Author: inertus

I’m sure, like me, you have found yourself at some point in your life caught up in a situation where, although things don’t feel quite right, you can’t seem to prise yourself away from it to move on. It may be a set of circumstances that has been imposed on you and from which you see no escape; it may be a friendship with someone who seems to suck the joy out of life; it may be a place where you don’t feel safe or where you can be yourself.

Although this is a classic ‘break-up’ song from Gabrielle, I think the meaning of it can be also be applied to any situation or relationship that has needed to come to an end. A career move; a move to another house, or town, or country; that bittersweet and gradual transition from childhood to adulthood; a decision to end a friendship or relationship; a congregation having to decide to close their church. 

Endings are a big thing aren’t they? They can be sudden and a shock to the system; they can be planned and carefully thought through; they can be welcomed and anticipated with excitement or enthusiasm; or they can be consistently avoided until there’s no other way than to bring things to an end.

The verses in ‘Rise’ capture the key emotions of a period of transition. The first verse is all about disbelief, denial and a touch of scepticism; verse two is all about processing; unpicking and coming to an understanding of what is happening; and verse three is acceptance and starting to move on. 

It’s funny really that we can be so resistant to change when fundamentally that is what life is. “It is when we are in transition that we are most completely alive.” says William Bridges. It’s when we question, push back, wonder, learn and grow. 

I’m not keen on the saying that ‘God doesn’t give us anything we can’t handle’ or that ‘everything happens for a reason.’ What I do see is that it’s the richness of life’s experiences and the moments of doubt, insecurity and worry that can lead us to a place of hope. If we embrace these times and wrestle with them, it can truly be a time for growth and understanding – and who knows where that may lead us. 

One of the messages that we hear every year during Advent and Christmas is ‘Fear not’. That’s what speaks to me in this song. You may have been laid low, and yet, there are hopes, and there are dreams, and there are bridges from these scenes and the opportunity to ‘rise’ again. 

Lyrics

I know that it’s over
But I can’t believe we’re through
They say that time’s a healer, yeah
And I’m better without you
It’s gonna take time, I know
But I’ll get over you

Look at my life
Look at my heart
I have seen them fall apart
Now I’m ready to rise again
Just look at my hopes
Look at my dreams
I’m building bridges from these scenes
Now I’m ready to rise again

Caught up in my thinking, yeah
Like a prisoner in my mind
You pose so many questions
That the truth was hard to find
I better think twice I know
That I’ll get over you

Look at my life
Look at my heart
I have seen them fall apart
Now I’m ready to rise again
Just look at my hopes
Look at my dreams
I’m building bridges from these scenes
Now I’m ready to rise again

Much time has passed between us, hmm
Do you still think of me at all?
My world of broken promises
You won’t catch me when I fall

Look at my life
Look at my heart
I have seen them fall apart
And now I’m ready to rise again
Just look at my hopes
Look at my dreams
I’m building bridges from these scenes
Now I’m ready to rise again

Yes, I’m gonna rise
Gonna make it alright
I’m gonna be who I wanna be
Yeah baby, yeah, yeah

I’m gonna make it alright
I’m gonna make it alright…

Source: Musixmatch

Songwriters: Bob Mitchell / Phil Radford

Rise lyrics © Emi April Music Inc., Sony/atv Music Publishing (uk) Limited, Perfect Songs Ltd., Ram’s Horn Music, Black Tide Inc., Promised Land Music Ltd., Westbury Music Limited, Chrysalis Music Ltd, Kobalt Music Services America Inc Kmsa, Perfect Songs Ltd, Promised Land Music Ltd

As I typed that, I heard the voice of Sheena Easton singing it…

Anyhow.

For the next four weeks, the Friday Fix is going to be ‘Out Of The Ordinary’ and won’t drop a reflection each Friday. This is because a handful of our regular contributors were asked if they could write a reflection for the Methodist Church’s Advent campaign ‘Out of the Ordinary’ this year – and it makes much more sense to share those reflections as they are released each week.

So – for Advent only – look out for a ‘Saturday Shot’ instead!

