Some Initial Thoughts on ‘The Lord of the Rings: The Rings of Power’

When the casting for ‘The Lord of the Rings: The Rings of Power’ was first announced, the Internet exploded with a disproportionate number of negative comments regarding race and gender. There have been excellent responses to this negativity offered by Andrew Blair at Den of Geek and Dimitra Fimi and Mariana Rios Maldonado at The Conversation, so I won’t get into that here. Instead, my initial thoughts contain a degree of displeasure for completely different reasons from those of the bigoted Internet trolls.

Pretty much no spoilers ahead…

My passion for Tolkien’s fantasy cosmos (I don’t want to use the expressions ‘world’ or ‘Middle Earth’ as they fail to encapsulate the sheer breadth of Tolkien’s mythical cosmology) runs deep. I feel invested in Tolkien’s stories, more than any other fiction oeuvre. I am not a Tolkien expert by any stretch, but I have more than an ‘armchair’ interest in his work.

We’re only two episodes in, but my primary issue is this: source material. In other words, there isn’t much use of Tolkien’s actual narrative. This is not to say that I am closed to a Tolkien-inspired production (this is how I’d label these first two episodes) and the ‘in-the-know’ references (‘Aulë’s beard!’, for instance) satisfy some of my Tolkien-nerd needs. But my biggest disappointment at this stage has to do with the fact that I find Tolkien’s body of work so rich in storytelling that I feel as if there is more than enough material with which to work without inventing new storylines and characters, especially major characters.

Looking back, there were many major differences between the source material and Peter Jackson’s The Lord of Rings and The Hobbit trilogies, but I felt as if those (yes, even the overegged Hobbit trilogy…) stayed true to most of the significant aspects of Tolkien’s narrative.

I admit that any attempt to explore Tolkien’s fantasy cosmos beyond the film series I have just mentioned is going to be more convoluted due to the fact that all of Tolkien’s other fantasy cosmos material has been published after his death and consists primarily of fragments (which include sometimes contradictory narratives due to the evolution of Tolkien’s ideas over the years).

With that expressed, I still have petty grievances. For instance, many of the major characters (and so far, to my knowledge, most of the major events) in ‘The Rings of Power’ are ‘non-canonical’ in that they are not featured in any Tolkien literature. I appreciate that the series takes place in the Second Age and I was glad to see a brief summary of some of the events at the closing of the First Age, but there are many elements which are completely foreign to Tolkien’s work. Here are but a few examples: Finrod’s death is misleading (there’s no reference to his sacrifice for Beren and somehow he bears ‘the mark of Sauron’). Additionally, while I love the focus on Galadriel, when did she lead an expedition to Forodwaith? In the literature, her invitation to Valinor came as the result of her innocence in the Kinslaying and not because Gil-galad was making some shrewd political move (though I admire the attempt to ground Gil-galad and his herald Elrond in this political mire). Also, Elrond’s early presence in Eregion and his visit to Kazad-dûm seem to me to be completely incompatible with Tolkien’s narrative (perhaps the version of the story in ‘The Rings of Power’ is an attempt to explain the beginnings of what would become the long-standing friendly relations between Eregion and Kazad-dûm – though, given the timeline in what they are trying to do with the show, probably not).

In the show, there are many establishing shots pertaining to the humans in the Southlands and the Harfoots in Rhovanion (both groups exist within Tolkien’s work, though neither are of any great significance), but I would have loved to see more of Lindon and Eregion (the only shots within these great elven realms made them feel very small and parochial, clearly within a studio). What gives?

We are in the early days of ‘The Rings of Power’, but for a Tolkien afficionado, I am left wanting, and not necessarily in a bated-breath sort of way. To be clear, I must return to my earlier comment: I have no problem with a Tolkien-inspired production, one that might not adhere to a rigid depiction of Tolkien’s cosmos (but come on, why can’t Gil-galad have silver hair?). I shall leave my moaning there for now as there are still many opportunities for my prejudices to be pacified (let’s see how Númenor is depicted) and I will be sure to watch every episode of ‘The Rings of Power’ as they are released. I am also sure I’ll be able to suspend my nerdy obsession for long enough to enjoy whatever the creators of the show—who, no doubt, are massive lovers of Tolkien—wish to share.

Best Albums of 2021

Here we are again, with another round of our favourite albums of the year. Perhaps some are familiar to you, dear reader. Perhaps some are new discoveries. Either way, we hope you enjoy our trifling reflections and that you might be able to offer up some of your favourite offerings from 2021 in the comments!

Elijah & Greg


ELIJAH’S TOP ALBUMS OF 2021

10. Madison
Sloppy Jane

Sloppy Jane is the brainchild of one Haley Dahl, a Los Angeles-born Brooklyn-based musician. Perhaps one cannot help but appreciate the magnitude of her latest release, Madison. Here, Dahl exhibits her preternatural compositional and performative deftness in tremendous fashion – echoing from the damp walls of the Lost World Caverns in West Virginia, where the album was recorded (and what an ordeal it was to record a 22-piece orchestra in a cave). For Dahl, Sloppy Jane does not stop with the music, but is part of a wider multimedia artistic project. Yet, for all the strengths of Madison (and there are many), there remains a slight degree of off-putting self-importance (clearly, Dahl sees herself as quite the clever one – and in truth, she is). This experimental chamber [read: cave] pop is indeed of a high order, but perhaps it would maybe benefit from some more germination.

9. Reason to Live
Lou Barlow

The indie god Lou Barlow is Lou Barlow. Reason to Live is a Lou Barlow album. When Lou Barlow releases an album, I am compelled to listen. I must thank Greg, who first planted the Barlow seed in me almost 20 years ago. Reason to Live isn’t ground-breaking Barlow in the same way that 2005’s Emoh or even 2009’s Goodnight Unknown are, but it sees more of a return to the Barlow magic than does his previous release, 2015’s Brace the Wave. For more on Reason to Live, I defer to Greg’s more seasoned and astute Barlow reflections in his list below.

8. As the Love Continues
Mogwai

This is Mogwai’s tenth full-length album and their first to reach the top of the UK music charts. Bravo to the lads! At times, this record is familiar, perhaps even to a fault, but there are also real moments of grandeur. The album’s fourth track, ‘Ritchie Sacramento’ features rare unaffected vocals by Stuart Braithwaite as he reflects on the loss of friends including our beloved Scott Hutchison (Frightened Rabbit) and David Berman (Silver Jews), who took their own lives in 2018 and 2019, respectively. All-in-all, As the Love Continues is, like their previous two records, another excellent effort from Mogwai, and with a few poignant surprises.

7. Little Oblivions
Julien Baker

Julien Baker’s previous records didn’t capture me – I found them indistinguishable from other albums by similar indie artists I’ve encountered over the last few years: those wispy vocals over familiar indie-rock orchestration (cough*Phoebe*cough*Lucy*cough). Little Oblivions might well verge on generic at times (I would put this down to production, primarily), but there are excellent moments of musical climax. Lyrically, it seems as if Baker is more liberated than before. Her familiar reflections as a queer person of faith are so refreshing with their unapologetic presentation. There is no case to answer, no chip on any shoulder. Baker is ‘at one’ with herself and it is inspiring.

6. Mandatory Enjoyment
Dummy

Dummy entered my radar with the release of two EPs last year (Dummy and EP2). Their first full-length, Mandatory Enjoyment, builds on the art-pop avant-garde of these initial releases to present something fuller, both in length and sound. There is a [heavy] touch of ambient and the abstract throughout the whole album, delivering a fresh Talking Heads-esque sound while pushing through new wave barriers with fuzz and drones. The album is full of this energy and, living up to its name, is just plain fun.

5. För Allting
Makthaverskan

Post-punk Swedes Makthaverskan (Swedish for ‘The Ruler’ and pronounced ‘Makthaverskan’) have been at it since 2008, though this album is the first of theirs I have ever heard – and I regret this. For all intents and purposes, their style has not changed dramatically. If one appreciates the dream-pop and Scandigaze of För Allting (Swedish for ‘For Ever’), one will appreciate the development of the whole of Makthaverskan’s back catalogue. If the Cocteau Twins, New Order and My Bloody Valentine made a Swedish baby in the late 1980s, it might well sound something like Makthaverskan and För Allting. This is not to suggest that För Allting is a simple variation on a theme. Instead, this ambitious record weaves between terrible elation and beautiful desperation, both musically and lyrically, with vocalist Maja Milner bringing oh-so-much to the table.

4. Ultrapop
The Armed

I love hard music. I love clever hooks. I love the Detroit Tigers. So it comes as no surprise that I love the Armed, the Detroit-based anonymous post-hardcore collective. Their previous effort, 2018’s Only Love was one of my favourite records that year and Ultrapop is surprisingly superior to its predecessor in most every way. Mind you, it is difficult to compare albums for an anonymous band with a rotating line-up, but taken as a whole, Ultrapop lives up to its name (and familiar, Armed-esque touches, such as the influence of Converge’s Kurt Ballou, are plentiful). Ultrapop doesn’t take itself too seriously (the pitfall of many artists within the metal/hardcore/post-hardcore genre), yet delivers on all fronts – exquisite melodies, powerful percussion, a stunning combination of aggressive and ethereal vocals, virtuosic guitar riffs. Yes, please.

3. buds
ovlov

As with most unfamiliar albums, I wasn’t sure about buds at first. Its under-25-minute runtime struck me as more of an EP than an LP. But I didn’t give up on buds after the first listen, and for this I am grateful. It elicits some significant adolescent flashbacks (more having to do with musical style and not learning how to shave): I can’t help but hear a wee bit of 1990s Sonic Youth, Dinosaur Jr, Foo Fighters and the Lemonheads. Their fuzzy pop-rock is contagious and there’s something timeless about buds. Admittedly, it is not as fuzzy as ovlov’s previous releases, but the musical depth and focus only prove to enhance the strengths of the album.

2. A Beginner’s Mind
Sufjan Stevens & Angelo De Augustine

The inclusion of A Beginner’s Mind should come as no surprise to seasoned readers of Lost in the Cloud’s ‘Best Albums’ lists. Given the sheer size Sufjan Stevens’ output over the last two years (2019’s The Decalogue with Timo Andres, 2020’s Aporia with Lowell Brams, followed by The Ascension, and finally, his five-volume Convocations from earlier this year), I had admittedly low expectations for his collaboration with Angelo De Augustine for A Beginner’s Mind. While The Ascension was a cracker, I began to feel that acquiring The Decalogue, Aporia and Convocations were more to do with my commitment to Sufjan Stevens completism rather than the irresistibility of 2015’s Carrie & Lowell. I feared that A Beginner’s Mind would be another ‘completist’ investment.

I am pleased to report that A Beginner’s Mind is no such investment. The concept of the album (with specific films acting as muses for each song) is novel, but just as the film selection can range from inspired (Wim Wenders’ 1987 Wings of Desire, for example) to banal (Damon Santostefano’s 2004 Bring it On Again), the tracks demonstrate some degree of that range. A number of songs on the album feature lyrics that are stunningly beautiful, while at least two are a bit too ‘on the nose’ for my liking (see ‘Pillar of Souls’ and ‘You Give Death a Bad Name’). Regardless, the album as a whole is brilliant, showcasing the talents of both De Augustine and Stevens in surprisingly equal measure. I am a particular fan of the hints of Elliott Smith I hear in the heartbreaking melodies throughout the album.

1. Any Shape You Take
Indigo De Souza

Indigo De Souza’s second album, Any Shape You Take secures this top spot. This album begins with the auto-tuned ‘17’, which may seem like pop radio fodder until it bursts into the first of many continuous surprises on this record. Its unpretentiousness is disarming. While De Souza delves into common broken relationship themes, she does so with poise, confidence and musical competence beyond her years. She explores broad musical territory—from pop to grunge—leaving me wanting more, but not in a dissatisfied way. She is both gentle and aggressive, with tone and melody reminiscent of the high points of St Vincent’s first three records. It also remains catchy without any danger of being obnoxious or repetitive. Any Shape You Take is very listenable and I find that it grows more endearing with subsequent listens.

HONOURABLE MENTIONS

Call Me If You Get Lost Tyler, the Creator

Voyage to Mars MUNYA

A Way Forward Nation of Language

Shade Grouper

As Days Get Dark Arab Strap

I Want the Door to Open Lala Lala

Henki Richard Dawson/Circle

The Death of Speedy Ortiz & Cop Kicker…Forever (compilation) Speedy Ortiz

Seek Shelter Iceage

Garbology Aesop Rock/Blockhead


GREG’S TOP ALBUMS OF 2021

10. Afrique Victime
Mdou Moctar

I honestly only heard this album for the first time two days ago (and here I’m violating my personal rule that I need to have PURCHASED the albums on my top 10 list), but I was checking out a few best of 2021 lists this week to see if I’d missed anything and I was intrigued by the description of this Saharan psychedelic rock outfit (Mdou Moctar is the singer and lead guitarist of the band). I was immediately entranced by the swirling, cyclical guitar licks which suddenly ascend into heavenly bursts of melody and hypnotic vocal lines that transported me to far off lands. It’s been on repeat as I go to sleep and when I wake up. So this is why we NEED lists like these end of year posts, so that we can discover what we might have missed in the midst of the myriad music that has come out each year.

9. Little Oblivions
Julien Baker

I’ll get this out of the way right up front: the lyrics on this album feel like fake angst to me. But her uncanny ability to create epic soundtracks for love gone bad and convince me to care about her fractured, angry heart with her husky, soaring vocals are a kind of beguilement to which I’ll happily accede. She is a master at bewitching the listener.

8. A Color of the Sky
Lightning Bug

Some groups that came to mind in a melange of associations as I listened again and again to this languid beauty of an album would include the Cowboy Junkies, the Cranberries, shoegaze band Curve, and a touch of the Cocteau Twins. It made me wistfully remember drives along empty highways towards cloud-covered horizons…or something like that.

7. Smothered
Oberhofer

I was a fan of this guy back in the mid-2010’s, but hadn’t heard much of him of late. Then this album crossed my path and I was immediately smitten again with his throwaway talent for writing infectious melodies and singing in his falsetto so languorously over glittery synth-pop hooks. It’s like he’s not even trying, he makes it look so easy!

6. Reason to Live
Lou Barlow

SO glad that one of my favorite ever lo-fi indie folk heroes re-discovered his downstrum mojo after a few middling efforts. While not quite up to his Sebadoh/Sentridoh-era rueful perfection, each song here is a solid contribution to his catalog. (NOTE: he’s on the outside looking at Christianity with disdain (i.e. “All you people suck – YOU’RE the ones who don’t believe that we’re all connected”). His domesticated life away from the music scene has yielded some poignant home-recordings that address old wounds and habits, along with glimmers of a new kind of joy with the life he’s found.

5. Home Video
Lucy Dacus

I’m a sucker for her lovely, laid-back voice and coy storytelling. The songs are just so solid and perfectly constructed, a deft nostalgic trip into the treachery of youth. She’s taking apart her own experience of growing up evangelical, singing about VBS and “sermons saying how bent and evil we are” (fundamentalist faith is like some great source of trauma for this generation…I’m not so sure that it’s as bad as they all make it out to be, but there truly were a whole lot of misguided youth pastors and power-hungry preachers in 90’s America, trying hard to hang onto the glory days of a time gone by—probably the same people who turned into these snarling, insane Trump zombies—oh culture wars, so much to answer for…).

