Tomorrow is June 17, 2008. Tomorrow, two records that I have long anticipated will be released and find their way into my hands: Coldplay’s Viva la Vida, or Death and all His Friends, and Ben Shive’s The Ill-Tempered Klavier. An odd pairing, you ask? Not so fast. Let’s compare for a minute.

Coldplay: has a drummer named Will.
Ben Shive: has played on a record with a drummer named Will.

Coldplay: Lead singer Chris Martin has children with unusual Biblical names like Apple and Moses.
Ben Shive: Has children with unusual Biblical names like Ezra and Jude.

Coldplay: Lots of piano-driven songs.
Ben Shive: The dude was born with a piano already attached to his fingers.

Coldplay: Song on first record called Daylight
Ben Shive: Song on first record called She Is The Rising Sun.

Coldplay: Two band members had cameos in the movie Shaun of the Dead
Ben Shive: Has appearances in many Andy Gullahorn-directed short films.

Coldplay: New record available for $10 tomorrow at Best Buy and Target.
Ben Shive: New record available for $10 tomorrow at the Rabbit Room Store.

Eerie how the similarities stack up, isn’t it?

The bigger question to me is this: a year from now, which one of these records will have gotten more play on my iPod? If I were to hazard a guess… it won’t be the band with the leader who shares my name and birth month; it’ll be the guy with whom I went to Best Buy last time he was in town. Guess we’ll find out.

First up, I’m having to work on my terminology. Don’t call it an “album” - apparently the cool term for a new multi-song recording is a “record”. Kinda takes you back to the days of the LP, doesn’t it? But that’s not really the point of this post.

Here’s the point: Ben Shive is putting out a record next month. Who is Ben Shive, you ask? Well, he’s the guy that I look up to the most of any pianist/musician of my acquaintance. Ben has extensively toured with and written for Andrew Peterson, which is how I first got to know Ben. He’s an unassuming guy, so much so that it’s darn near impossible to get him to perform any of his own stuff. He’s been hinting about a record for a couple of years now, and when I drove him around a couple of months ago (before an AP concert here in Cedar Rapids) I asked about it, and was excited to hear that he was planning on it coming out this year.

So now the announcement is finally here. Ben Shive’s The Ill-Tempered Klavier (a brilliant musical joke/reference, surely P.D.Q. Bach must have used that somewhere?) is available from rabbitroom.com for pre-order today. It’ll be a digital download for now, though Andrew noted that he might be printing some real disks later in the year. Ben, I’d love to have a real disk, so print some, eh?

My list of must-buy records for this year has grown by one… and then immediately shortened, I guess, since I went and pre-ordered it this morning. I can’t wait.

So I’m rather a new-music junkie. Granted, it’s gotta be in a genre I’m interested in, but hook me up with a new artist and I’ll go whole hog. This week, on the recommendation of Daniel, I’ve been exploring the music of composer Philip Glass. I didn’t know much about Philip Glass before this week; if you’d asked me I would have remembered that he was very into minimalism and possibly 12-tone music, but that’s about it. I would’ve guessed that he’s not my cup of tea whatsoever. But, having been promised that his newer works were more accessible, I decided to give it a shot.

My first stop: Glass’s personal website. It has a nice overview of his stuff and also… an audio player! The player gives a pretty nice sampling of his stuff. It includes cuts from his music for the movie The Hours, which is beautiful stuff. It also has a sampling of his Etudes for Piano which I found to be very nice. Then there’s some weird stuff - for instance, the soundtrack for a very weird independent art film called Koyaanisqatsi. Definitely enough good stuff to get me interested, though.

My next stop: the local library. I currently have checked out to me nearly every Philip Glass CD that’s in their system. While it’s not an extensive collection, it’s enough to get a sampling. There’s the recording of his String Quartets - fairly nice. Then there’s Einstein on the Beach, which is a whopping four (four!) CDs of “opera”, though it’s not like any opera you’ve ever heard or thought of. It’s either brilliant or totally bizarre… maybe a bit of both. Following that I’ve been listening to his Symphony #4, Heroes. It, too, is pretty good. I still have Dance Nos. 1 - 5 and music in twelve parts to sample, though I doubt I’m going to find them as enjoyable; I know from some online reading that twelve parts is his serious work in the twelve-tone motif, which is too far down the esoteric path for me.

I still want to get my hands on Symphony #1, which Daniel highly recommended; the little samples on Amazonmp3.com sound good. Other than that, I feel like I’ve at least given Glass a good shot this week.

My conclusions: The soundtrack from The Hours is a keeper and will get regular play time. The piano etudes probably will as well. Symphonies 1 and 4 are probably worth having and will get played semi-regularly. The older, more esoteric stuff is somewhat interesting, but probably not something that I’d listen to much. But hey, it’s a new musical discovery, and one that found me some good new music, at that. Thanks, Daniel!

Read to the end of the blog post - I’m giving away a copy of the book!

Just when you think you’re familiar with a guy’s talents… then this happens.

