I remember when Memento Mori came out when I was just a college freshman . . .
So while their new single has some people commenting about their new, slightly more pop sound, I can't say I would have made as much of an issue out of it without hearing this commentary. "New Horizons," whatever slight musical differences to previous works it may have, is still consistent with the Flyleaf repertoire. The song won me over about as soon as I pressed "play."
It may be that some of the lyrics speak exactly to what I was lightly complaining/worrying about yesterday. "New Horizons" speaks to worry, stress, desperation, and the need to look forward to something greater and to still choose to continue along the path you know is right. It's about temporality and eternity; accepting and deciding.
One question: does this mean there is a third album coming out soon? I remember when Memento Mori came out when I was just a college freshman . . .
Tuesday, November 17, 2009
Flyleaf & Liz
Two weeks since Flyleaf's Memento Mori came out, I can say that I'm quite happy with the CD. It has growth and just as strong a message as their previous work. The way Lacey Mosley sings, it's like her heart is right in her throat. I haven't found anyone who sings quite like she does. This album seems less heartbreaking than the first one, more ethereal, its songs find piercing joy amongst the sorrow. And one thing I could never grow to like before were the occasional screams; Memento Mori has practically none, of which I'm glad.
"Again" and "Beautiful Bride" are great starters to the album. "Missing" and "Set Apart" are two of my favorites. But the one that wins hands down for me, right from the first listen, is "Treasure." It's beautiful and bittersweet and fantastical and real and calming and encouraging. I think it's my new favorite Flyleaf song (it was probably "Sorrow" before . . . which is a kind of different song.)
And what is it about the "Liz" in the title? That's Liz Curtis Higgs I'm referring to. I decided I needed a key in, some author whose work was comparable to Flyleaf's. You see, Flyleaf puts so much feeling into their music. They don't stop at the surface, but keep on going in and in until it hurts, only to come at the kind of joy that's practically opposite happiness. That's what Liz Curtis Higgs does (with her historical fiction, that is . . . I've only read one of her other books.) Try reading Rose in Bloom (second in the Thorn in My Heart series) without at least getting very close to tears. She's not afraid to write everything down, and that means her happy moments are all the happier. So, Flyleaf and Liz Curtis Higgs, not sure how many people besides me are fans of both, but they have a great deal in common. Anyways, diversity is good: if everyone made their point in the same way, what would be the fun in that?
(The New Moon premiere was last night -- just a couple more days until it comes out. I'm trying not to think about it much, but I do promise a post about my expectations either tomorrow or Thursday.)
Sunday, September 20, 2009
Waiting . . .
It seems I always have a long list of things I'm waiting for. Then once the list starts shortening, new things go up on it. I've realized now that it will never end; I just have to figure out how to learn patience. Here's the list for today:
Books:
1. Here Burns My Candle by Liz Curtis Higgs. The release date for this one has been pushed back once or twice, but it's set to come out in the spring. Liz is one of the few modern writers that I really love; she can turn out such an emotionally dense story.
2. The Twilight Saga Official Guide by Stephenie Meyer. It was originally supposed to come out December 31st, 2008 . . . last I checked, Barnes & Noble was listing the same day in '10. We'll see it that's true.
3. The New Moon Official Illustrated Movie Companion. I've already pre-ordered it, but even though I'll get it in about two weeks, I'm waiting until I see the movie to open it. Insane, I know. But I have to stay away from spoilers and pre-ordering is just too tempting.
4. I think I can now add the next Bran Hambric book by Kaleb Nation. I don't think I'll be holding my breath too much for it, yet it'll be nice to have.
Movies:
1. You guessed it, New Moon. Sixty more days. I'm tempted to go to the midnight showing, but that probably won't be happening. I'll probably see it at a dull time around 2:30, giving me time to go to class, get lunch, and be at the theatre with ample time.
2. The Voyage of the Dawn Treader. The first two Narnia movies, well, they had their good and bad points. I still love Narnia itself enough that I'll continue watching, anyway. Plus, I think this next one is going to be different from the other two. I'm really starting to think having Michael Apted directing and David Arnold with the music, not to mention the two way-too-old oldest Pevensies mostly out of the picture, will make it better. 12/10/10.
Music:
1. Josh Groban is working on his next CD right now, which will probably come out in the spring. I'm really curious what tone he's going for. Three studio albums (minus the Christmas ones) are still beginnings. A fourth starts to show who you are as an artist overall.
2. Fireflight is also recording their next album. I've been really into them lately. They have great lyrics that make their approach to a loud, hard genre unique. No idea when the release is.
3. After years of just touring, Flyleaf is back. Even when I found them a year ago, their album was already old, so I'm really looking forward to hearing their next one. The single "Again" seems to set a good standard. October 27th.
4. It's just over a week now until the 29th, when Paramore's Brand New Eyes comes out. I wasn't overly impressed by "Ignorance" the first time I heard it, but it's grown on me. One week until I can hear the rest.
5. And let me just add in the rest of them. Hayley (Westenra), aren't you due for another album soon? Emma (Shapplin), will you ever get a third studio album? I would really like one. Oh, and Blondfire, didn't you say you wanted to release at least an EP this year? But I know it's hard for them since they're using their own label; Emma also had trouble with record companies.
Alright, I think I've hit most of them. I guess it isn't that long a list, if you really think about it.
A slight makeover for the page. I'm still not sure if I like the background. It might have too much going on, but I'm really not techie enough to design my own, so I'll try it out for a bit. And I think I may look mad in my profile picture . . .
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