Tom writes:

I am a big fan of cover versions. This might be a controversial thing to say, since cover versions can somewhat divide opinions – among both musicians and fans – but it’s nonetheless true. There are those, such as the late Prince, that would argue that in no other art form is an artist so little in control of who can produce different versions of your intellectual property – if another musician pays for the appropriate mechanical licence there is generally nothing the original artist can do to stop an alternative version being performed, recorded, and distributed, even if the new version is disliked by the original composer or performer. Of course, proper acknowledgments need to be given, but beyond that, once you put music out there, any other artist can pretty much cover it any way they like without your say-so.

This can, of course, result in cover versions becoming better known than the original. For example, the late Sinéad O’Connor’s cover of Prince’s ‘Nothing Compares 2 U’ is undoubtedly better known than Prince’s own versions – the Irish woman certainly comes above the Minnesotan man in a Spotify search. Yet the debate will rage as to whether a cover version is actually better than the
original. I’d personally argue that almost any cover of a Bob Dylan song is better than the original – because while I think Dylan is an amazing songwriter I don’t think he’s a great singer, but plenty of Dylan fans would passionately disagree with me, and I suspect Dylan would too!

Yet sometimes a cover version can almost indisputably be considered superior to an original, so much so that the song somehow becomes the property of the later artist. I would suggest that one such song is the Johnny Cash version of Nine Inch Nails’ ‘Hurt’. And if any NIN fans want to disagree then I’ll simply point out that Trent Reznor himself is on record in several places as saying that it’s Cash’s song now rather than his.

Recorded for the album, American IV: The Man Comes Around, in 2002, it was the video of the song released the following year that truly captured the imagination of critics and the popular music-listening population. In it, Cash takes an industrial rock track about the writer’s struggles with heroin addiction, and turns it into a meditation on life, love, faith and mortality (the mystique and emotion of Cash’s version is rooted in part by the reality that by the end of 2003 both Cash’s wife June Carter Cash and Johnny himself had both died from medical complications). Most notably, the conversion to a religious reflection comes as Cash changes just one word from the original, moving from singing about the wearing of a crown of “shit” to instead referencing one made of thorns.

For me, Cash’s incredible cover reminds me that nothing is irredeemable in this world. To be clear, I’m not sold on the idea Reznor’s original needs redemption, yet even those who might argue it does would struggle to argue against the idea that this is precisely what Cash has managed to do. Cover versions may be controversial, but their existence enables artists to offer new possibilities, challenge presumptions, and create new ways of engaging with the transcendent.

You can still visit Johnny Cash’s website at https://www.johnnycash.com/

And you’ll find Nine Inch Nails at https://www.nin.com/

Jane writes:

So anyone who knows me well knows I love this band. In fact, I have written about their work before as part of the Fix. Getting my tickets for the upcoming ‘Silence is Easy’ anniversary tour has made me very happy and brought on a lot of track re-visiting.

James Walsh’s distinctive voice is something that draws me in but also always the lyrical content and of course, the
ever-present opening line…

But for the grace of God, she’d cry herself to sleep

It’s not news to me, it’s probably not news to you either if you follow the Fix regularly, that I am attracted to desperately complicated or sad songs. Those expressing deep emotions and I’m not averse to them leaving me desolate frankly. I’m also not under any illusion that it’s not everyone’s cup of tea.

My friend said to me once “Jane, you need to get a better playlist ‘cos this one’s not good for you” but I do think that sometimes letting your soul speak through music avoids hiding pain deep inside.

Despite appearances, this isn’t totally one of those songs because there is something really deep within it that talks about a change of perspective, a change of circumstance, and offers some sense of hope. I have no idea really why this girl is struggling so. Why she needs someone to sing to her. Why she is criticized so and needs someone to stick up for her. Why people feel so compassionate towards her. What or who has a hold over her.