I’ve been an Andrew Peterson fan for a few years now. He is an amazingly-talented songwriter; albums to his credit include my all-time favorite Christmas album, Behold the Lamb of God. He’s shown himself to be a bit of a thinker and writer, too; he launched The Rabbit Room a few months ago and it is now a must-read site with book and music reviews and essays on the arts and faith.

Then I hear the latest news: AP’s writing a book. I actually think I got wind of it about 18 months ago from a friend who knows Andy, but had kinda forgotten about it. Now it’s for real: On The Edge of the Dark Sea of Darkness.

OTEOTSDOD focuses on the quiet land of Skree, the Igiby children Janner, his younger brother Tink, and their crippled sister Leeli. Oh, and their ex-pirate (are you ever really an “ex”- pirate?) grandfather. There’s something about lost jewels, and a dude whose name is Gnag the Nameless. (How is he nameless, again?) Oh, and there’s this thing about toothy cows. Amazing.

OTEOTSDOD is a work of fantasy and adventure. It feels a little bit like Narnia, but with much more humor and much less allegory. It feels a bit like Monty Python, but without all the naughty bits that you wouldn’t want your kids to see. It feels a bit like The Princess Bride, but without Andre the Giant. And there are footnotes. Can’t forget the footnotes.

Being over 30 I might not be in the target demographic for this book, but I loved it none the less. The cover of the book promises that this is just book one of the saga, and talking to Andrew before a concert the other night he confirmed he’s working on the next volume. This is a set to add to your bookshelves. Fun to read, probably even more fun to read aloud - I just hope AP doesn’t get so popular as an author that he stops making music.

Full disclosure: the publisher gave me a copy of this book to review. Can’t say it influenced my review, though - the book really is good.

And now for the giveaway: they gave me an extra copy to giveaway. It’s gonna be real simple: leave a comment in reply to this post anytime through March 19. I’ll randomly select a winner and send you the copy.

Oh, if you don’t win the giveaway, you can buy the book from Amazon.

Yeah, so my birthday isn’t until Friday, but finalized plans yesterday to be able to not just attend the Andrew Peterson concert here in Cedar Rapids on Saturday, but also to be the runner for the day, which basically means just hanging out there at the church as they set up and then driving AP and company around anyplace they need to go. I was runner a couple years ago when AP and gang came for the Behold the Lamb of God tour, and it was a blast.

I was afraid it wasn’t going to work out, mainly because I have been unable to find a replacement worship leader, so I still have to setup and then lead music for the 5:30 service at Imago. In stepped Becky, who awesomely volunteered to be the runner for me for a couple hours while I do the church service, then I can make it back just in time for the concert. Too much fun.

Andrew Peterson will be touring with Andy Gullahorn, Jill Phillips, Ben Shive, and maybe some others, and will be doing music from his upcoming album Resurrection Letters, Vol. 2. I’m listening to a few songs from it right now on a Michael Card podcast and there’s some amazing new stuff. Saturday is going to be fun.

Very few things do I enjoy more than finally getting my hands on a new book that I’d been looking forward to. This week is like the double-bonus: Tim Keller’s The Reason for God: Belief in an Age of Skepticism and N.T. Wright’s Suprised By Hope: Rethinking the Resurrection and the Mission of the Church. I’m about a third of the way through Keller’s book, and I’m quite enjoying it. Nothing groundbreaking so far, but he provides solid, consistent answers to common objections to Christianity in his usual understated, lucid style. You’ve read a lot of the same stuff from C. S. Lewis in The Abolition of Man and other volumes, but Keller lays it out in a very readable style. Can’t wait to get to the end.

I’m almost more keen (if that’s possible) to wade through Wright’s latest tome. My only fear is that if I end up agreeing with him too much I may start to run afoul of the standard evangelical dispensational and pre-mil standpoint that is codified in Noelridge’s (and Imago Christi’s) doctrinal statements. But I need to wade through it and wrestle with it. I’ve heard a bunch of recordings of the talks that Wright has given on the end times over the past couple of years, and they’ve made a lot of sense. So I’m very happy to have a more concrete, written version to work through. Expect some blog posts on that topic.

It’s not a book, but on a separate note, I picked up Say I Am You, the latest CD from The Weepies, with a gift card yesterday on Geof’s recommendation. Good stuff.

So back in my Caedmon’s concert post, Daniel commented that he found the length of that road trip to see a concert “insane”. Being the nerd that I am, I decided an “equation of insanity” would be appropriate. (Geof’s equation of motivation was an additional piece of inspiration.)

So, without further ado, the equation:

I = (d+t)/qL

Where

I = relative insanity of the trip
d = distance traveled to the concert
t = time that trip took
q = quality of the artist you are going to see
L = length of the concert.

Of course the tricky thing here is that the q value will vary between persons, so just because you think my trip is insane doesn’t mean that I will agree with you. Also, by including not only the distance of the trip but also its’ duration, trips like Geof’s planned flight to Philly aren’t as insane as if he were to, say, drive to Philly.

