Birds of Relocation is the new album from Eric Peters and by his own description it is “shockingly bright.” Then again, the artist often described as authentic and vulnerable is quick to assure me that he’ll never be far from the shadowy valley. If you’ve taken in the beauty of albums like Scarce or Chrome then you realize just how beautiful Peters’ hopeful expressions amidst sorrow can truly be.
Via Kickstarter, many of you enabled Eric to record Birds of Relocation, an album informed by an famous ornithologist that Eric relates to on a personal level. Here’s the story of Eric’s near-crippling journey between one album and the next and the joy he found in having you all along with him.
I am fickle. I am also dramatic. The combination of the two often leads me to make inane decisions and impulsive choices.
That’s the reason I took four full months to make the decision to leave the church that I founded eight years ago. The Mercy House has provided my identity for almost a full decade now: serving and shepherding and living life alongside the most creative, missional, loving community of people I could ever hope for. The Sunday morning gathering was often the last thing we worried about in leadership meetings because everyone was so busy with ministry throughout the rest of the week. In short, I had the easiest job any pastor could hope for.
But my time had been coming. For the last couple of years, I’ve journaled about a longing to write full-time. Book ideas were written down but never spoken aloud. New endeavors were silently hoped for as an introverted side began to emerge–much to the surprise of my extroverted, church-planting, social butterfly self of old. Those thoughts were always deemed foolish, selfish, childish or, at the very least, something to get to later.
It goes beyond knowing that we’re not alone. It’s not even summarized in having a place to belong. The desire for the artist to hold membership within a creative community moves past the pain of loneliness or the need for identification into a real longing for stimulation. We yearn for like-minded sojourners to help shape and form our words, our music, our work. And yet outside of circles equally beautiful and rare (like the Square Peg Alliance), many of us find it difficult to locate others we can partner with.
One of the common threads at Hutchmoot last fall was this very desire. I met artist after artist (although so many are reticent to name themselves as such) who used words like “isolated” and later terms like “afraid” came rolling after. The two are linked — fear and isolation — and so many of us hope and wait for someone to join us, to help us shed our fears and create without obstacles.
Now that Jason Gray has officially released his new album, it’s the ideal time to disclose the second half of our interview with the Minneapolis-based songwriter. If you missed Part One, you can hear all about the lead single “Remind Me Who I Am” there. Here, Jason discusses writing with Andy Gullahorn, confronting his fears and using the word “doppelganger” in an actual song.
Matt: The best place to start seems to be the title: A Way To See In The Dark. We were discussing identity earlier in our conversation as the album’s primary theme, so is the title an allusion to that? In other words, does our Christian identity provide a way to see in the dark?
With Jason Gray’s recent release of his single “Remind Me Who I Am,” it seemed the perfect time for another Rabbit Room interview. One beautiful facet of the Rabbit Room lies in the direct access to the artists that we love so much and the opportunity to hear them expound on their own feelings, behaviors, or experiences. Yet from time to time, a conversation will illuminate more than merely an essay. Here, Jason talks about the violent “one-two punch” of fear and shame and why he wanted to sit apart from heavy hitters like Third Day and Michael W. Smith.
Farther along we’ll know all about it
Farther along we’ll understand why
Cheer up my brothers, live in the sunshine
We’ll understand this all by and by
A few tears streamed down my face the first time I sat, mesmerized, watching a video performance of Josh Garrels playing this song from his latest album, Love & War & The Sea In Between. It’d been a while since I’d checked in on Josh’s music, and I found a couple new tracks from a forthcoming album. “Farther Along” was the first listen and it reached me at a specific place that I didn’t even realize needed words of hope.
I felt something beyond me saying things were going to be okay, yet it’s not that I was surfing the web looking for music videos to fill a void in that moment. That’s the beauty of Josh’s music–a musical gift that beautifully yet forcefully expresses the intersection where divinity meets humanity. And he’s been doing this for years.
What more can be said about the storied career of Alison Krauss and Union Station? Krauss has 26 Grammy wins to her name — the most for any female artist in history — and her colleagues provide the stunning canvas upon which she sonically paints. Each record is equally inspiring, beautiful and haunting, and Paper [...]
Andy Osenga hopes the force is with him. Or perhaps he’s boldly going where no songwriter . . . you get the picture. In case you haven’t heard, the talented songwriter/producer is making a sci-fi concept album and asking you to blast off with him. And if you think that sounds nerdy, you haven’t even [...]
It’s often the story between the lines that’s most striking — and most surprising. As I’ve prepared for a five-month long teaching journey through the life of Abraham in our church, I recently found myself moved by one of those side notes that seemingly came from nowhere to inform not only my own life but [...]
In grade school, my report cards were continually marred with the letter ‘X’ — not that my academic performance was so poor, but that alongside my ‘A’ or ‘B’ effort, each teacher felt compelled to let my parents know that I “talked excessively.” It’s no wonder, then, that I ended up as a writer and [...]