Bridge the cross

I find myself in a quandary, not a metaphysical one – despite the subject matter – a creative one. Yes I’ve experienced a Christian upbringing. I went to a small hall in Whoop Whoop for Sunday school every fortnight and I maintained an active interest in the belief system well into my teens and beyond. Inevitably perceptions and attitudes were rearranged the more I read and that’s because I made the simple but considerable decision to read widely. This might put me in a relatively unique position as hard coded scholarly rationalists can’t be bothered wasting time with superstitious nonsense and Christians meanwhile feel constrained by their chapel of choice.

How does this affect our praxis? Well I don’t feel we can leave out Christian rock but whatever credentials I might bring to an understanding of gospel and associated texts, the end game was finding a different belief system altogether and compartmentalising that with a strategic humanist approach to world affairs. You can take as much or as little as you like from this as it’s kind of the point that every single person on this planet has that solitary decision how much to believe or disbelieve. I merely fill in those blanks that explain the quandary: how to write Christian rock whilst not being Christian.

Every Creeping Thing

We conflate the confidence in the age and stage of creatures 
We read into the rock only Peter and his flock as features
and the murky depths we mock and that darn Doomsday clock
Every creeping thing that crawls above your cave
Every leaping thing that's thought there's souls to save

The errors in arrears as the terror so appears
Needs be on our knees we are all ears
A priest who pressed best unexpressed
Beasts at least no creed addressed

CHORUS: Every creeping thing that creepeth [RPT]

We catch a glimmer of each shade and shimmer
Each pool each school once a primitive tool
Shake awake evolution's mistake
Draw down Darwin 
 
Our eyes are heavenward we're chasing Afterlife
You can buzz us in or draw us out
Our gait our traits our lack of doubt
Belief in relief from animal passion
Unaltered edicts unexamined fashion
CHORUS: Every creeping thing that creepeth [RPT]

Breaking down rock

The amount of ground covered by pop rock and soft and hard rock must be considerable. Does that allow these samples to pass under their respective banners?

The pop rock example has some of the same weaknesses as on earlier pieces where a crude attempt to sound like you imagine the genre does, renders it less authentic. I trip over that ‘baby’ reference as it doesn’t gel with the narrative voice even if that is engaged in relationship drama and has some typical reactions throughout the song.

‘Dearest one’ is more Max Bygraves than standing by graves so that pushes it away from the influence of goth on the hit parade.
It’s enigmatic –  which some pop is but less so I think than simpler messages that wear their common interest on the sleeve – in several places which doesn’t bode well for the pop rock hybrid.

As for soft rock, we’d have to run back through those things we’ve already covered to analyse A Common Misconception. Do jump in at any point. It’s the title right? It’s a bit long and clunky. I know we’ve moved on from pop rock and it’s connotation of popularity or at least the potential for same. I can’t picture James Taylor singing or playing it but then I can’t see him calling an album Tea For The Tillerman or Teaser and the Firecat, or changing his name to Yusuf Islam either.

I know when soft rock was in vogue there were dark rumblings. This explains all the metal and punk and new wave and stark electronic two note wails. Soft rock held its own though.

And this song isn’t soft rock: there is some serious nod to the misery of being rejected, if this is a dominant feature of soft rock, but it’s spoilt by that tricksy entrance to the chorus or whatever the title refrain is.

It’s more like folk rock in its miserablist form at least when you think of Cohen and Dylan; not that I want to invoke their spirit in such a sidereal post. The rest is of a later period when soft rock has been slyly nodded at several times.

Hard rock covers everything from Black Sabbath to the White Stripes with Deep Purple in the middle. Or Black Sabbath to The Black Keys via Blue Cheer if you prefer. I don’t see why you couldn’t use Touching Story even if it’s something you’d normally see in related genres.