4. Frailty
dltzk

I can’t remember where I first heard about this lo-fi, bedroom pop, electronic rock masterpiece, but I really fell for its poppy chops meets chaotic digital breakdowns (it often sounds like a CD that is skipping/mis-reading the 1s and 0s). It’s like a blender mix of Weezer and that kid from Owl City with the Electric Light Parade and some video game soundtrack. Now that I think about it, I don’t really love any of those ingredients on their own, but together it becomes something greater than the sum of its parts. It feels like the youth soundtrack to the last two years’ pandemic experience…

3. HEY WHAT
Low

I was not a fan of this band’s last album, Double Negative, wherein the band’s songs were subjected to some kind of sonic Picasso-like deconstruction.  But THIS album, with songs that have been dismantled and simplified in its own way, totally won me over from the opening overdriven, but gated guitar chords of “White Horses” until the bookended track “The Price You Pay (It Must Be Wearing Off”).  The strength of the powerful harmonies of the husband/wife singer-song architects and their straightforward/oblique lyrical duality ensures that this band still is operating at the height of their understated rock powers.

2. Mixtape for the Milky Way
Jeremy Messersmith

Here is another album so far under the radar that it’s practically sonar. Jeremy Messersmith is one of my favorite indie-pop songwriters, but I didn’t know about this gorgeous confessional masterpiece that he put out under a new band name until four months after it had been released (apparently self-released with little fanfare). Many of these songs here deal with his evangelical Christian upbringing (seemingly abandoned by now, due to fundamentalist homophobia, threats of eternal torment, and his confusion/wonder at pondering the metaverse, which he comments upon in various songs). These tracks have a beautiful, fragile melancholy to them, as if Messersmith ended each song teary-eyed from the pain of looking back at things that were once so important that he has now lost (“You said I’d walk with you on streets of gold, where no one ever dies from growing old, somewhere everything is perfect…”). I wish that I could be this band’s PR person—I would take over a radio station like some deranged fan if I could just get people to listen to the genius of his work, even though I also wish I could show him a better version of what it means to follow Jesus.

1. A Beginner’s Mind
Sufjan Stevens & Angelo De Augustine

A new album from Sufjan will always be a contender for my best album of the year, but it’s no guarantee (Phoebe Bridgers took that spot from him last year!). But this collection is truly worthy of the highest accolades and so I’m finding it rather disturbing that this incredible collaboration is not making many best albums lists this year! (Sufjan’s label probably spends more on fun extras like the “A.B.M. movie club cards” included with the deluxe vinyl package than they do on marketing.) The project that these two gifted singer-songwriters came up with, to watch a film at night then write a song together inspired (sometimes loosely) by their viewing the next day, yielded a lovely batch of mostly folk tunes that alchemically turn even straight-to-video fare into lyrical and melodic gold. There are only two songs on the album that I don’t deeply love (tracks 4 & 5), but I’ve listened to this album so many times I know it will hold its own among Sufjan and Angelo’s best other work. The only real downside to this album is the off-putting artwork on the cover, but even that has a delightful backstory…

HONOURABLE MENTIONS

Collapsed in Sunbeams Arlo Parks — This album is SO amazingly well produced, the band is so tight, the singer is a beautiful young woman with a charming British accent…the only problem is that the lyrics feel like they’re derived from a hackneyed teenager’s diary.

The Nearer the Fountain, More Pure the Stream Flows Damon Albarn

Friends that Break Your Heart James Blake

A Billion Little Lights Wild Pink — This album is so calming to listen to—amazingly well constructed on all levels, but somehow just a little bland.

Die Hard : The Perfect Christmas Film

Note: This post in no way condones of violence, though the Gospel is necessarily violent. This post contains spoilers but given that the film was released more than three decades ago, this is not really a warning.

Die Hard (John McTiernan, 1988) is the perfect Christmas film. I am not the first to make this claim (or something similar). That Die Hard is a Christmas film at all is presented by some as a tongue-in-cheek suggestion, while others argue that Die Hard is simply an action film that takes place during Christmas. The genre of ‘Christmas movie’ is full of tat that presents itself as the ‘true meaning’ or ‘spirit’ of Christmas. Rubbish. For all intents and purposes, the ideas of shared humanity, love, forgiveness, acceptance, and family are lovely and can indeed be perceived as parts of the ‘spirit of Christmas’, though none of these ideals capture the essence of Christmas in the way that only Die Hard does.


How can I claim that Die Hard is the perfect Christmas film? Please indulge me for a moment.

Bruce Willis plays John McClane, a working-class New York City police officer. His estranged wife, Holly Gennero (played by Bonnie Bedelia) has accepted her dream job working for the Nakatomi Corporation. Unfortunately for McClane, Gennero’s new position necessitates that she relocate to Los Angeles, which she does with the couple’s two children, Lucy (Taylor Fry) and John Jr (Noah Land).

As Christmas nears, Gennero waits expectantly for McClane’s arrival: this is the season of Advent, in which the Christian Church rehearses the narrative for the arrival of Jesus of Nazareth, the Messiah. Does this seem far-fetched? Hardly. Apart from what might take place off-screen, we know that Gennero and the children are eager for McClane’s arrival, with Gennero phoning the childminder, Paulina (Betty Carvalho) to ensure that a bed is prepared in her home for McClane (as Gennero would not want the coming Son of Man to sleep in a stable, obviously).

Admittedly, at the beginning of the film, McClane’s role as the Christ is obscured. He comes from the east (NYC→LA) bearing gifts, as we see him carrying a giant teddy bear and it is reasonable to assume that he has other gifts for his children in his luggage (Matthew 2.1-2, 10-11). Therefore, at this stage, McClane represents the ‘wise men’ and he has ventured west under the light of a brilliant star (the Los Angeles sunset features prominently during the whole opening act).

McClane is collected at the airport in a limousine driven by Argyle, one who makes straight the way of the Lord (Matthew 3.3; Mark 1.2; cf. Isaiah 40.3). Soon thereafter, he arrives at Nakatomi Plaza, an under-construction skyscraper in the Century City district of Los Angeles. Here we can see the role of ‘wise men from the East’ shift to another character. The limousine is provided by Gennero’s boss, Joseph Yoshinobu Takagi (James Shigeta), who was born in Kyoto, Japan (most assuredly the ‘East’) and emigrated with his family to the United States in infancy. At Nakatomi Plaza, McClane prepares reluctantly to join a corporate Christmas party. It is at this point that a group of men, led by West German terrorist Hans Gruber (Alan Rickman) infiltrates and locks down the building. McClane, who is getting ready for the party in an office, hears gunfire and the panic of party guests. At this stage, he, in his vest and bare feet, withdraws to assess the situation (Matthew 2.13-15).

McClane does his best to alert other authorities to the plight of those in Nakatomi Plaza, first by triggering a fire alarm (which is detected and deactivated by the terrorists) and then by reaching out to the police, using an emergency frequency on a radio he commandeered from a fallen terrorist. McClane’s plea is not taken seriously by the authorities, but a police officer, Sgt Al Powell (Reginald VelJohnson) is called to investigate. Powell does not perceive anything suspicious and is about to depart when McClane gets his attention by throwing the lifeless corpse of one of the fallen terrorists onto the bonnet of Powell’s squad car. Knowing that they have been discovered, the terrorists shower Powell’s car with bullets as he retreats, calling for backup.

Eventually, McClane gets in touch with Powell on his radio. Powell hears McClane’s message and sets himself under McClane’s tutelage. Powell represents all that have ‘ears to hear’ (Mark 4.23; Luke 8.8). Later, Powell also reports that McClane has garnered many more disciples among the police (this being a direct result of Powell’s sharing of the Gospel of John McClane, i.e., evangelism; see 2 Corinthians 5.20).

In contrast to the reception he receives from Powell and his other disciples, the authorities oppose McClane, who see his message as a threat to their own perceived authority. The first authority to oppose McClane is LAPD Deputy Chief, Dwayne T. Robinson (Paul Gleason). When first speaking with Powell, Robinson seeks to erode Powell’s confidence in McClane, suggesting that McClane may be one of the terrorists. In a similar way, the religious authorities in first-century Palestine sought to undermine Jesus’ authority by suggesting to the people that Jesus was an enemy of their religion (for example, see Matthew 12.22-24). Powell insists that McClane’s words are those of an ally (see Matthew 12.33-37). In response, Robinson exclaims, ‘Jesus Christ, Powell!’ Jesus Christ, indeed.

When Robinson is able to speak with McClane directly, he declares, ‘We do not want your help.’ In response, McClane tells Robinson that ‘if [he is] not part of the solution, [he is] part of the problem’, a phrase that may be the converse of Jesus’ words ‘whoever is not against you is for you’ (Mark 9.40; Luke 9.50).

Throughout the opposition McClane faces from authorities, Powell shows consistent commitment to his Teacher. At one point, Powell professes his love for McClane, calling back to Peter telling Jesus that he loves him (John 21.15-17). Due to his great faith in and commitment to McClane, Powell is told by his superior:

Robinson ‘You listen to me, sergeant: any time you wanna go home, you consider yourself dismissed.’

Powell ‘No sir: you couldn’t drag me away.’

Powell is a constant advocate for McClane among the authorities. When Agents Johnson and Johnson (Robert Davi and Grand L. Bush) of the FBI arrive to ‘take over’, Powell insists that McClane has been their guiding light throughout the whole hostage fiasco.

The opposition that McClane faces is not bound to the civic authorities, but also to anyone who seeks power. Enter Hans Gruber, whose guise as ‘terrorist mastermind’ is a cover for the attempted theft of $600m in bearer bonds from the Nakatomi Corporation. Gruber represents Death, the Enemy, or—if you are of that theological persuasion—the Devil. Throughout the film, we witness the death of several people, including two Nakatomi security guards and whoever was in the exploded LAPD SWAT van. These deaths were executed under the direct orders of Gruber. The two personal murders witnessed in the film—the first being that of Takagi and later, coke-snorting, sleazy Judas, Harry Ellis (Hart Bochner)—are at the hands (or pistol) of Hans Gruber. McClane is pursued doggedly by Gruber and his thugs (akin to the actions of King Herod when visited by the wise men). When realising that he and his second-in-command, Karl (Alexander Godunov) have got the bare-foot McClane cornered in an office, Gruber orders Karl to shoot out the glass windows so that McClane will have to cross the broken glass to escape.

While McClane had been battered relentlessly throughout the ordeal, this part of the film showcases the ‘Suffering of John’ or ‘John of Sorrows’ motif.

Perhaps a protest will be raised that while Die Hard is a masterful retelling of the life of Christ, it is not about Christmas. I defer to the countless Renaissance depictions of both the Nativity and of the Virgin and Child. Many of these depictions convey the breadth of the Gospel story, such as the appearance of Crucifixes (see Lorenzo Lotto’s 1523 depiction of the Nativity, for instance) or certain foliage representing the passion (Hugo van der Goes’ 1475 altarpiece for Tommaso Portinari features white and purple irises that allude to the Passion and three red carnations that allude to the three nails of the Crucifixion). One would be hard-pressed to deny the suitability of these depictions for reflection at Christmastime. Similarly, as Die Hard presents a broad Gospel narrative, this combined with its unmistakably Christmas context qualifies it as a Christmas film.

As the film enters its closing act, we discover that Gruber intends on killing all the hostages with C4 plastic explosive. He does this under his ruse of being a ‘freedom fighter’ and requests a helicopter to airlift his crew and the hostages to the airport. Once the hostages and the helicopter are destroyed on the roof, he believes that he will be presumed dead, thus making an easier escape with his bounty of bearer bonds in a van with Los Angeles City Fire Department markings. McClane is wise to Gruber’s plan and fights his way to the roof to clear the hostages from the helipad. Here, he puts himself in between the hostages and the FBI authorities (who have arrived in gunships to kill the terrorists instead of flying them to the airport). McClane’s actions saved the lives of all hostages, while the scheming FBI agents (who expressed contentment with the prospect of losing up to 25% of the hostages) met their end in the subsequent explosion.

This putting of himself in between the people and their enemies demonstrates just one of many ways that John McClane is the Christ-figure of Die Hard. In 1 Corinthians 15, St Paul enlightens us to the all-encompassing work of Christ, in particular, the work of Christ that culminates in the Crucifixion and Resurrection:

But in fact Christ has been raised from the dead, the first fruits of those who have died. For since death came through a human being, the resurrection of the dead has also come through a human being; for as all die in Adam, so all will be made alive in Christ. But each in his own order: Christ the first fruits, then at his coming those who belong to Christ. Then comes the end, when he hands over the kingdom to God the Father, after he has destroyed every ruler and every authority and power. For he must reign until he has put all his enemies under his feet. The last enemy to be destroyed is death. For ‘God has put all things in subjection under his feet.’… When all things are subjected to him, then the Son himself will also be subjected to the one who put all things in subjection under him, so that God may be all in all.

It is through McClane that the remaining attendees of the Christmas party at Nakatomi Plaza were ‘made [or rather, kept] alive’. He destroyed ‘every ruler and every authority and power’ when he disposed of Hans Gruber’s henchmen one-by-one. Then, the ‘last enemy to be destroyed is death.’

Shirtless, shoe-less and wounded severely, John McClane’s steadfast commitment to his calling brought salvation to many. What is Die hard if not the Christmas story?


It is valuable to acknowledge the Virgin Mary in any Christmas narrative. I am not suggesting that Gennero is Mary, but that the empowerment of women is at the very heart of the Gospel. Gennero is not some helpless maiden throughout Die Hard. She attempts to keep Takagi out of harm’s way when Gruber is trying to find him in the crowd of partygoers. She shows courage and solidarity at every step. There is, of course, a share of sexism in Die Hard (though I would argue that John’s disappointment in Holly dropping the ‘McClane’ surname is more to do with his pain at the breakup of their marriage, rather than a patriarchal hold on her life), but Gennero’s independence and empowerment is demonstrated further by one of the last scenes in the film. When she and McClane are approached by the unscrupulous reporter Richard Thornburg (William Atherton), she makes sure to give him a ‘piece of her mind’ for his despicable violation of the family’s privacy.

(It is also worth noting that Peter Venkman [Bill Murray] confirmed that Thornburg—in his previous career as an EPA investigator going by the name Walter Peck—‘has no penis’.)

Happy Christmas and yippee ki yay, motherf*ckers.

Best Albums of 2020

And here we are in the nick of time, before the closing hours of 2020, to present you with the highly-subjective lists of our favourite albums of the year. We won’t pretend that 2020 wasn’t an especially horrible year for many people, but we can highlight that excellent artistry may arise despite tragedy (and it has been argued that the finest artistry emerges from tragedy necessarily). We would also like to take this opportunity to thank you for reading and to wish all of our readers a very happy New Year, full of love, peace and joy.

Elijah & Greg


10. Fetch the Bolt Cutters
Fiona Apple

Full disclosure: 2012’s The Idler Wheel… passed me by. In fact, I haven’t given Fiona Apple much of a listen since 2005’s Extraordinary Machine, which I found relatively underwhelming. I am grateful for venturing back into Apple territory for this record, which is the first of her five records (a slim catalogue over a 25-year career) in which she oversaw all of her own production. Without Jon Brion’s instrumental settings, Apple has produced something more primal. The title of the record comes from the television programme The Fall. In the scene in question, Gillian Anderson’s detective protagonist Stella Gibson is seeking to reach a torture victim through a locked door.

Without wanting to belabour the parallel, Fetch the Bolt Cutters is an expression of artistic liberation: ‘Fetch the bolt cutters… I’ve been in here too long’ (from the title track). Additional percussion is provided by the bashing of walls and floor of her Los Angeles home. These are accompanied by barking dogs (à la Brian Wilson), and, apparently, her deceased dog’s bones. Perhaps she is musing on her prodigal beginnings as a seventeen-year-old pop star when she sings ‘I grew up in the shoes they told me I could fill’. Whatever artistic journey she has been on, she has rediscovered a particular artistic freedom with this album.