There’s also the issue of theoretical insanity versus actual insanity. For instance, my trip to see Andy O’s The Morning release show theoretically should be much more insane because of the distance to Nashville, but in actuality the concert was so awesome that the real insanity level was much lower.

Note to Becky, my Mom, etc: Yes, this really just means that I am a huge nerd. Not exactly a revelation.

The lengths I will go to hear a concert? Well, this weekend the length was 300 miles, each way. Lincoln, Nebraska ends up being, with short stops, about a five-hour drive. Well worth it to see Caedmon’s Call in concert again. First I should extend thanks to my mom for coming down to watch the girls for a couple of days. They had lots and lots of fun with Grandma, and it was sure a blessing for Becky and I to be able to get away.

Three hundred miles to Lincoln on Friday morning was broken up with P. F. Chang’s for lunch in Des Moines. It ended up being a good thing we ate a big lunch, because we never did get supper eaten, unless you count the McDonalds cheeseburgers we picked up from the drive thru around 11 pm while on our way to see Andy Osenga’s post-show set. After checking into our motel (very decent for the price), we headed down to the church where they were playing to hang out, take pictures, and watch the sound check. Everything was running late enough that once sound check was over it was almost time for the doors to open… so we ended up just staying there the whole night. Between Derek Webb, Caedmon’s, and Andy Osenga, the concert went a full three hours. Lots of fun. I’ve written up a full review with pictures over on caedmonscall.net.

After the Caedmon’s show, we trekked over a couple miles to Grace Chapel (a little PCA church in a neat old church building) where Andy Osenga did another half-dozen solo songs. It was fully midnight by the time that was over, and then we were headed back to the other side of Lincoln to our hotel. What a day.

The drive back home was rather uneventful, unless you count seeing multiple cars sliding off the road (not already in the ditch, but actually actively sliding into the ditch) as eventful. Made it home in one piece. Took most of Sunday to catch up on rest. In the end we drove about 750 miles for the weekend. Now, I’ve driven further to see concerts, and have seen better concerts, but overall it was great to hear Caedmon’s again, to be able to take Becky along (her first Caedmon’s show!) and to have a weekend out.

[Cross posted from chrishubbs.com.]

If there was ever a “perfect” album to come out of the (largely mediocre) world of CCM, Rich Mullins’ A Liturgy, a Legacy, and a Ragamuffin Band was it. (Are the ‘A’s supposed to be capitalized? It looks funny either way.) This album is fifteen (fifteen!) years old this year, and yet still sounds as fresh and vital as when it was released. If you’re not familiar with the album, let me give you an overview. (If you are familiar with the album, you won’t mind the refresher at all.)

Split into two halves, the first half is the splendid Liturgy. Here In America is the Introit, or entrance. It is followed by the stunning text of (Isaiah) 52:10, the hymn of praise recognizing the beauty of creation called The Color Green, the supplicant’s prayer Hold Me Jesus, the bold restatement of the (Apostle’s) Creed, and Peace, helpfully subtitled A Communion Blessing from St. Joseph’s Square. Each song in itself is excellent, and as a set they reach the level of masterpiece. When, in Peace, Rich starts the first two verses with this juxtaposition

Though we’re strangers, still I love you
I love you more than your mask
And you know you have to trust this to be true
And I know that’s much to ask…

…

And though I love you, still we’re strangers
Prisoners in these lonely hearts
And though our blindness separates us
Still a light shines in the dark…

We understand immediately the tension of the Christian fellowship - bound by the love of Christ, and yet so frustratingly driven apart by our sinful humanity. It’s beautiful stuff from beginning to end.

The second half is the Legacy: a reflection on life. It starts with the upbeat instrumental 78 Eatonwood Green, then moves into the challenge of being like Jesus (Hard), the challenge of living life away from family (I’ll Carry On), a child’s wonder at Christmas (You Gotta Get Up), the challenge and frustration of the world we live in (Mark Heard’s How To Grow Up Big and Strong), and finally the most beautiful picture you’ll ever hear painted of the tension of living in a country you love while simultaneously looking forward to the heavenly home (Land of my Sojurn).

Nobody tells you when you get born here
How much you’re going to love it and how you’ll never belong here
So I’ll call you my country, but I’ll be longing for my home
And I wish that I could take you there with me…

And the Ragamuffin Band? Well, they sound fantastic. From Rich’s clear piano and the cymbals mirroring the ocean’s crashing in Here In America, to the mellow electric guitar and fantastic drum fills in Peace, to the dulcimer driving Land of my Sojurn, the album has an organic acoustic sound that rightfully has become the inspiration for a younger generation of musicians. My first inclination is to say that it is lightning in a bottle, that it’ll never be captured that way again. But then I listen to the guitars of Andrew Peterson and Andy Osenga, the piano of Ben Shive, and the percussion of Todd Bragg and Garrett Buell, and I will instead be thankful that the musical and songwriting heritage of Rich Mullins has indeed carried on.

If for some reason you don’t already own this album, you can buy it at Amazon.