All this not knowing makes me wonder about which character I am in the story, where the resonance sits and what I might sing to relieve the distress (answers on a postcard please). It also makes me wonder if I have any kind of handle on it at all! (Oh and I have a secret fear that whatever she is experiencing is because someone’s view of God is being forced on her and the blessings come when she can get away from the pressure. This fear I’m trying to bury)

But for the grace of God, she’d cry herself to sleep,
Because the grace of God is something she can’t keep

Oh, it won’t be long until their hold is broken,

Oh it won’t be long until we’ve found our home

It’s for the good of you I sing sweet melody,
They’ll cast the first stone when the last one’s out of reach

Oh, it won’t be long until their hold is broken,
No, it won’t be long until we’ve found our home

Forget where to begin
Mother, I have not sinned
I have not…

The talk of God and all sorts of other biblical imagery ripple through this song like a stick of Blackpool rock. Just what is God is doing that’s so powerful to make a change and make her realise that the grace of God is something she can
keep and brings relief.

But for the grace of God, she’d cry herself to sleep,
But now the grace of God’s the reason that she weeps

When summer comes
Light my life
Snow will melt away

I was born again, I was born again,
Not into the world they put me in

She was born again, she was born again,
Not into the world they put her in

The hope and the spirit
I’d rather not fear it

Being born again can be one of those glib Christian statements thrown around to describe a type of faith or a conversion experience. Biblically it’s part of a much deeper conversation around how to be wholly different. The need for a real new sense of perspective and that to see God’s kingdom and purpose revealed requires an acceptance of something beyond yourself. The spirit at work. A revelatory change.

I’ve dug around to see if the writer has ever explained this song and I can’t see anything. In a way that’s a good thing. The questions keep coming but it’s clear to me, from lyric and musical urgency, that something has changed and made a difference. If we could all grasp onto a bit of that deep change we’d maybe be living very different lives.

You can, as ever, find out more about Starsailor here https://www.starsailorband.co.uk/

Tom writes:

I well remember both occasions that I took the module on Liturgy & Music as part of my postgraduate worship studies. The first time I was on the slide into a major depressive crash, and the week of lectures did nothing to help, despite being a lover of music.

It seemed the week was full of auditors who were attending because they loved traditional “church music” – with a sense of elitist snobbery and perfectionism infecting almost all our conversations. My depression meant I failed to submit the required assignments, so two years later I re-took the module. On this occasion, we were asked to bring a piece of music with us that spoke to us of worship and faith.

Remembering the last time I’d attended, I deliberately took a secular piece. Once the week was over and I was researching my essay, I discovered the piece I then wished I’d taken instead – ‘Nazorean’ by Deuteronomium.

Were I able to have my time again with that first group of fellow students, I would sit them down and have them listen to ‘Nazorean’. This is no Tallis or Gibbons, Bach or Mozart, Rachmaninov or Pärt, yet the song is no less a devout and orthodox creed than those you would find in the work of classical composers more associated with religious work.

At 200 bpm and in a deep growl it recounts the credal description of Jesus’ death and resurrection and declares the singer a follower of Christ. It is a declaration of faith in a place and in a style that I suspect many might deny it could possibly exist.

My usual rock listening has generally only flirted with the edges of metal music. As with all genres nowadays, metal can be divided into many sub-genres, one of which is known as Death Metal – lots of high-speed bass drumming, pounding power chords, and growling lyrics of a usually somewhat macabre and/or nihilistic nature. Such music is particularly popular in Finland, to the extent that there is a further sub-genre of Finnish Death Metal. And, within that, one finds an even smaller genre – Christian Finnish Death Metal! This is the sub-sub-sub-genre of Deuteronomium.

‘Nazorean’, and indeed the whole album, ‘The Amen’, from which it comes, forms the manifesto for why I believe this blog matters – the Church, while declaring the love of God for all, and acknowledging that God is present everywhere, too easily and too often writes off certain parts of life and culture as beyond the pale, as antithetical to good theological thinking and faithful listening.

Yet it is my experience that it is precisely in those places that we find God revealed in new and challenging ways. If God can ignore the idea that material flesh is somehow beneath the divine and come to us incarnate in Christ, then God can certainly come to us in musical forms that we might have written off as disturbing, nihilistic, profane, and even, yes, satanic.

If we are, like Deuteronomium, to be followers of Christ then we have to be open to encountering him in the places we have previously written off – and that includes secular, popular music, including Death Metal, whether or not it’s of the Christian Finnish type or not!