9. Women in music Pt. III
HAIM

HAIM is comprised of the three Haim sisters: Este, Danielle and Alana. Women in Music Pt III is their third studio album and explores various personal challenges faced by the sisters as well as the sexism faced by women in the music industry (especially in the Joni Mitchell-esque ‘Man from the Magazine’). (A geeky side-note is the fact that the album cover was photographed by Paul Thomas Anderson [one of my favourite directors] at the famous Canter’s Deli in the Fairfax District of Los Angeles. Anderson also directed the several music videos from the album singles.) In addition to the deeply personal lyrical content of WIMPIII (each of the three Haim sisters have expressed personal traumas faced in the period leading up to the recording of the album), this record is notable for its employment of a wide variety of musical genres. Even with (though not necessarily in opposition to) the sometimes depressive content, WIMPIII is full of momentum, harnessing the energy of 1990s West Coast pop rock.

8. The Slow Rush
Tame Impala

When Greg first introduced me to Tame Impala over a decade ago, I was enamoured with the ‘band’s’ sound. Neo-psychedelic rock soundscapes with heavily-effected drums and vocals. There was something simultaneously classic and contemporary about the sound and I couldn’t get enough of it. When I discovered that the band was actually just Kevin Parker, my mind was well and truly blown. Since 2010’s InnerSpeaker, every Tame Impala record has scratched its way into my top ten lists.

When I first heard this record, I didn’t know whether The Slow Rush would buck the trend or not. It is both very Tame Impala and very much a departure. The psychedelic and effected elements remain, but The Slow Rush, in keeping with its name, features a distinctly softer sound than previous Tame Impala records while keeping time with punchy disco beats. In the opening track, Parker sings ‘Not caring if we do the same thing every week / of living like I’m only living for me / of never talking about where we’re gonna be / of living like the free spirit I wanna be.’ As an admitted superfan of the more distorted guitar-driven, gravelly Tame Impala sound, I remain entranced with the intimate interlude that is The Slow Rush.

7. Set My Heart on Fire Immediately
Perfume Genius

Michael Alden Hadreas, aka Perfume Genius has continued the trend of exploring embodied existence through song in his fifth album. Somewhat familiar narratives remain, but Set My Heart on Fire Immediately picks up on Hadreas’ decade-long musical journey from the art rock industrial ballads of his early releases, through the land of the flamboyant showman and to this amalgamation of a considerable number of musical styles and influences spanning the last sixty years of pop music. And while Hadreas persists in his exquisite lyrical poeticism, he also leaves the sonic soundscapes to complete the picture, to express the verbally inexpressible. The tone of the whole of Set My Heart on Fire Immediately is one of more confidence and earthiness (as opposed to the equally-valuable frailty and dreaminess of his previous releases).

6. songs / instrumentals
Adrianne Lenker

Since the release of Masterpiece in 2016, Big Thief has been one of my favourite bands of the last decade. This has been due primarily to the contribution of lead singer and guitarist Adrianne Lenker. In both songwriting and musicianship, Lenker has been a pleasure to explore. (Unbeknownst to me at the time, she has been writing and releasing music for the last 16 years.) Having released two excellent records last year (U.F.O.F. and Two Hands), Big Thief was set to embark on a European tour when, due to the pandemic, it was cancelled (boo…). As a result, Lenker saw an opportunity to take a break from the demands of recording and touring (as well as to work through a recent break-up), staying in a small cabin in Western Massachusetts to be near to her sister. It may come as no surprise that with a creative force such as Lenker, these circumstances proved ideal for the gestation of new material.

While Lenker’s previous material is known for its lyrical honesty, Songs in particular is a further journey into her feelings, borne, was The Independent’s Roisin O’Connor puts it, ‘with complete abandon.’ The opening track, ‘two reverse’ indicates this complete abandon: ‘Lay me down so to let you leave. / Tell me lies, I wanna see your eyes. / Is it a crime to say I still need you? / Crime, wanna feed you.’

In the midst of this vulnerable outpouring of emotion, Lenker continues to demonstrate her musical confidence, albeit stripped down to mostly her guitar and vocals (and the occasional sound of falling rain). This doesn’t feel like a Big Thief album, but perhaps something better, or at the very least, something more intimate.

5. græ
Moses Sumney

It is perhaps a testimony to my own musical ignorance (rather than the opposite) that I don’t often hear an album and feel as if it is unlike anything I have ever heard before. Even albums that may catch me off-guard tend to also harbour a strong relationship to my other musical interests. Without a doubt, Moses Sumney’s græ bears little resemblance to other music with which I am familiar. This is not to say that Sumney’s influences are unrecognisable, but instead that the composition of græ is a wholly unique expressive force. In addition to the experimental melding of genres including jazz, classical, folk, art pop/rock and spoken word, græ is also an exceptionally personal record. With confidence and skill, Sumney approaches various issues close to home including immigration (Sunmey was born in California to Ghanaian immigrants and spent a number of years in Ghana as a child), race, gender and queer culture. While these genres and concepts might appear ham-fisted or pretentious on any other record, the pacing and tone of græ facilitates natural expression and is a triumph of contemporary music.

4. RTJ4
Run the Jewels

I have been a fan of El-P since 2002’s Fantastic Damage. I even loved the electronic jazz fusion of High Water (recorded with The Blue Series Continuum in 2004). When he partnered with Killer Mike for 2013’s Run the Jewels, El-P went from strength to strength. Every subsequent RTJ record has continued to impress (albeit, peppered with humour on the level of Cartoon Network’s [adult swim] programming), but none so significantly as this latest release.

RTJ4 is the quintessential 2020 record. Pandemics, although horrific in their destruction of human life, come and go. Police brutality/racism is the more enduring illness in the United States. The opening track, ‘Yankee and the Brave (Ep. 4)’ heralds the tone of the record, closing with the words, ‘Yankee and The Brave are here / everybody hit the deck / we don’t mean no harm / but we truly mean all the disrespect.’ Run the Jewels have always exercised pointed social commentary, but RTJ4 is a step up in terms of agitation and clarity of thought. The lyrics express the reality of black Americans resisting systematic racism as well as the solidary in this struggle that can be expressed by allies of the black community. In a sense, Killer Mike and El-P are a shining example of what a unified, pragmatic and socially-conscious America can be, all bolstered by the superb production for which El-P has become legendary in the field of experimental hip-hop.

3. Hannah
Lomelda

Hannah is Lomelda’s fourth studio album (although ‘Lomelda’ is Texas songwriter Hannah Read, who has been releasing music for nearly a decade, in one form or another). Last year’s release, M for Empathy passed me by. Approaching Hannah with a tabula rasa was probably the best way in for me. As it turns out, whether by nature or design, Hannah Read is one of the most unassuming contemporary musicians I have encountered. There is a profound modesty in her songwriting, paralleled by the gentleness and unmilled tone of her singing voice. Hannah feels like a series of letters that Read has written to herself (as opposed to the convention of most self-titled records). It is almost as if Read is not interested in performing, per se, but rather, expressing herself in the most natural way possible – almost as if she is singing in the privacy of her bedroom. This openness disarms the listener and draws them in to Read’s narrative. She unveils grace and beauty in the mundane and ordinary, and through this, the listener is absorbed into that transcendence.

2. THE ASCENSION
Sufjan Stevens

I resisted. I promise that I resisted. When the album’s first single, ‘America’ was released in July, I had assumed it was a one-off, perhaps a comment on the state of play in the United States, what with the ongoing pandemic and the circus of a presidential election on the horizon. (In reality, Stevens penned ‘America’ during the Carrie & Lowell sessions.) Then August brought the second single, ‘Video Game’. As soon as it was released, I listened with measured anticipation. Was this to be the sound of The Ascension? I wondered, ‘Maybe this won’t be my cup of tea…’ ‘Video Game’ was followed by ‘Sugar’ in September and then the release of the album in full. I had placed a pre-order as soon as the album was announced, but I was beginning to think that its addition to my collection would be a matter of mere Sufjan Stevens ‘completism’, rather than a treasure to be cherished.

In part, I was relieved when I didn’t fall in love with The Ascension after hearing it for the first time. In the past, every time had Sufjan Stevens released an album of new material, it always seemed to climb its way to the top of my ‘best of’ list. To be sure, I am under no impression that my end of the year lists are anything more than subjective rambles about music that I—an ignoramus—enjoy. Yet, the more I listened, the more I realised that this was a true grower. Stevens has grown tired of folk music convention (he tends to dip in and out of love with this form) and songwriting in The Ascension exercises more force and certainty (even while expressing uncertainty) than ever before. In an interview with Spencer Kornhaber of The Atlantic, Stevens admits that this album is ‘bossy and bitchy’. In a sense, The Ascension is less dynamic than most of Stevens’ previous releases, but when that dynamism appears, it really pays off. The Purple Rain-era-Prince-sounding ‘Death Star’ stands out especially — I could not have guessed that jingle bells would give me the chills time and time again.

1. Rough and Rowdy Ways
Bob Dylan

Here are several potentially controversial statements: This is easily Dylan’s finest original work since 1997’s Time Out of Mind. This might well be his finest release since 1975’s Desire (or, when the notion takes me, 1989’s Oh Mercy). For all of the strengths of 2001’s “Love and Theft”, 2006’s Modern Times and 2012’s Tempest, Rough and Rowdy Ways showcases Dylan’s Nobel-prize winning, transcendent and perhaps, unparalleled songwriting prowess better than anything he has produced in the last two decades.

I find only two weaknesses in Rough and Rowdy Ways. The first is a single phrase in ‘I Contain Multitudes’. In the midst of throwing out seemingly-pithy pop-culture references intermixed with more profound figures among the ‘multitudes’ he ‘contains’, Dylan offers up this cringe-worthy line: ‘And them British bad boys, The Rolling Stones’. At 79, I can accept Dylan’s characterisation of the The Rolling Stones here—who were beginning to favour of edgier rock-n-roll cuts like ‘(I Can’t Get No) Satisfaction’ and ‘Paint It Black’ when Dylan was making his own transition to the electric guitar—but referring to them as ‘British bad boys’… I shudder even as I type the expression. My second grievance is with Dylan’s occasional dependence on cookie-cutter blues rock arrangements. Yet, even within the likes of ‘False Prophet’, ‘Goodbye Jimmy Reed’ and ‘Crossing the Rubicon’, his exceptional songwriting genius shines through. Thanks, Bob, for reminding me why you’re my favourite artist of all time.

Shore Fleet Foxes

Fountain Lyra Pramuk

Mystic Familiar Dan Deacon

Flower of Devotion Dehd

Microphones in 2020 The Microphones

Healing is a Miracle Julianna Barwick

SHall We Go on Sinning So That Grace May Increase? The Soft Pink Truth

Whole New Mess Angel Olsen

Fear of Death Tim Heidecker

Live Forever Bartees Strange


10. SURVIVORS EP
Tim Baker

I had originally slotted the new Car Seat Headrest album into this tenth slot, but then I realized that… I honestly REALLY only like about 3 songs on it. And so I came to the conclusion that I should instead honor this 5 song EP from my last year’s top album artist, Canadian troubadour Tim Baker. The song “Survivors” was MY ANTHEM for this year, so here’s to you Tim, for helping me to get through the lousiest year on record. You spin gold out of tragedy…

9. Born again
Ellis

Her voice is hard to distinguish from another dreamy bedroom pop singer named Clairo, but there’s something deeper in her deconversion narrative that keep this album from turning into another collection of broken heart stories. The lyrics aren’t too profound, but they’re honest, like a gauzy reflection on a #metoo world from the evangelical subculture with smashing cymbals and guitars on overdrive. I guess I’m just a sucker for a song that starts “Lately I have been romanticizing shit…” (“Embarrassing”).

8. Color Theory
Soccer Mommy

To be honest, a lot of the songs on this album sound the same to me… but the thing is, it’s such a great sound that she’s mastered. 90’s atmospheric rock with a girl-ish wistfulness (“I’m the princess of screwing up”) beneath which lies trenchant insights pulled from the wreckage of self-doubt, depression, loss, and splintered relationships. She’s like the prettiest, smartest, saddest, and angriest girl in the world at the same time, standing at the mic with a Fender Strat wrapped around her shoulders.

7. SLEEPYHEAD
Cavetown

For the first time ever, I have an album on my top ten that MY DAUGHTER Katrina turned me onto. This Gen Z wunderkind, whom his parents named Robin Skinner, wrote, produced, and played most of the instruments on the record in his major label debut and he is the most earnest of bedroom indie heroes imaginable, singing about how he hates the way he looks as an adult (“Snail”), wanting someone to tell him that they like him after he confesses his own affection (“Sweet Tooth”), and recounting how he almost killing himself at age 13 (“Empty Bed”). His double tracked vocals are charmingly lovely, he strums the acoustic minimally or grinds the electric Weezer-ly in just the right amount of accompaniment. It gives me hope for the future.

6. The Slow Rush
Tame Impala

This album had to grow on me. The dance-y vibe didn’t originally capture me as much as the sonic homages of Kevin Parker’s previous work (Beatles, 60’s psychedelic, 80’s pop, etc.), probably because I’ve never been a fan of songs that repeat a theme over and over, building and dropping out again and again. But, in the end, I had to give into the groove that this kid laid down. He’s a genius, this one.

5. Down in the Weeds, Where the World Once Was
Bright Eyes

This is a triumphant come back after 2011’s The People’s Key, which I found almost unlistenable. Conor Oberst may have been reinvigorated by his new muse (hint: see my #1 album) after creating the masterful collaboration Better Oblivion Community Center with her last year. His lyrics, songwriting, arrangements, and instrumentation are all back to the highest level of some of his best previous work with his long-time band. He touches on some deep wounds and finds cathartic creative power amidst the pain. Let’s hope that he stays this inspired for some time to come!

4. The New Abnormal
The Strokes

You know, I’ve never actually owned an album by The Strokes before. I mean, I knew and liked the songs that everyone did, but I would not have considered myself a fan. Perhaps I should have listened more closely. When I put this record on, I immediately connected with the catchy post-punk melodies and weary nostalgia that they were peddling. I even found myself cracking up at the melodic thievery (Psychedelic Furs in “Eternal Summer”), inside jokes (“Drums please, Fab” and “I was just bored, playing the guitar / Learned all your tricks, wasn’t too hard” in “Ode to the Mets”), and the bands coming to terms with being the old guard at this point in their career. This album brought me a lot of joy in this joyless crapheap of a year, so I thank them for that.

3. Shore
Fleet Foxes

This was the album that made me feel like everything would be okay again one day. Robin Peckhold et al were a bit obscure (though still brilliant) on 2017’s Crack-up, but it was like he was now inviting us to explore “land / Overgrown / No words, no false, no true / Water stands / Waves just pass through it / Like something moves through you.” That’s what listening to this album feels like… just the thing that I needed so much.

