Every countercultural movement of the past century has its great, bald spiritual leader. The Indian independence movement has Gandhi. The Church of Satan has Anton LeVay. Gen-X, alt-rock-loving perpetual grad students have Michael Stipe. And Disaffected Hipster Cradle-Evangelicals Who Shun The Conservative Values Of Their Upbringing But Still Display At Least A Partial Interest In The Whole Christian Thing have Derek Webb. Webb's latest and perhaps most controversial album Stockholm Syndrome hit the stores earlier this month, and it's got many folks a-talking. Matthew was buzzing about it two months ago; he's much more of a Derekologist than I am. Tim recently put out this post which mentions Webb's highly publicized track "What Matters More", in which Webb vents his frustration about Evangelical obsession over homosexuality/bisexuality/etc. and, perhaps driven by the heat of the moment, uses some naughty words. Matt (other Matt) had another post about Christian culture's censorship of the Bible's grizzly passages, which really has nothing to do with Derek's new album, but is still very profound and I highly recommend reading it.
Now it's my turn to weigh in on Derek Webb's latest exploration, even though this album has been out for almost a month, which makes it old news by the oppressively high standards of this fast-paced modern world of McSalad Shakers and George Bush Jr.* But the album has had time to settle with me, and I feel I can make a much better judgment call on it now than the zillions of customer reviews that are typically splat-painted on the iTunes Music Store only hours after an album's release. My belated review will attest that I'm not very good at coming up with original ideas, which is why I'd probably make a great Free Software developer. (Ohhhh, snap!!!) But there are still plenty of folks out there who haven't heard the new release, let alone, know of its existence; so I hope my service proves to be helpful.
The first thing most people think of with Stockholm Syndrome is the controversy surrounding the aforementioned "What Matters More" track; so I'll start with the second most significant controversy: The style change. As underground rapper extraordinaire Talib Kweli once put it, "We don't live for hip-hop. Hip-hop--it lives for us." Replace the word "hip-hop" with "folksy, quasi-didactic, sensitive singer-songwriter, Dylanesque, predominantly acoustic alt-rock" and you basically have what seems to be Derek's artistic philosophy for this release: musical style as a means to an end and not the end itself. That's because, for this record, Derek switched from his signature organic rootsy stuff to synth-poppy, beat-heavy electronic, bringing out the ol' acoustic only a couple of times. You gotta give him kudos for not caving in to the nerdiness of the disaffected-youthful-folk subculture by making another folksy album just for the genre's sake. But, of course, a strong artistic statement like that doesn't automatically guarantee enjoyable music. This is a truly experimental album, as he flirts with all different flavors of electronic music. The breakbeats on "Black Eye" are quite nifty, think Radiohead during (one of) their electronic phase(s); and the drum-n-bass (with real drums, I think) on "The Spirit vs. the Kick Drum" are catchy. The dance-pop on "Jena and Jimmy" didn't quite win me over, especially the obnoxious falsetto "ooh-ooh-ooh", and the throbbing "nnts-nnts-nnts" on "What You Give Up to Get It" I found to be rather irritating, even after several listens. The laid back tracks like "Heaven" and "Freddie Please" are the most unique. "Freddie Please" is especially delightful. I'm told the song is sung from the perspective of Jesus toward Fred Phelps. The raspy vocals over the slowed-down '50's-style ballad are downright creepy--in a very beautiful way. This track alone more than makes up for the album's awkward moments.
And the lyrics? Well there's some style change in these, too. Derek Webb was never really preachy in his songwriting, but he's always been pretty blunt when it comes to issues of politics ("We'll never have a savior on Capitol Hill"), theology ("Nobody's good enough to save themselves") and middle-class America. ("Sell your house. Sell your SUV [...] Give it to the poor.") Here, aside from "What Matters More", it's rather abstract, whether he's repeatedly chanting, "I don't want the Spirit, I want the kick drum" or rambling about a "Black Eye" or chanting political slogans I'd expect to see on bumper stickers on Fiats parked in front of "independent" (i.e. failing) record shops. ("Please take your laws off my lover.") I needed a lyric sheet to follow along with a lot of these songs, and even then, I couldn't figure out what many of them were about, although themes of state-church relations, homophobia, pacifism, and poor people getting screwed over seem to pop up here and there. This ambiguity seems to be playing on the cognitive biases of quite a few theological conservatives, as evidenced by this critical review which chides the album for Derek's "disturbing theology" and seems particularly hung up on the song "Heaven" for not offering an exegetically correct description of the afterlife. (Was it supposed to?) The article mostly reviews Derek's apparent theological stance and his table manners (i.e. the use of profanity) rather than the album itself, and this I find to be really tragic. Derek doesn't give any definitive statement about sexuality or politics here, and that's what I find most appealing about this album! He's not interested in lecturing you about the doctrine of infralapsarianism** or rant about how unhip suburbanite Evangelicals should be more social justice-y. Instead he makes music that's vaguely topical but interesting and infectious enough to inspire you to do the talking. And the topics of foreign relations and sexual politics never go out of style. I can already see Webb 2.0 working its magic amongst my closest peers; just look at Tim's post (mentioned above) and its comments. Who knows what kind of dialogue Stockholm Syndrome will spark in the next few years? And as for Derek, where will the experimental path take him next? How about an album consisting entirely of cymbals clanging! It would be a minimalist concept piece based on 1 Corinthians 13:1, protesting the hypocrisy of contemporary Evangelicals who preach about "moral values" without displaying love in their actions. Steve Reich would be so proud.
* A tribute to essayist Jeremy Lavine, whose El NiƱo essay begot a mild Internet meme a few years back. On a personal note, Alex and I became fast friends when I e-mailed him that essay.
** I don't even know what that means.
While unpacking a box from my parents' house (hooray for having enough room
in the new house for all my stuff!), I found a mix CD from when I was 14 or
15 ...