2. The Ascension
Sufjan Stevens

I had a listening party for this album on the night that it was released. For the first few songs, I was dialed in, willing to follow Suf wherever he wanted to take us. But then, beginning with “Die Happy” I became pretty… unhappy. Song after song began to revel in discordance, melodically and lyrically. I felt like it was a repudiation of the old Sufjan that I loved so much—his faith (“I want to be my own redeemer” and “I was acting like a believer when I was just angry and depressed”), his love of his country—though this somewhat understandable—in “America,” and his musical aesthetic (it was hard to make out any discernible natural instrument on the album—even Age of Adz allowed for the occasional acoustic guitar or orchestral part! It’s funny that the “America” B-side “My Rajneesh” was the EXACT Sufjan sound that I wanted!!). But then… I just decided to let Sufjan do what he needed to do, to say what he needed to say. And I once again recognized his genius and began to appreciate the album more and more. I may not love it as much as previous albums (I’d rank his oeuvre as follows: Illinois, Carrie & Lowell, Age of Adz, Michigan, The Ascension, Planetarium, A Sun Came, Seven Swans, Aporia, Enjoy Your Rabbit), but I will stand behind my artistic apotheosis whatever path he takes.

1. Punisher
Phoebe Bridgers

I’ve seen the Phoebe Bridgers backlash. It’s a real thing. And it’s not pretty. But to my ears, this is it. This is the best that this damnable year had to offer. She kept at it too, releasing the orchestral re-mix EP Copycat Killer and a melancholovely Christmas EP as well. I won’t say any more other than to say, “Take up and listen.” (PS. Katrina loves it too!! She dressed up as Phoebes for Halloween, which is meta, cause it’s one of the song titles on the album.)

folklore Taylor Swift (my beautiful youngest daughter is looking over my shoulder right now to make sure that I included this album on my list… heh heh)

Another Decade of Bests (2010-2019)

This post is the second of two parts. With hindsight and in living with particular albums for longer, we have compiled lists of our ten favourite albums for each year from 2000-2019. Perhaps these lists will be of some interest for those who wish to walk down Memory Lane, or indeed, for those who might wonder if any of these [subjective] gems passed them by (as we have discovered from comparing our respective lists). Whatever you—dear reader—might glean from our produce, we are grateful for the opportunity to indulge in our list-making and music-listening passions here.

Elijah & Greg


— E —

  1. The Age of Adz / All Delighted People EP
    Sufjan Stevens
  2. The Winter of Mixed Drinks
    Frightened Rabbit
  3. Halcyon Digest
    Deerhunter
  4. The Suburbs
    Arcade Fire
  5. Teen Dream
    Beach House
  6. InnerSpeaker
    Tame Impala
  7. High Violet
    The National
  8. This is Happening
    LCD Soundsystem
  9. Clinging to a Scheme
    The Radio Dept.
  10. The Monitor
    Titus Andronicus

— G —

  1. The Age of Adz / All Delighted People EP
    Sufjan Stevens
  2. The Suburbs
    Arcade Fire
  3. The Winter of Mixed Drinks
    Frightened Rabbit
  4. InnerSpeaker
    Tame Impala
  5. Forget
    Twin Shadow
  6. The Reluctant Graveyard
    Jeremy Messersmith
  7. High Violet
    The National
  8. Contra
    Vampire Weekend
  9. Together
    The New Pornographers
  10. So Runs the World Away
    Josh Ritter

— E —

  1. The SMiLE Sessions
    The Beach Boys
  2. Belong
    The Pains of Being Pure at Heart
  3. Dye It Blonde
    Smith Westerns
  4. Strange Mercy
    St Vincent
  5. Bon Iver
    Bon Iver
  6. Let England Shake
    PJ Harvey
  7. Humor Risk
    Cass McCombs
  8. Helplessness Blues
    Fleet Foxes
  9. The Year of Hibernation
    Youth Lagoon
  10. Hurry Up, We’re Dreaming
    M83

— G —

  1. The Last of the Country Gentlemen
    Josh T. Pearson
  2. Helplessness Blues
    Fleet Foxes
  3. 100 Acres of Sycamore
    Fionn Regan
  4. Rapproacher
    Class Actress
  5. Build a Rocket Boys!
    Elbow
  6. Strange Negotiations
    David Bazan
  7. Making Mirrors
    Gotye
  8. Endless Now
    Male Bonding
  9. The Family Tree: The Roots
    Radical Face
  10. 12 Desperate StrAight Lines
    Telekinesis

— E —

  1. Shields 
    Grizzly Bear
  2. Bloom 
    Beach House
  3. Dept. of Disappearance 
    Jason Lytle
  4. Lonerism 
    Tame Impala
  5. Silver & Gold
    Sufjan Stevens
  6. America 
    Dan Deacon
  7. ‘Allelujah! Don’t Bend! Ascend!
    Godspeed You! Black Emperor
  8. All We Love We Leave Behind 
    Converge
  9. Shrines 
    Purity Ring
  10. Sweet Heart Sweet Light 
    Spiritualized

— G —

  1. Fear Fun
    Father John Misty
  2. Silver & Gold
    Sufjan Stevens
  3. Break It Yourself
    Andrew Bird
  4. Tramp 
    Sharon Van Etten
  5. Port of Morrow 
    The Shins
  6. Adventures in Your Own Backyard 
    Patrick Watson
  7. The Idler Wheel is Wiser Than the Drive of the Screw… 
    Fiona Apple
  8. Lonerism 
    Tame Impala
  9. Through the Deep, Dark Valley 
    The Oh Hellos
  10. Who’s Feeling Young Now?
    Punch Brothers

— E —

  1. Pedestrian Verse
    Frightened Rabbit
  2. Reflektor 
    Arcade Fire
  3. Partygoing 
    Future Bible Heroes
  4. m b v
    My Bloody Valentine
  5. Big Wheel and Others 
    Cass McCombs
  6. Trouble Will Find Me 
    The National
  7. Wondrous Bughouse 
    Youth Lagoon
  8. Love’s Crushing Diamond 
    Mutual Benefit
  9. Monomania 
    Deerhunter
  10. Muchacho
    Phosphorescent

— G —

  1. Pedestrian Verse
    Frightened Rabbit
  2. Modern Vampires of the City
    Vampire Weekend
  3. Torres
    Torres
  4. The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You
    Neko Case
  5. Promises
    The Boxer Rebellion
  6. Trouble Will Find Me
    The National
  7. The Lives Inside the Lines in Your Hand / Threeep
    Matt Pond PA
  8. Alone Aboard the Ark
    The Leisure Society
  9. Us Alone
    Hayden
  10. Lily & Madeline / The Weight of the Globe EP
    Lily & Madeline

— E —

  1. pom pom
    Ariel Pink
  2. Burn Your Fire for No Witness
    Angel Olsen
  3. Nobody Wants to Be Here & Nobody Wants to Leave
    The Twilight Sad
  4. Lost in the Dream
    The War on Drugs
  5. St Vincent
    St Vincent
  6. Brothers and Sisters of the Eternal Son
    Damien Jurado
  7. Some Blue Morning
    Adrian Crowley
  8. Too Bright
    Perfume Genius
  9. Owl John
    Owl John
  10. Are We There
    Sharon Van Etten

— G —

  1. Heart Murmurs
    Jeremy Messersmith
  2. 1000 Forms of Fear
    Sia
  3. Second Sight
    Hey Rosetta!
  4. Brill Bruisers
    The New Pornographers
  5. Stay Gold
    First Aid Kit
  6. Upside Down Mountain
    Conor Oberst
  7. My Favourite Faded Fantasy
    Damien Rice
  8. Are We There
    Sharon Van Etten
  9. The Take Off and Landing of Everything
    Elbow
  10. In Conflict
    Owen Pallett

— E —

  1. Carrie & Lowell 
    Sufjan Stevens
  2. Currents 
    Tame Impala
  3. viet cong
    Viet Cong (Preoccupations)
  4. Depression Cherry 
    Beach House
  5. I Love You, Honeybear 
    Father John Misty
  6. Vulnicura 
    Björk
  7. Weirdo Shrine 
    La Luz
  8. Fading Frontier 
    Deerhunter
  9. White Men Are Black Men Too
    Young Fathers
  10. Sometimes I Sit and Think, and Sometimes I Just Sit
    Courtney Barnett

— G —

  1. Carrie & Lowell
    Sufjan Stevens
  2. Currents
    Tame Impala
  3. Teens of Style
    Car Seat Headrest
  4. Vulnicura
    Björk
  5. Bashed Out
    This is the Kit
  6. Dear Wormwood
    The Oh Hellos
  7. Depression Cherry
    Beach House
  8. Brother
    The Brilliance
  9. Sprinter
    Torres
  10. Times Infinity Vol. One
    The Dears

— E —

  1. Masterpiece 
    Big Thief
  2. My Woman 
    Angel Olsen
  3. Teens of Denial 
    Car Seat Headrest
  4. Painting of a Panic Attack 
    Frightened Rabbit
  5. Puberty 2 
    Mitski
  6. A Moon Shaped Pool 
    Radiohead
  7. Skeleton Tree 
    Nick Cave & the Bad Seeds
  8. You Want it Darker 
    Leonard Cohen
  9. Emotions and Math
    Margaret Glaspy
  10. Next Thing 
    Frankie Cosmos

— G —

  1. Teens of Denial
    Car Seat Headrest
  2. Are You Serious
    Andrew Bird
  3. Painting of a Panic Attack
    Frightened Rabbit
  4. Puberty 2
    Mitski
  5. The Birds Outside Sang
    Florist
  6. A Moon Shaped Pool
    Radiohead
  7. Arranging Time
    Pete Yorn
  8. Remember Us to Life
    Regina Spektor
  9. Front Row Seat to Earth
    Weyes Blood
  10. 22, A Million
    Bon Iver

— E —

  1. A Crow Looked at Me
    Mount Eerie
  2. DAMN
    Kendrick Lamar
  3. Capacity
    Big Thief
  4. Planetarium
    Sufjan Stevens, Nico Muhly, Bryce Dessner & James McAlister
  5. No Shape
    Perfume Genius
  6. Slowdive
    Slowdive
  7. Last Place
    Grandaddy
  8. Sleep Well Beast
    The National
  9. Powerplant
    Girlpool
  10. Antisocialites
    Alvvays

— G —

  1. (I Am) Origami Pt. 2 – Every Power Wide Awake
    John Van Deusen
  2. Stranger in the Alps
    Phoebe Bridgers
  3. Pure Comedy
    Father John Misty
  4. Planetarium
    Sufjan Stevens, Nico Muhly, Bryce Dessner & James McAlister
  5. Crack-Up
    Fleet Foxes
  6. Swin Inside the Moon
    Angelo De Augustine
  7. Sleep Well Beast
    The National
  8. Ruins
    First Aid Kit
  9. Mentall Illness
    Aimee Mann
  10. Painted Ruins
    Grizzly Bear

— E —

  1. 7
    Beach House
  2. Be the Cowboy
    Mitski
  3. And Nothing Hurt
    Spiritualized
  4. Only Love
    The Armed
  5. God’s Favorite Customer
    Father John Misty
  6. You Won’t Get What You Want
    Daughters
  7. Lush
    Snail Mail
  8. In a Poem Unlimited
    US Girls
  9. Singularity
    Jon Hopkins
  10. The Future Me Hates Me
    The Beths

— G —

  1. Be the Cowboy
    Mitski
  2. God’s Favorite Customer
    Father John Misty
  3. Something in the Rain (OST)
    이남연 & Rachel Yamagata
  4. Lush
    Snail Mail
  5. Boygenius
    Boygenius
  6. 7
    Beach House
  7. Big Red Machine
    Big Red Machine
  8. Love is Dead
    Chvrches
  9. You, Forever
    Sam Evian
  10. Hell-On
    Neko Case

— E —

  1. It Won/t Be Like This All the Time
    The Twilight Sad
  2. All Mirrors
    Angel Olsen
  3. U.F.O.F.
    Big Thief
  4. Remind Me Tomorrow
    Sharon Van Etten
  5. Reward
    Cate Le Bon
  6. Titanic Rising
    Weyes Blood
  7. Ghosteen
    Nick Cave & the Bad Seeds
  8. Anima
    Thom Yorke
  9. 2020
    Richard Dawson
  10. Two Hands
    Big Thief

— G —

  1. Forever Overhead
    Tim Baker
  2. Cala
    Fionn Regan
  3. Better Oblivion Community Center
    Better Oblivion Community Center
  4. My Finest Work Yet
    Andrew Bird
  5. Titanic Rising
    Weyes Blood
  6. Tomb
    Angelo De Augustine
  7. Father of the Bride
    Vampire Weekend
  8. Remind Me Tomorrow
    Sharon Van Etten
  9. Anima
    Thom Yorke
  10. Immunity
    Clairo

See our lists from 2000-2009 here.






A Decade of Bests (2000-2009)

When we first launched Lost in the Cloud in 2010, we were on a roll from our previous blog, hoping to take LITC into different territory. One thing we carried over from our previous blog was our love for lists, especially music lists. We began Lost in the Cloud with productive intentions, but life, as it can so often do, got in the way of our keeping up with the blog.

For the first six years, we were diligent in posting the lists of our favourite albums of the year, complete with short descriptions of each. In those last couple of dwindling years, our ‘Best Albums’ lists were becoming the only new material we were producing for the blog. In time, even that dropped off of our list of priorities and Lost in the Cloud went quiet.

This year, we have decided to revisit our ‘Best Albums’ lists and to even elaborate on our whole ‘Best Albums’ corpus by travelling all the way back to the prehistoric year that was 2000. This post is part one of two. With hindsight and in living with particular albums for longer, we have compiled lists of our ten favourite albums for each year from 2000-2019. Perhaps these lists will be of some interest for those who wish to walk down Memory Lane, or indeed, for those who might wonder if any of these [subjective] gems passed them by (as we have discovered from comparing our respective lists). Whatever you—dear reader—might glean from our produce, we are grateful for the opportunity to indulge in our list-making and music-listening passions here.

Elijah & Greg


— E —

  1. Figure 8
    Elliott Smith
  2. Kid A
    Radiohead
  3. The Sophtware Slump
    Grandaddy
  4. Lift Your Skinny Fists Like Antennas to Heaven
    Godspeed You! Black Emperor
  5. ÁGÆTIS BYRJUN
    Sigur Rós
  6. Bachelor No. 2
    Aimee Mann
  7. Winners Never Quit
    Pedro the Lion
  8. Stories from the City, Stories from the Sea
    PJ Harvey
  9. And Then Nothing Turned Itself Inside-Out
    Yo La Tengo
  10. Rising Tide
    Sunny Day Real Estate

— G —

  1. Kid A
    Radiohead
  2. Figure 8
    Elliott Smith
  3. Bachelor No. 2
    Aimee Mann
  4. All That You Can’t Leave Behind
    U2
  5. ÁGÆTIS BYRJUN
    Sigur Rós
  6. Fever & Mirrors
    Bright Eyes
  7. Heartbreaker
    Ryan Adams
  8. Rising Tide
    Sunny Day Real Estate
  9. Winners Never Quit
    Pedro the Lion
  10. MASS ROMANTIC
    The New Pornographers

— E —

  1. Amnesiac
    Radiohead
  2. Jane Doe
    Converge
  3. The Glow, Pt. 2
    The Microphones
  4. White Blood Cells
    The White Stripes
  5. Blue Screen Life
    Pinback
  6. Hot Shots II
    The Beta Band
  7. Vespertine
    Björk
  8. “Love and Theft”
    Bob Dylan
  9. The Photo Album
    Death Cab for Cutie
  10. Discovery
    Daft Punk

— G —

  1. The Texas-Jerusalem Crossroads
    Lift to Experience
  2. Oh, Inverted World
    The Shins
  3. Asleep in the back
    Elbow
  4. Musicforthemorningafter
    Pete Yorn
  5. Origin of Symmetry
    Muse
  6. The Invisible Band
    Travis
  7. The Only Reason I Feel Secure
    Pedro the Lion
  8. Skyscraper National Park
    Hayden
  9. The Photo Album
    Death Cab for Cutie
  10. AMNESIAC
    Radiohead

— E —

  1. Control 
    Pedro the Lion
  2. Turn on the Bright Lights 
    Interpol
  3. Fantastic Damage 
    El-P
  4. Alice / Blood Money
    Tom Waits
  5. The Creek Drank the Cradle
    Iron & Wine
  6. Sea Change
    Beck
  7. Unfortunately We’re Not Robots
    Curl Up & Die
  8. [AB] Life
    mewithoutYou
  9. We Are the Only Friends We Have
    Piebald
  10. Give Up
    Postal Service

— G —

  1. Control
    Pedro the Lion
  2. Lifted or The Story Is in the Soil, Keep Your Ear to the Ground
    Bright Eyes
  3. The Creek Drank the Cradle
    Iron & Wine
  4. Sea Change
    Beck
  5. The Last Broadcast 
    Doves
  6. Give Up 
    Postal Service
  7. A Rush of Blood to the Head 
    Coldplay
  8. Yankee Hotel Foxtrot
    Wilco
  9. Turn on the Bright Lights 
    Interpol
  10. The Seamonsters
    The Seamonsters

— E —

  1. Greetings from Michigan: The Great Lakes State 
    Sufjan Stevens
  2. The Ugly Organ 
    Cursive
  3. Hail to the Thief 
    Radiohead
  4. The Earth is Not a Cold Dead Place 
    Explosions in the Sky
  5. Sumday
    Grandaddy
  6. You Forgot it in People 
    Broken Social Scene
  7. Dear Catastrophe Waitress 
    Belle & Sebastian
  8. Monday at the Hug & Pint 
    Arab Strap
  9. Frail Words Collapse 
    As I Lay Dying
  10. Happy Songs for Happy People
    Mogwai

— G —

  1. Greetings from Michigan: The Great Lakes State 
    Sufjan Stevens
  2. Hail to the Thief
    Radiohead
  3. Cast of Thousands
    Elbow
  4. Absolution
    Muse
  5. Final Straw
    Snow Patrol
  6. Marvelous Things EP
    Eisley
  7. O
    Damien Rice
  8. Transatlanticism
    Death Cab for Cutie
  9. Log 22
    Bettie Serveert
  10. Desprate Youth, Blood Thirsty Babes
    TV on the Radio

— E —

  1. From a Basement on a Hill
    Elliott Smith
  2. Funeral
    Arcade Fire
  3. Seven Swans
    Sufjan Stevens
  4. Antics
    Interpol
  5. You Are the Quarry
    Morrissey
  6. Sung Tongs
    Animal Collective
  7. Achilles Heel
    Pedro the Lion
  8. Our Endless Numbered Days
    Iron & Wine
  9. A
    Cass McCombs
  10. How It Ends
    DeVotchKa

— G —

  1. Sung Tongs
    Animal Collective
  2. From a Basement on a Hill
    Elliott Smith
  3. Antics
    Interpol
  4. Seven Swans
    Sufjan Stevens
  5. Achilles Heel
    Pedro the Lion
  6. Our Endless Numbered Days
    Iron & Wine
  7. FUNERAL
    Arcade Fire
  8. The Autumns
    The Autumns
  9. How It Ends
    DeVotchKa
  10. Turning Tide
    The Seamonsters

— E —

  1. Illinois 
    Sufjan Stevens
  2. The One Above All, The End of All That Is 
    Curl Up & Die
  3. Emoh 
    Lou Barlow
  4. Takk...
    Sigur Rós
  5. Feels 
    Animal Collective
  6. LCD Soundsystem 
    LCD Soundsystem
  7. Headphones 
    Headphones
  8. And the Glass Handed Kites 
    Mew
  9. Guero 
    Beck
  10. Surf
    Roddy Frame

— G —

  1. Illinois
    Sufjan Stevens
  2. Takk...
    Sigur Rós
  3. Several Arrows Later
    Matt Pond PA
  4. Silent Alarm
    Bloc Party
  5. Feels
    Animal Collective
  6. Emoh
    Lou Barlow
  7. Andrew Bird & the Mysterious Production of Eggs
    Andrew Bird
  8. I’m Wide Awake It’s Morning
    Bright Eyes
  9. Headphones
    Headphones
  10. Pixel Revolt
    John Vanderslice

— E —

  1. Yellow House 
    Grizzly Bear
  2. The Avalanche 
    Sufjan Stevens
  3. Happy Hollow
    Cursive
  4. No Heroes 
    Converge
  5. Everything All the Time 
    Band of Horses
  6. Victory for the Comic Muse 
    The Divine Comedy
  7. Orphans: Brawlers, Bawlers & Bastards 
    Tom Waits
  8. Sing the Greys 
    Frightened Rabbit
  9. Brother, Sister
    mewithoutYou
  10. The Eraser 
    Thom Yorke

— G —

  1. The Avalanche
    Sufjan Stevens
  2. Gang of Losers
    The Dears
  3. The End of History
    Fionn Regan
  4. The Eraser
    Thom Yorke
  5. Begin to Hope
    Regina Spektor
  6. Everything All the Time
    Band of Horses
  7. Sing the Greys
    Frightened Rabbit
  8. The Cost
    The Frames
  9. Fox Confessor Brings the Flood
    Neko Case
  10. Camping by the Railroad Tracks in December
    Harmony and Pollution

— E —

  1. Neon Bible
    Arcade Fire
  2. In Rainbows
    Radiohead
  3. Sound of Silver
    LCD Soundsystem
  4. Fourteen Autumns and Fifteen Winters
    The Twilight Sad
  5. Strawberry Jam
    Animal Collective
  6. White Chalk
    PJ Harvey
  7. Cease to Begin
    Band of Horses
  8. Dance Tonight! Revolution Tomorrow!
    Orchid
  9. The Shepherd’s Dog
    Iron & Wine
  10. Person pitch
    Panda Bear

— G —

  1. In Rainbows
    Radiohead
  2. Strawberry Jam
    Animal Collective
  3. Boxer
    The National
  4. A Few More Published Studies
    The XYZ Affair
  5. Wincing the Night Away
    The Shins
  6. PERSON PITCH
    Panda Bear
  7. Cease to Begin
    Band of Horses
  8. A WEEKEND IN THE CITY
    Bloc Party
  9. Voxtrot
    Voxtrot
  10. Neon Bible
    Arcade Fire

— E —

  1. The Midnight Organ Fight
    Frightened Rabbit
  2. Songs in A&E
    Spiritualized
  3. Fleet Foxes
    Fleet Foxes
  4. In Ear Park
    Department of Eagles
  5. Dig That Treasure
    Cryptacize
  6. Dropping the Writ
    Cass McCombs
  7. Microcastle
    Deerhunter
  8. Everything That Happens Will Happen Today
    David Byrne & Brian Eno
  9. In Ghost Colours
    Cut Copy
  10. Rip It Off
    Times New Viking

— G —

  1. The Midnight Organ Fight
    Frightened Rabbit
  2. Fleet Foxes
    Fleet Foxes
  3. The Seldom Seen Kid
    Elbow
  4. Vampire Weekend
    Vampire Weekend
  5. Með Suð Í Eyrum Við Spilum Endalaust
    Sigur Rós
  6. Dropping the Writ
    Cass McCombs
  7. Words & Music
    Aqualung
  8. In Ear Park
    Department of Eagles
  9. At War with Walls & Mazes
    Son Lux
  10. @#%&*! Smilers
    Aimee Mann

— E —

  1. Veckatimest
    Grizzly Bear
  2. Merriweather Post Pavilion
    Animal Collective
  3. Axe to Fall
    Converge
  4. Album
    Girls
  5. Forget the Night Ahead
    The Twilight Sad
  6. Logos
    Atlas Sound
  7. These Four Walls
    We Were Promised Jetpacks
  8. Mythomania
    Cryptacize
  9. The Pains of Being Pure at Heart
    The Pains of Being Pure at Heart
  10. Curse Your Branches
    David Bazan

— G —

  1. Merriweather Post Pavilion
    Animal Collective
  2. Middle Cyclone
    Neko Case
  3. Curse Your Branches
    David Bazan
  4. Veckatimest
    Grizzly Bear
  5. Far
    Regina Spektor
  6. Romanian Names
    John Vanderslice
  7. Oh My God, Charlie Darwin
    The Low Anthem
  8. Hospice
    The Antlers
  9. Manners
    Passion Pit
  10. Goodnight Unknown
    Lou Barlow

See our lists from 2010-2019 here.

Jesus wept

On Monday evening, at Donald Trump’s final campaign rally before the election, Donald Trump, Jr declared, ‘Let’s make liberals cry again!’ Of course, this is a play on the worn-out ‘Make America Great Again’ slogan, but with an added twist!

The narrative peddled by Donald Trump and company is that the United States is an inherently conservative nation and the so-called ‘liberals’ are pedantic outliers and sore losers, and that these people actually hate America. In reality, it can be argued that the United States is a ‘liberal’ nation. Do you find that difficult to believe? Here are some figures:

Perhaps one might believe that these polls cannot be trusted. Granted, polls like these always have margins of error, but it cannot be denied that a large swathe of the American population supports policies that are associated with liberal ideals. This 2020 election is a very tangible demonstration of the fact that the United States is not wholly one position or the other with regard to the narrow spectrum represented by ‘conservative’ and ‘liberal’ labels in the country. This matters because, in expressing a desire for liberals to ‘cry again’, Donald Trump, Jr is making clear that the Trump campaign is not in the business of uniting the United States. This isn’t news — Donald Trump’s disparaging views regarding anyone who disagrees with him are well-established.

Donald Trump paints himself as the voice of ‘true America’. He speaks of how good he has been for women and people of colour, but the poll numbers seem quite clear and these demographics have expressed their verdict. By and large, women and people of colour do not believe that another Donald Trump presidential term would benefit their interests. A side note – if you feel the need to retweet when the odd woman or person of colour expresses their admiration for you, you might be a sexist and a racist.

With regard to the desire to ‘make liberals cry again’—beyond it being but one example of serial juvenile bullying from the Trump camp—I feel the need to express that this is not a Christian view. (I relate this to faith since Donald Trump, Jr has expressed that liberals hate Church.) From a more neutral perspective, perhaps it is possible to say that there is no virtue in wishing for (or taking pleasure in) the sorrow or misfortune of others.

This morning, I spent some time reflecting on the story of someone crying, namely (as this blog post’s title suggests), Jesus of Nazareth.

In the Fourth Gospel, the Gospel of John, Jesus is walking around Palestine, upsetting the powerful and empowering the poor — you know, as he does. At the beginning of the 11th chapter, Jesus and his disciples are out in the wilderness, east of the River Jordan, where his cousin John had been baptising people. While he is there, he receives a notification from some of his friends, the sisters Mary and Martha. They inform him that their brother, Lazarus, is very unwell. They do this in a very intimate way, writing, ‘Lord, he whom you love is ill.’ Mary and Martha assume that Jesus, who had demonstrated this specific power at other times (especially in 9.1-12), is able to make Lazarus well again, but for them, time is of the essence.

Perhaps unusually, Jesus does not rush to their aid. He states, ‘This illness does not lead to death; rather it is for God’s glory, so that the Son of God may be glorified through it.’ (11.4). The Gospel continues: ‘Accordingly, though Jesus loved Martha and her sister and Lazarus, after having heard that Lazarus was ill, he stayed two days longer in the place where he was.’ (11.5-6).

To provide a little geographical context, Jesus is probably in a place called Bethany (‘Bethany Beyond the Jordan’, 1.21; modern-day Al-Maghtas, Jordan). Mary, Martha and Lazarus are in another Bethany (modern-day Al-Eizariya, Palestine) just outside of Jerusalem. As the crow flies, the two are about 60 kilometres (approximately 38 miles), or a day’s journey from each other. Therefore, when Jesus and his disciples finally reach Mary and Martha, it is likely that four days had elapsed since the sisters’ message was sent.

When he reaches Bethany, he is first approached by Martha who expresses, ‘Lord, if you had been here, my brother would not have died. But even now I know that God will give you whatever you ask of him.’ (11.21-22). Here, Martha is demonstrating an immense amount of faith, believing that this man somehow possesses the ability to heal people.

Some might discredit this sort of belief in ancient times because it is assumed that people back then were somehow more superstitious or gullible. But just as this sort of healing is not something that happens in our present experience (speaking generally – I have my beliefs, but I cannot discredit others’ experiences), in the same way, it was not something that happened in their ancient experience.

Martha entertains the possibility of some other demonstration of Jesus’ power, but doesn’t seem to be able to put the specific words together: ‘Jesus, I know you can raise him from the dead.’ Maybe she wanted to say that. She was in a desperate situation and in desperation people can be open to a whole range of possibilities that would have otherwise been impossibilities. In her grief, maybe she just can’t accept that this ‘avoidable’ death is here to stay.

Up to this point in the narrative, Jesus is demonstrating a degree of nonchalance that makes others uncomfortable. He speaks of God’s glory and God’s power to do the extraordinary, but those around him seem more concerned with immediate action. When Mary finally catches up with him, she falls at his feet and says, ‘Lord, if you had been here, my brother would not have died.’ (11.32). Whatever modicum of faith that Martha had expressed in the open-ended suggestion that God will give Jesus whatever he asks, Mary’s devastation stops her faith at the former statement: ‘Lord, if you had been here, my brother would not have died.’ Mary shows a large degree of faith, but that faith is somehow incomplete.

Mary breaks down in tears and is surrounded by a company of mourners, all weeping. The Gospel states, ‘When Jesus saw her weeping, and the Jews who came with her also weeping, he was greatly disturbed in spirit and deeply moved.’ (11.33) He is then shown Lazarus’ tomb and begins to weep (11.35). This verse (translated historically as the supposed shortest verse in the Bible, ‘Jesus wept’), has been interpreted by many as a demonstration of Jesus’ compassion, empathy and grief. Indeed, the mourners with Mary seem to share this understanding when they look at Jesus and say, ‘See how he loved [Lazarus]!’ (11.36).

I am not suggesting that Jesus is lacking in compassion, empathy or grief, but I believe that the cause of his particular grief in this episode is not over the death of Lazarus. Jesus does love Lazarus, but all throughout the chapter he has demonstrated no urgency. He is not concerned about reaching Lazarus before his death. When he is approached by Martha, he explains calmly that this is not the end for Lazarus.

Why would Jesus then cry for the man he knew he was going to raise from the dead in a matter of moments? My argument is that he would not. Instead, it is his observation of Mary’s response that causes him to break down. The oddity of interpreting Jesus’ weeping as grief for Lazarus is highlighted in the very text. Among the mourners, some are inconsolable, while others see Jesus weeping and question, ‘Could not he who opened the eyes of the blind man have kept this man from dying?’ (11.37). These individuals are perplexed at the incongruity between Jesus’ power and his perceived powerlessness.

If Jesus was not weeping for Lazarus, why then was he weeping? At the very least, I believe the text demonstrates that he was weeping because these people believed that while he was able to heal a blind man (9.1-12) and while he might have been able to keep Lazarus from dying, Lazarus’ death was, for all intents and purposes, game over. Jesus was aware of what was about to transpire. While he was still at Bethany Beyond the Jordan, he said to his disciples, ‘For your sake I am glad I was not there, so that you may believe.’ (11.15). Even his disciples did not yet believe he was able to do anything about Lazarus’ death. This is evidenced by Thomas’ follow-up, demonstrating an understanding that a return to Judea would bring about their own deaths at the hands of the authorities (11.16).

When looking at the whole of the Fourth Gospel, one can find a wide range of things that would disturb Jesus more than this incident in Bethany. For example, he would have known that Thomas was right, to some extent: a move toward Jerusalem would be a move closer to his death at the hands of the authorities. In the section immediately following the raising of Lazarus, some observers see this impossible act and report to the religious leaders, who continue in their plot to have Jesus killed. Therefore, it is possible to see that Jesus was also grieving for the challenges ahead. If his followers did not entertain the possibility that he could raise Lazarus from the dead, what hope would they have when it came to Jesus’ own death? I believe that this is why Jesus wept.

Throughout my reflection on John 11, I have thought about the words of Donald Trump, Jr. ‘Let’s make liberals cry again!’ While the Trump campaign might assume that liberals will cry because of the overwhelming victory for conservative America, ‘true America’, I posit two alternative reasons.

I wouldn’t like to call myself a ‘liberal’, though I can see how a lazy assessment and pigeon-holing of my beliefs might lead some to the conclusion that I am a liberal. (Others might feel the need to place me in the ‘conservative’ camp due to my beliefs in a divine being and in the literal, bodily resurrection of Jesus.) But whoever wins this election, I may weep.

In case you weren’t sure, I shall now put my ‘cards on the table’.

If this presidential election goes to Joe Biden, I may weep with joy because of the end of a sustained assault on the basic humanity of the country of my birth perpetrated by an individual and the poisonous social climate he has helped to propagate. I may weep with joy because I will be able to wake up in the morning and not worry about the onslaught of misinformation and abuse tweeted by the Commander-in-Chief and analysed by seemingly every news source in the world. Don’t get me wrong — a President Biden would have every opportunity to disappoint and deceive. The difference is that I believe that Joe Biden represents a very different, far more dignified, diplomatic and fair ideology, one in which the cry of the oppressed will have more opportunities to be heard in the halls of power. For these reasons and many more, I may weep with joy.

If this election goes to Donald Trump, I may weep for very different reasons.

Last night, while I was languishing in election results at 04.00 GMT, I was following alongside one of my brothers who lives in California. I had told myself that I wouldn’t stay up: ‘There’s no point. We won’t know the results for a week.’ But with so much riding on this presidential election, I gave in.

Earlier in the evening, I told my brother that I would ‘eat my hat if Trump wins Texas’. I thought it unlikely, but I began to entertain the idea of making a hat out of bread and consuming it. The light-heartedness persisted, but by 04.00, it had come mask my growing anxiety. My wee brother—though we probably occupy somewhat different political positions—offered consolation, because he is a sweetheart. He told me that he was sorry for the direction of the results. In response, I told him something along the lines of:

Don’t be sorry for me. Be sorry for the hundreds of thousands who will die because of Donald Trump’s pandemic policies. Be sorry for the hundreds of children who are separated from their parents and are forced to live in camps. Be sorry for people with pre-existing conditions who will have their healthcare stripped. Be sorry for the blacks who will keep suffering oppression under a government that doesn’t believe in institutional racism. Be sorry for the people who will keep losing their homes and their lives due to climate change. Be sorry for the poor who are only getting poorer. Be sorry for a lot of other people, but not for me.

I admit that I am somewhat embarrassed by the dramatic tone, but this election is not about mere personal preferences. I believe that people’s lives are in the balance. I am heartbroken by the growing chasm between political factions. I will not weep because am a ‘snowflake’, nor will I weep because I am ‘liberal’. I may weep with anguish because I believe a better world is possible and I am of the conviction that a second presidential term for Donald Trump would be another step in the wrong direction. For these reasons and many more, I may weep with anguish.

As for now, we are all in that place of waiting. Are we waiting for Lazarus to die or are we waiting for Lazarus to be raised again? We shall see.

Lord have mercy.

The Bankrupt Politics of ‘Again’ (& Why I Voted in the 2020 US Election)

‘Make America Great Again’. While this slogan has become synonymous with the political rise of Donald Trump, he is not the first to have used it. During the Third Session of the 76th United States Congress (1940), Republican Senator Alexander Wiley (1884-1967) said it in a speech. It featured in some campaign materials for the 1964 presidential campaign of Republican Barry Goldwater (1909-1998). In his 1980 campaign for president, Republican Ronald Reagan (1911-2004) used the phrase, ‘Let’s Make America Great Again’.

This slogan has not been limited to Republican use. In his 1992 presidential campaign, Democrat Bill Clinton used the phrase in several speeches and reiterated the phrase during Hillary Clinton’s 2008 presidential campaign.

When I think of the politics of ‘again’, I am compelled to reflect on its meaning. If someone is proposing to make America great again, the question arises, ‘When was America great?’

When considering America’s historical greatness, a return to the ‘Founding Fathers’ has become a conservative rally cry. If we are going with the Founding Fathers, we might ask, ‘Who were these people?’ For a start, as the name implies, they were all men. Additionally, they were all white men. Oh, and they were all Protestant (or at least, non-Catholic) white men. Also, they were all Protestant white men from the upper echelons of society.

According to notable American historian Richard B. Morris (1904-1989), the most significant and influential of these white Protestant upper-class men were John Adams (1735-1826), Benjamin Franklin (1706-1790), Alexander Hamilton (c. 1755-1804) John Jay (1745-1829), Thomas Jefferson (1743-1826), James Madison (1751-1836) and George Washington (1732-1799).[1] Of these seven men, five owned enslaved people at various points. Of those five, Franklin’s views tended toward abolitionism by the mid-1760s. In later life, Washington also expressed unease with the institution of slavery. Jay and Madison were owners of enslaved people and Jefferson was perhaps the chief slaver among the Founding Fathers, owning more than 600 enslaved people throughout his lifetime.


A brief aside on the United States Constitution: In short, the United States Constitution is an oddity. Brilliant and revolutionary as it might have been when it came into force in 1789, it is very much a document of the late eighteenth century, warts and all. Consider the opening words, ‘We the people…’ Of course, this really means ‘We the white men…’

The United States Constitution is the oldest national constitution still in use. Some might see that as evidence of its strength. Some might argue that subsequent amendments have made up for any of its weaknesses. A look at the 27 amendments that have been passed by Congress and ratified by the requisite number of states demonstrates how insufficient this procedure is. Between 1971, with the passage of the 26th Amendment (‘The right of citizens of the United States, who are eighteen years of age or older, to vote shall not be denied or abridged by the United States or by any State on account of age’) and the present day, only one other amendment has passed. The 27th Amendment (ratified in 1992) states simply, ‘No law, varying the compensation for the services of the Senators and Representatives, shall take effect, until an election of representatives shall have intervened.’ The Equal Rights Amendment (ERA) was passed by Congress by 1972 and sent to states for ratification. This amendment includes the following three sections:

Section 1. Equality of rights under the law shall not be denied or abridged by the United States or by any State on account of sex.

Sec. 2. The Congress shall have the power to enforce, by appropriate legislation, the provisions of this article.

Sec. 3. This amendment shall take effect two years after the date of ratification.

Although the requisite number of states (38) approved the ERA in January 2020, two deadlines had already passed (1979 and 1982) and the amendment now resides in legal Limbo. Has society changed so little since 1971 that the 27th Amendment has been the only revision suitable for ratification? Maybe the whole project of the United States Constitution requires a revisit…


In the decades between the founding of the United States and the Emancipation Proclamation (1863), political stances concerning the institution of slavery depended largely on economic interests and not on genuine regard for equality. Of course, there were small groups of passionate abolitionists, especially among communities of Quakers. For their part, both Adams and Hamilton abhorred slavery. But it can be argued that the abolitionism of many (if not most) Northern politicians was fuelled by the desire to weaken the power of the Southern states, whose economies depended on the labour of enslaved people.

There seems to be a common myth among conservatives (especially among Confederate sympathisers) that the Civil War was about the rights of states. While this may have some truth, the primary ‘right’ for which the Southern states fought was the ‘right’ to own other human beings. There is no getting around this reality. I argue that the political tensions between the North and the South leading up to the Civil War were, by and large, issues concerning economics and power and at the heart of that, the institution of slavery. I would have to spend hundreds of thousands, perhaps millions of words outlining these tensions, but I will just point to the Three-Fifths Compromise (1787) and Dred Scott v. Sandford (1857) for now. And I have not even mentioned the horrific treatment of Amerindians.

So can we argue that America was great when it was founded? If you are a Protestant white man with economic power, then yes. It is possible that these would have been great times for you.

Still, there are others who wish to show some sensitivity, awareness or at least, nuance and will argue that America was great after the Civil War. Of course, this ‘greatness’ would only be experienced by a select few, namely, white men. It was not until 1870 that black men were given the right to vote. This is not to say that black men were able to vote. Voter suppression has a long and successful history in the United States. This does not even begin to scratch the surface the institutional oppression of people of colour and of women in the United States (de facto institutional segregation endures today). If you, like Donald Trump, Mike Pence, et al, believe that institutional racism in the United States does not exist, consider yourself very fortunate – you have not experienced that reality, at least, not from the perspective of the oppressed. But simply because you do not believe that to be born as a person of colour does not place one at a significant disadvantage does not dismiss this reality for tens of millions of residents of the United States. Maybe it would be enlightening to listen to their stories.

What if we fast-forward to passage of the 19th Amendment (1920)? This gave women the right to vote in the United States. Well, not all women. This was a better time for white women. It was not until the landmark Voting Rights Act (1965) that voting became universal, in theory. Believe it or not, voter suppression continues to this day. It is even touted by the Executive Branch of the US Government: if the Trump Administration is harping on about ‘widespread voter fraud’ concerning to mail-in ballots (a proven myth), why have both Donald Trump and Mike Pence encouraged their followers to turn up at polling stations (where people vote in-person) to intimidate voters?

So when was America great? This seems to be where reasonable discussion really starts to break down. There are plenty of other key political moments before which one might call the greatness of America into question. For example, I am thinking of the Supreme Court’s decision in Roe v. Wade (1973), granting women the right to choose what to do with their bodies and of the long road to the legalisation of same-sex marriage. The issues of women’s rights and the rights of queer people seem to be split right down party lines between the Democrats and the Republicans.

For those who want to ‘make America great again’, here is a question: is America less great when individuals are afforded the rights to choose what they want to do with their own bodies and the freedom to embrace their own sexuality and gender? Perhaps you are a staunch feminist (one who believes that all genders should have equal rights in society) who also believes that a foetus is a living human being and should be afforded all the rights of a human being. I can understand that perspective. That being said, there is nothing in the legalisation of abortion that forces anyone to undergo that traumatising experience against their will. Perhaps if American society cared for people after birth (for example, through proper social and health care), the abortion figures, relatively modest as they are, would change. Of course, I am trying to be as sympathetic to the anti-abortion lobby as possible here since I can comprehend some of the philosophical tensions that can come into play. Still, part of me fears that the issue of abortion in the United States is more tied to fanatical patriarchy (which has hijacked religion) than genuine philosophical reflection.

So you want to make America great again? When was America great? I am of the belief that there has never been a time in American history when more human rights and freedoms (I am assuming that this is a suitable measure of ‘greatness’) have been exercised than in this last decade. This is not to say that America is ‘great’ in the present. I will explain what I mean by this in a moment.

When I think of the politics of ‘again’, I cannot help but believe that anyone who holds to the notion that the United States was once a ‘greater’ nation than it has been in this last decade has not suffered from true, institutional oppression.

I know that Donald Trump has some supporters who are people of colour, who are women, who are working class. One way I believe that he and others like him bid for the affections of certain people groups is through accusing other oppressed people groups of inflicting this oppression. Are you a white, American-born man living in relative poverty? Why not blame this on the immigrants who come into the country to ‘steal your jobs’? (This is not even close to the worst things of which Donald Trump has accused immigrants.) Donald Trump and people like him thrive off of blaming others for society’s shortcomings. Perhaps it is not the immigrants who inflict damage to society (speaking economically, it is a fact that immigrants give far more to society than they take). Perhaps we should turn our gaze toward the powerful who have reaped unimaginable riches from the misfortune of others. What about those financiers who grew more wealthy as the housing market collapsed in 2008, forcing more than 2,000,000 foreclosures? What about the more recent example of Amazon CEO Jeff Bezos, whose wealth has increased by more than $74 billion while American unemployment has skyrocketed? Neo-liberal capitalistic ideals propagate the myth that if one works hard one will receive just compensation – the ‘American Dream’. In reality, individual economic prosperity is more often the result of the circumstances of one’s birth or of random chance. While this lottery plays out, the gap between the wealthy and the poor in the United States continues to increase.

Now I shall explain what I mean by suggesting that America might not be ‘great’ at present through an brief exploration of my personal faith and how it relates to my political views.

Some people might suggest that faith and politics should not mix. While I am in favour of the strict separation of Church and State, this is not because I believe that faith has nothing to say to politics. On the contrary, one of my theological heroes, Uruguayan Jesuit priest and theologian Juan Luis Segundo (1925-1996) argues that the two are bound together:

Every theology is political, even one that does not speak or think in political terms. The influence of politics on theology and every other cultural sphere cannot be evaded any more than the influence of theology on politics and other spheres of human thinking. The worst politics of all would be to let theology perform this function unconsciously, for that brand of politics is always bound up with the status quo.[2]

By ‘theology’, Segundo is referring to the study of the divine – of God and of religion. The issue he has with the ‘status quo’ involves ideology. The status quo is the way things are, the state of affairs. In order to accept the way things are (or indeed, to hope for the way things were), one’s faith has to cohere with the ideologies of the present. For example, my faith compels me to desire equality among all human beings. Where I see inequality, such as racial, gender or sexual inequality, I am compelled to challenge the status quo.

In essence, this comes down to the person of Christ, Jesus of Nazareth. I think of the writings of German philosopher Ernst Bloch (1885-1977). Although an adherent to the Marxism of the Frankfurt School, Bloch took it upon himself to revisit the Bible. In his studies, he did not find the ‘opium of the people’ (‘das Opium des Volkes’) observed by Marx in the Christian religion. While it is an established historical fact that the Christian faith had evolved from its primitive collectivist existence to adopt an institutional hierarchy (the institution against which Marx railed), Bloch finds within the Bible a Christianity that speaks for the oppressed against the status quo. For Bloch, this Christianity is one of atheism, that is, one in which the ideologies of power are challenged for the flourishing of the oppressed. In his 1968 book, Atheismus im Christentum (published in English as Atheism in Christianity in 1972), Bloch makes this case and concludes that, upon analysing the Christian Bible, the reputed motto inscribed on sixteenth-century German peasant leader, Florian Geyer’s sword—‘Nulla crux, nulla corona’, ‘No cross, no crown’—‘could be the motto of a Christianity free, at last, from alienation. And the far-reaching, inexhaustible depths of emancipation in those words could also serve as a motto for a Marxism aware of its depths.’[3]

In a similar way, I see my faith as one of committed and persistent challenge to the status quo. I turn to Jesus. From his birth to his resurrection, he is the living embodiment of what Danish philosopher Søren Kierkegaard (1813-1855) calls ‘the Offense’. While being the ‘God-Man’, Jesus is perceived by onlookers ‘as a mere human individual who comes into collision with the established order.’[4] He is a living affront to those who have most to lose through his existence.

Jesus’ genealogy as recorded in the Gospel of St Matthew (Matthew 1.1-16) mentions five women (an oddity at that time): Tamar, Rahab, Ruth, Bathsheba and Mary. Each one of these women would have been viewed with sexual suspicion, especially in the patriarchal, honour and shame culture of Palestine during the first century. Tamar disguised herself as a sex worker to sleep with her father-in-law (Judah). Rahab was understood to have been a sex worker by trade. Ruth was understood to have entered the bed of a man (Boaz) who was not her husband. Bathsheba fell pregnant with one man (David) while she was still married to another (Uriah). Then there is Mary, who conceived before she was married (Matthew 1.18).

From there, Jesus’ life only grows in offense to the status quo. John the Baptist preceded Jesus, preaching a radical message of the coming Messiah and the kingdom of God. But Jesus’ ministry modelled a Messiah that most religious leaders (including John the Baptist) struggled to accept (Mathew 11.2-19). German Reformed theologian Jürgen Moltmann argues that ‘the appearance and activity of Jesus was a novelty which was bound to arouse resistance.’[5]

Throughout his life and ministry as recorded in the Gospels, Jesus makes speeches and performs actions that outrage the powerful constantly. The incident of his cleansing of the Temple in Jerusalem (Matthew 21.12-17; Mark 11.15-19; Luke 19.45-48; John 2.13-16) is one of the most well-known. Moltmann observes Jesus’ subversion against the national symbols of Israel and argues that ‘in view of the whole of his scandalous message’ it is the condemnation of Jesus as a ‘“blasphemer”, as a demagogic false Messiah’ that ultimately precipitates his execution.[6]


A brief aside on the crucifixion event: It is a common understanding among at least the Evangelical Christian sect that Jesus was crucified because that was God’s plan to save those who choose to believe in Christ from eternal conscious punishment (Hell). I have issues with seeing God’s ‘plan’ in this way. I also have issues with assuming that belief is a choice (the letter to the Church in Asia Minor, known as Ephesians, describes faith as a ‘gift’). At this stage, I will not get too wrapped up exploring my understanding of the nature of belief or of how seeing belief as a choice is actually a form of ‘earning’ the grace of God (I have explored this before). Elsewhere, my blog-mate Greg has explored at least one alternative to the belief in ‘eternal conscious punishment’. For my part—please do not let this put you, dear reader, off—I believe that the grace and love of God is so enormous that the inheritance of the kingdom of God is for all of us dirty sinners. What I really want to say here is that Jesus was crucified because he opposed the powerful. The build-up to his crucifixion is observed throughout the Gospels. Jesus says or does something, the powerful are offended and seek to have him killed. It happens again and again until, at last, they stir up a crowd in a murderous fervour and appeal to their Roman enemy—another insecure power broker—to send him to the cross. Food for thought.


And yet, Jesus’ subversive work did not end with his crucifixion. His next great affront to the status quo, according to the Gospels, was to subvert death itself through his resurrection.

Please trust me when I express that I could spend a lifetime exploring the profound political implications found in every aspect of the life and ministry of Jesus of Nazareth. If you are interested in testing this for yourself, I encourage you to give the Gospels a read (or a re-read with fresh eyes).

The early Christians were similarly revolutionary. They sold all of their possessions and ‘had all things in common’ (Acts 2.44). Their existence promoted equality among all people: ‘There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus’ (Galatians 3.28). Their faith was so disruptive to the status quo of the Roman Empire that they became enemies of the State. Their very existence was seen as a threat to the security of the Roman Empire – the preservation of their Roman ‘way of life’ (including patriarchy and its corresponding institutional slavery and sexism). They were forced to gather in secret and faced imprisonment, torture and death for their counter-cultural faith.

The issue of faith and politics, in a superficial and highly problematic sense, seems to appeal to the ‘Make America Great Again’ crowd. I have heard it said that ‘America is a Christian nation’ or ‘America used to be a Christian nation’. These views have been expressed by Donald Trump in one form or another. I have several serious concerns regarding this characterisation because of its association of Christianity with the status quo (whether presently or historically). I do not believe that any country can be called a ‘Christian nation’ as I do not believe that Christianity is bound to any human institution (Christendom ≠ Christianity). I believe that Christianity exists to make the kingdom of God a reality for the flourishing of all people and no amount of legislation can make that happen. In other words, no individual, no society, no institution, no government is so perfect that it evades serious, foundational challenge from the Gospel of Christ. This is not to say that individuals, societies, institutions and governments cannot reach for the ideals of the kingdom of God. But this ideal will never be achieved so long as people are governed by insecurity, selfishness and a lust for power and wealth.

Therefore, I believe that the ‘Christian position’ (if such a thing can exist) is one of perpetual opposition. This is not opposition to reason, justice, equity, sound science, etc. Instead, the Christian position reads the ‘signs of the times’ and, through critical reflection, considers how the Gospel of Christ speaks to the present. The Christian position is one that looks at the bodies of murdered people of colour and shouts, ‘Never again!’ The Christian position is one that looks at mass incarceration and shouts, ‘No more!’ The Christian position looks at extravagant wealth in the midst of obscene poverty and shouts, ‘Not on our watch!’ The Christian position looks at the exploitation of the natural world—God’s world—and shouts, ‘We must all change how we live!’ The Christian position is glad to share. The Christian position does not put any one nation ‘first’. The Christian position is desperate for the liberation of all humans from every form of oppression. The Christian position is not afraid of being challenged, of growing, of evolving, because it is self-consciously aware of its own shortcomings, its own inability to get everything right. The Christian position is a perpetual student and servant of the oppressed. The more I expound this ‘Christian position’ the more I see St Paul’s words from his first letter to the Church in Corinth:

If I speak in the tongues of mortals and of angels, but do not have love, I am a noisy gong or a clanging cymbal. And if I have prophetic powers, and understand all mysteries and all knowledge, and if I have all faith, so as to remove mountains, but do not have love, I am nothing. If I give away all my possessions, and if I hand over my body so that I may boast, but do not have love, I gain nothing.

Love is patient; love is kind; love is not envious or boastful or arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice in wrongdoing, but rejoices in the truth. It bears all things, believes all things, hopes all things, endures all things.

Love never ends. But as for prophecies, they will come to an end; as for tongues, they will cease; as for knowledge, it will come to an end. For we know only in part, and we prophesy only in part; but when the complete comes, the partial will come to an end. When I was a child, I spoke like a child, I thought like a child, I reasoned like a child; when I became an adult, I put an end to childish ways. For now we see in a mirror, dimly, but then we will see face to face. Now I know only in part; then I will know fully, even as I have been fully known. And now faith, hope, and love abide, these three; and the greatest of these is love.[7]

The Christian position is embodied in the person of Christ, the broken, subversive, oppositional Saviour, the Jesus of Nazareth who is the name of love.

Among people in the United States who wish to discredit my political beliefs, I have often heard, ‘You don’t know – you don’t live here.’ The latter part of that statement is true. I have not resided in the United States for over a decade. Some argue that this puts me at a serious disadvantage with regard to meaningful engagement with the political discourse in the United States. While I cannot discount the possibility that I might not have first-hand knowledge of some contemporary experiences, I did spend the majority of my life in the United States. Although my views have continued to grow and change over the years (thanks be to God), some of my most enduring beliefs took root while I was very much a resident of the United States. Additionally, I believe that as someone who has lived outside of the United States for more than a decade, I have reasonable experience of life elsewhere. I believe that this has broadened my perspective. This is not to say that I believe things are all hunky dory where I live now. My oppositional views are not reserved for the United States. I can see both positives and negatives in my adopted country.

On the most basic level, when criticised for living elsewhere, I reiterate that I am a citizen of the United States and I have every right of a citizen of the United States, including the right and civic duty to vote. Having expressed this, my honest admission is that I have not always felt compelled to vote in United States elections since living abroad. This is partly because I was confident in the voting trends of the constituency where I have been registered for more than 16 years. Of course, this is not an excuse, but more of an explanation. If large swathes of society chose not to vote because they believed that their constituency would vote the way they wanted, then very few people would turn up and democracy would be undermined. Mind you, I believe that the Electoral College has already done a stellar job of undermining democracy, at least in terms of presidential elections. The reality that the person with the most representation at the polls is not necessarily the person who wins an election might be quite discouraging for many.

One of the most damning realities that I have faced in choosing to participate fully in this upcoming election is the fact that in 2016, Hillary Clinton received 65,853,514 votes, Donald Trump received 62,984,828 votes around 100,000,000 eligible voters did not participate. Two out of every five eligible voters did not turn up. I am but one person, but I am one of those 100,000,000. I have not lost any sleep over it, but those figures are enough for me to step up and battle through the awkward bureaucratic hoops required in order to vote from abroad.

Perhaps, dear reader, you have read this and think, ‘Obvious Democrat’ or ‘Obvious Republican’. Maybe the latter is less likely. For the record, I oppose both parties. That is not to say that my idealism overrides my pragmatism with regard to this election. I did cast what might be considered a ‘protest vote’ in 2012. This was not because I was especially unhappy with the Obama Administration at that time (I was unhappy, but I would have been even more discontent with a Romney-Ryan Administration). I voted for Jill Stein, ill-equipped as she might have been, because I had grown very tired of a two-party system where both of those parties are not so far from one another as they would like to believe. And while I believe that, in general, the Democrats and Republicans are different shades of the same political ideology on a broad political spectrum, there has been a vocal shift to the right in the American political landscape over the last decade or so. This is toward a bankrupt politics of ‘again’.

This shift right is not the result of an increased political literacy. Reactionary right-wing language has become normalised by Donald Trump. He views immigrants, especially those who are also people of colour, with disdain. He demonstrates routine bigotry against anyone who is not like him – namely, women and people of colour. He uses derogatory language and tone against other nations, such as China. He acts like a bully toward anyone who might dare to disagree with him. He threatens the free press. He perpetuates conspiracy theories. He refuses to condemn all forms of white supremacy in no uncertain terms. He rejects scientific consensus when it conflicts with his pandering to the powerful. (This has played out in his dangerous environmental policies as well as his handling of the COVID-19 pandemic.) I cannot trust a person who uses superlatives as loosely as he does. Everything he inherited as president was the ‘worst’, everything he has done has been the ‘best’. He has done ‘more’ for people of colour and for women than any other president in history. Is it not the right of these groups to decide who has done the most for them? At best, Donald Trump is an obscene braggart.

Donald Trump cannot be blamed for the whole of this mean-spirited and deluded political climate. With few exceptions, those from Donald Trump’s own party who once opposed him have thrown their support behind him with reckless abandon. They have adopted his language and demeanour. They have ‘sold their souls’ for a seat at his table.

This is not a rally cry to oppose Donald Trump or the Republican Party. I know that the majority of Americans have already decided who they want in office for the next four years. I only hope that in sharing my thoughts here—random and disjointed as they may be—that some people might be encouraged to keep up with the wrestle between politics and faith (or any other ideology).

I have already cast my ballot for this election. I have researched all of the local measures and candidates. I can only say that I have voted out of a conviction that my faith compels me to challenge all forms of oppression and injustice. I hope that people of all faiths and no faith have done or will do the same.


[1] Richard B. Morris, Seven Who Shaped Our Destiny: The Founding Fathers as Revolutionaries (New York: Harper & Row, 1973).

[2] Juan Luis Segundo, The Liberation of Theology, trans. John Drury (Dublin: Gill and Macmillan, 1977), 74.

[3] Ernst Bloch, Atheism in Christianity, trans. J. T. Swann (London: Verso, 2009), 256.

[4] Søren Kierkegaard, Training in Christianity and the Edifying Discourse Which ‘Accompanied’ It, trans. Walter Lowrie (New York: Vintage, 2004), 71.

[5] Jürgen Moltmann, The Crucified God: The Cross of Christ as the Foundation and Criticism of Christian Theology, trans. R. A. Wilson and John Bowden (London: SCM, 1974), 128.

[6] Ibid.

[7] 1 Corinthians 13 (NRSV).

Alien in a Strange Land

Spectrum

What I am about to share may be news to some of my friends, but will be no new revelation to a great many others. I now know at the age of 30 what I have suspected for a number of years. It is time for me to emerge from the feigned comfort of a figurative closet, despite my deep longing to seek refuge, and to share with my family, both my biological family and my sociological family, that I live with autism spectrum disorder.

I’ve been reluctant to share this because I believe it will be perceived as me making a mountain out of a molehill. For some, the first thought might be, ‘No you don’t.’ Despite my desire for the opposite to be true, these folk are wrong. Others might think, ‘Well, we’re all on the spectrum somewhere, aren’t we?’ And while the latter may be true to some extent, I have been diagnosed as severely impaired (not a ‘weekend’ autism). This is a disability. I know that it might not appear that way at first glance. Unbeknownst to me, I have been struggling with this autism throughout my life. I have learned a lot about what is and is not acceptable in social interactions (and I still have much to learn). Some might think, ‘Well, don’t we all have to learn that?’ Once again, I would agree to some extent. But part of what makes an autistic person different is that we lack the social intuition that makes this happen naturally. A bicycle with a flat tyre might roll, but it won’t soon be carrying the winner of the Tour de France. I am grateful for the resources I have discovered to help me get by while seeming relatively ‘normal’. But because this is learned—something ‘put on’ like a jumper—I make mistakes. Sometimes my head ends up in a sleeve or I’ve put it on back-to-front.

My sisters and brothers (and those in between and outwith that dichotomy) who inhabit this strange world whilst living with ASD – though we represent a broad spectrum of ability, we are united in the extraordinary challenges we face and the extraordinary beauty that we embody. For myself, I’m not sure how much of that statement I believe with all of my heart, but I can say that we see the world in a very different way. Sometimes this world is frightening. Sometimes it is a world full of wonder. But it is always an alien world, perceived through a degree of social ineptitude and, for some of us, an oversensitivity to external stimuli that sets us apart from our neurotypical sisters and brothers.

In both the past and the present we have been social outcasts, but this strange world is our world too. We have a voice, whether that is one spoken aloud, through a speech device, or even uttered within our own minds. We are an invaluable part of the fabric of society – without us something essential would be missing.

To be clear, I am no way making myself out to be a spokesperson for all people living with ASD. I am new to this realisation and I can only speak from my experience. But who am I? That’s a difficult question for me to answer. I’ve spent my entire life learning to put on ‘normal’ (with varying degrees of success). I feel that I must do this because of the negative responses I have received for not behaving a certain way. So very much of what many people take for granted as natural practice within social interactions are things that I have had to learn and things with which I continue to struggle. It takes a massive amount of cognitive energy to maintain even a flawed version of ‘normality’. And I’m still learning. When a behaviour is not natural, I make some embarrassing—or even worse—hurtful mistakes. All too often I misinterpret what I am told. When I see someone has a new haircut—stop everything—I must tell them that I’ve noticed, even if they are midsentence. The same goes for other aspects of physical appearance – it’s not okay to point out every feature, especially when someone has a lazy eye or a new plook. When is it my turn to speak? When should I stop talking? Phone calls are a pretty horrendous. These things are just the very tip of my particular autistic iceberg.

Maybe you’re reading this and thinking, ‘There’s nothing unusual there.’ That’s kind of you. Please spend a few hours with me and tell me that I’ve not made any social errors – it’s a rarity. And when we meet, please don’t touch me unless I tell you that it’s okay.

So who am I? To be honest, I don’t really know. Maybe none of us can answer that question. For me, I don’t know how to disentangle fully the learned behaviour from the kernel of ‘Elijah’. When presented with of all of the opportunities set before me, it’s very easy to overwork, a vice if ever there was one. I’ve always had a tendency toward busyness. In the face of this busyness, there is a great need for me to refocus, to remember who I am as Elijah: the person, the disciple of Jesus. ‘Know thyself’, ‘γνῶθι σεαυτόν’, a pre-Socratic maxim featured in Western thought for several thousand years. It is not an unusual challenge. I’m working on it.

I’m not sure if sharing all of this is yet another faux pas, but I’m grasping at straws. I’m trying to make sense of it all. I need to figure out what resources there are to help me on this journey. And if you’d like to help, thank you. I need it. We need it. We need patience and understanding. We need respect and equality. We need love, even if we’re not the best at expressing it.

Best Albums of 2016

best-albums-of-2016

Remember us? Neither do we. On with the show.

Love,
Greg & Elijah

Elijah’s Top 10 Albums of 2016

nattesferd

10. Nattesferd  Kvelertak — Listening to Nattesferd, Kvelertak’s third full length album, is something like travelling back in time. The album is a marked departure from aural onslaught of their previous record (2013’s Meir, produced by one of my all-time favies, Converge’s Kurt Ballou). Don’t get me wrong, Nattesferd is an onslaught, but of a much different nature. Fears that Kvelertak might be headed toward a more mainstream rock sound are allayed continually throughout this 47-minute masterclass in capturing the familiar energy, precision and fun of the American heavy metal sound of the early eighties and the aggression and fullness of the Norwegian black metal sound of the 21st century without losing any of their respective charms.

puberty-2

9. Puberty 2  Mitski — There are two distinctive threads running through Puberty 2. Firstly, there is innovation and a refusal to adopt a singular form of songwriting. Mitski demonstrates that she can write high quality and accessible pop tunes (see ‘Your Best American Girl’) whilst verging on proto-grungey post-punk (see ‘My Body’s Made of Crushed Little Stars’) and occupying more familiar, yet refreshing indie territory in between. The second thread demonstrates that Puberty 2‘s variety is not the result of simply compiling tracks from across a repertoire — this is Mitski’s fourth album. Looking past the fact that she’s only 25 (what have we done with our lives?), Mitski is demonstrating that she is a seasoned and consummate artist.

next-thing

8. Next Thing  Frankie Cosmos — Next Thing is the epitome of ‘big things in small packages’. This album lasts under a half an hour, with the longest of its fifteen tracks lasting only 164 seconds (that’s 2:44). But the listener will not feel cheated. Somehow, Frankie Cosmos (22-year-old Greta Kline) is able to capture complete, common, yet complicated thoughts with each track. In fact, the album is summed up quite well by the cover. As you can see, the perspective of the image is from that of a passenger in a car, doodling in a notebook. At the same time, the passenger is revealed to be using a mobile to take a photograph – captured as the cover image itself. The car is veering left, perhaps making a turn to the ‘Next Thing’. We also observe typical things – a fallen tree branch, a littered plastic bag, paw prints, a car driving off in the distance. It’s a brilliantly simple yet interesting composition, much like the record.

skeleton-tree

7. Skeleton Tree  Nick Cave & the Bad Seeds — This album, as so many albums on my list this year, caught me by surprise. I first heard ‘Jesus Alone’ on 6 Music on 2 September and I knew Skeleton Tree was going to be special. The production was sparse and moving. Cave had moved from his typical narrative formula (in the accompanying documentary, One More Time with Feeling, Cave claims that he has lost his faith in narrative-based songs). The rest of the album reflects these shifts. With both the stirring words and ambient musical tone, Cave is reflecting on a profound sense of loss (having lost his young son Arthur in the summer of 2015) and engaging in some serious existential inquiries. So really, Skeleton Tree is not so atypical of Nick Cave & the Bad Seeds after all.

teens-of-denial

6. Teens of Denial  Car Seat Headrest — There’s been a slight tendency toward slacker rock in my listening this past year. It’s probably a hangover from 2014’s GARAGE ROCK BONANZA. When Car Seat Headrest’s Teens of Denial first appeared on my radar, I despised the names of both the band and the album. But as with a lot of things in life, those become invisible or at least inconsequential to an individual once a relationship is solidified. I could write a lot about this record, but Greg expresses it so well that I’ll cede the floor to him for this one (see Greg’s comment on Teens of Denial below).

painting-of-a-panic-attack

6. Painting of a Panic Attack  Frightened Rabbit — A familiar face. I’m going to be honest here: when I first heard this record I was convinced that I would consider it nearly, if not the weakest Frightened Rabbit album to date. Something about it fell flat for me. So I put it away for a few months. Maybe six months. Then I picked it up again – I knew there had to be something I was missing. Even upon the first re-listen I asked myself, ‘Was I even paying attention?’ It was as if I had never heard these songs. And they were actually quite good! Maybe you share my initial impression. If you have not got back to Painting of a Panic Attack, I implore you to give it another shot. I admit that there are times when it feels less adventurous/emotionally porous than FR’s other material, but there is a quality to the songwriting (thanks to the ever insightful pen of Scott Hutchison) and production (thanks in part to the National’s Aaron Dessner) that keeps me listening.

emotions-and-math

4. Emotions and Math Margaret Glaspy — Margaret Glaspy’s debut album makes one wonder, what comes next? Emotions and Math is as competent and complete as a veteran release. That’s not say that Glaspy has gone stale – far from it! She touches on Aimee Mann and Elliott Smith in equal measure and brings her own sophisticated musical sensibilities to the table in well packaged yet positively aggressive and unpolished pop rock tunes. Emotions and Math improves upon subsequent listens and leaves us thirsty for what Glaspy will do next.

a-moon-shaped-pool

3. A Moon Shaped Pool  Radiohead — I’ve done the maths and have discovered that the period between The King of Limbs and A Moon Shaped Pool is the longest gap between Radiohead albums since their first release, way back in 1993. That’s five years, two months and 20 days between KoL and AMSP! I know it might not seem like much, but perhaps you will remember that long gap between Hail to the Thief and In Rainbows – a mere four years, four months and one day. Okay, maybe it’s not so much about the quantity of time between records as it is the quality of material on each record that leaves us thirsting for more. The King of Limbs has its charms, including the special edition packaging, featuring the world’s first (and probably last) ‘newspaper edition’. But it fails to reach the bar set by previous releases, especially since In Rainbows seems to have become so loved amongst the Radiohead intelligentsia. But A Moon Shaped Pool proves to be not so much a simple return to form as it is a uniquely profound yet thoroughly ‘Radiohead’ collection of haunting and atmospheric orchestrations. It is unassuming, gritty, yet polished. It is all the things for which we admire Radiohead and with an added expanse of lyrical coherence.

my-woman

2. My Woman  Angel Olsen — Angel Olsen is another familiar face among my end-of-the-year picks. Her previous record, Burn Your Fire for No Witness, was my third favourite album of 2014. When an artist produces something as good as Olsen’s previous outing, it’s difficult to know how to approach subsequent releases. Should one set high standards only to be disappointed or should one go in expecting the worst? I was still weighing out this question when I first heard My Woman. According to Olsen, the album’s themes revolve around ‘the complicated mess of being a woman’. As one who does not self-identify as a woman, I believe this album also has plenty of energy to contribute to ‘the complicated mess of being a human’. Olsen’s lyrical, vocal and musical presence is stronger than ever and the record seems to hold together more fully than her earlier releases. In complete self-awarness, she addresses themes of despair, broken expectations and ultimately, hope, all borne with her trademark wit and defiant boldness.

masterpiece

1. Masterpiece  Big Thief — It’s been a while since I’ve been so completely surprised by an album. There are great albums from great artists that I can see coming from miles away (such as Sufjan Stevens’ masterful Carrie & Lowell from 2015) and there are the general surprises that make me a new fan (such as Emotions and Math and Teens of Denial above). But then there’s something like Big Thief’s Masterpiece. I had already heard the album before I realised it was released on Omaha-based Saddle Creek Records, which might have coloured my first listen with Midwestern angst. But the Midwestern angst found me over the course of that first listen. I grant that this is all becoming a wee bit self-indulgent for an Angeleño-Glaswegian commenting on an album from a Brooklyn-based band that reminds him of the American Midwest. (To give me some tenuous credit, singer/guitarist Adrianne Lenker is from Minneapolis.) But there are serious, though probably unintentional musical and vocal hints of the Anniversary (1997-2004) among others, which is enough to send me spiraling into an adolescence-fueled hunt for a [misplaced] sense of ‘authenticity’. Because of these fleeting emotions, I feel some sort of shame that I can’t help but make this album my top pick of 2016. Beyond these fleeting emotions, Masterpiece is an album with superior breadth and depth, musically and thematically, driven by Lenker and Buck Meek’s vocals and guitars, completely deserving of any scanty honour that I may offer. It will haunt me well into 2017, which, unlike UK and American politics, is no bad thing.

Honourable Mentions

  • Love  Muscle and Marrow
  • You Want it Darker  Leonard Cohen (1934-2016)
  • Slow Forever  Cobalt
  • Blackstar  David Bowie (1947-2016)
  • Air  Astronoid

Greg’s Top 10 Albums of 2016

everything-at-once

10. Everything At Once  Travis — Elijah may be holding his nose with this choice, but I felt like these Scottish lads (who’ve been together for 26 years!) finally found their way back to the simple, lovely tunefulness of their turn of the century apex (The Man Who, The Invisible Band) with this strong release. I’m a sucker for the gentle melancholic hopefulness of Fran Healy’s voice (check out 2:03 on this video) and shimmering indie instrumentation of the band.

winter-lives

9. Winter Lives  Matt Pond PA — I have a weak spot for this chamber-pop troubadour. He once again demonstrates a songwriting brilliance that has made me love his poppy, life-affirming tunesmithery over the years. His voice has such a perfect sincerity and tone, the lyrical nostalgia of songs like ‘The Glow’ and ‘Whoa (Thirteen and Sledding with Kerry in Northern New Hampshire)’ warmed my sentimental heart, and the arrangements are solid and masterful.

light-upon-the-lake

8. Light Upon the Lake  Whitney — You listen to this album and you wonder, what time-machine did these guys fall out of with their perfect falsetto over tight bass/drum combo and 60’s & 70’s guitar sounds. They may be aching for those ‘golden days’ but for my money, they’ve captured them quite perfectly here.

arranging-time

7. Arranging Time  Pete Yorn — Ah Pete Yorn, yet another brilliant songwriting flame from the early 2k’s that had somewhat flickered out over the years (a la Travis). But he found that former fuel somewhere and picked up right where musicforthemorningafter left off with this new release. Check out tracks 1-3, ‘Shopping Mall’ and ‘Walking Up” for shambling, big-hearted, melodic indie goodness.

daughter-not-to-disappear

6. Not To Disappear  Daughter — Oh her voice just slays me from the first word to the last: like smoke hitting a rain-covered window. Her elegant lyrical delivery taps into the deepest sadness you could imagine, but then soars into the sun over a cascade of guitars and throttling drums (check this video out, as well as this one and fail to be impressed).

a-moon-shaped-pool

5. A Moon Shaped Pool  Radiohead — This collection of songs (arranged alphabetically it seems) took a bit to grow on me. Initially, I thought it was just some stray songs they’d never really finalized that they’d figured they would finally put on a record, but as I listened more carefully, it opened itself up to me—a staggering heartbreak woven through with gorgeous orchestration and unexpected turns of phrase and melody. They are back at the heights of their powers after the floundering The King of Limbs.

the-birds-outside-sang

4. The Birds Outside Sang  Florist — This is just a gentle, artless, and moving reckoning of dealing with the aftermath of a serious accident. The singer’s voice is fragile, child-like, but full of wonder and hard won wisdom…remembering the light coming into the room where she lay recovering, re-imagining the moment of the accident, but also whimsically meditating on the beauty and capriciousness of life. The instrumentation is lo-fi guitar strumming, Casio keyboard humming, and some droning organs, with the occasional full-band kicking in to make a point.  It’s just so sweet and tender—the mending of a confused soul.  (You can sample the record here. I particularly love the title track.)

painting-of-a-panic-attack

3. Painting of a Panic Attack  Frightened Rabbit — Ok, earlier I had told Elijah this wouldn’t probably be on the upper half of my top 10, but as I’ve gone through and listened again to the 12 tracks, it really is strong (I was basing my early sense of the album on the deluxe edition with 3 extra b-side worthy tunes). I think I was initially turned off by some of the ‘radio-friendly’ tendencies I was picking up (‘Get Out’, ‘An Otherwise Disappointing Life’) and though it loses it’s way a bit on the second half, man, when you listen to ‘Death Dream’ and ‘I Wish I was Sober’ and ‘Still Want To Be Here’ and ‘400 Bones’, it’s clearly the same undeniable genius we’ve celebrated on their last 3 albums.

are-you-serious

2. Are You Serious  Andrew Bird — I’ve always been a fan of the Birdman, but sometimes his meandering obscurity (addressed here on the title track: ‘Used to be so willfully obtuse / or is the word abstruse? / Semantics like a noose / get out your dictionaries’) and multi-layered loop tracks could sometimes become a bit tiresome. Here, he is the TIGHTEST he’s ever been with a strong backing band, streamlined songwriting, and his most straightforward reflections (‘this is all non-fiction’) delivered sincerely alongside delicious whistled melodies. It’s an almost perfect album (save the two-chord gruelling groove ‘Truth Lies Low’).

teens-of-denial

1. Teens of Denial  Car Seat Headrest — I resisted listening to this album for a long time, despite (or because of?) the accolades coming in from various quarters of musicdom. I can’t remember what made me give in, but I’m so glad I did not hold out one moment longer. This is a concept album about a troubled teen exploring some deep universal themes (mortality, depression, anxiety) and others more teen angst-y (experimenting with drugs, drunk driving, relationship drama). The vocalist sounds (and reads) like two parts Ray Davies (Kinks), one part Beck, one part Stephen Malkmus (Pavement) with a dash of Black Francis (Pixies) to taste. The sound of the record is a blend of 90’s alternative rock (open chords through chunky overdrive pedal; double-tracked vocals) mixed with kind of a classic rock aesthetic (hello cowbell!), but as with all of the artists on this list, the song is king (the only number I’m not crazy about is the nearly 8 minute jam ‘Vincent’). This kid is only in his early 20’s but, to my ears, he has already been writing songs for years that hold their own with the greatest ever written.

Honourable Mentions

  • 22, A Million  Bon Iver — I actually like this experimental collection from the falsetto king, but it just didn’t seem substantial enough to qualify as a full-length LP—it’s only like 22 minutes and 22 seconds long (hey wait a second, that was on purpose!!).
  • Young Mood  Colt — It really is a great collection of songs—I just couldn’t get over the singer’s grating, narcoleptic baritone voice.
  • I also didn’t find the time to listen more carefully to a few records from artists I admire (Remember Us to Life Regina Spektor and Ruminations Conor Oberst, so they perhaps would have ended up on this list had I given their albums some attention).  I also want to keep my ears tuned to the Spanish alt/indie band Mourn, who had a so-so album come out, but have potential to be a great band in the days ahead.

Dishonourable Mentions

  • Painting With  Animal Collective — Not as bad as 2012’s Centipede Hz, this album still failed to make much of a dent in the AC canon, which is so disappointing as I love this band so much.
  • Mangy Love  Cass McCombs — I swing back and forth on this guy from album to album, but I almost felt like he was pranking his audience with this collection of his usual esoteric lyricism put to “easy listening” accompaniment.  It won many fans in a wide range of music critics, but I’m calling the Emperor’s New Clothes on this one.
  • Here  Teenage Fanclub — Oh how I love these Scottish indie gods, but this album, their 10th LP, bored me to tears.