genres: indie rock
In light of Holy Week about to begin, it is essential to cover one of the greatest religious albums ever made. I say ‘Religious’ instead of ‘Christian’, as there’s a real devotional spirit and desire to liturgically rest among both the narrative and the characters of the Gospels and hear what they have to say to the church across time that is often missing from the shallow immediacy of most CCM music. So what exactly is this album, and what makes it so uniquely special? Of Man is an exploration of the last week of Christ’s life through His resurrection as told through the eyes of the various witnesses to the events. As a multifaceted retelling of a key portion of the Gospel, there are clear parallels to Andrew Peterson’s magnificent Behold the Lamb of God, and fans of that album absolutely need to give this a listen (and vice versa).
Much of the album is fairly restrained, using haunting piano melodies to drive much of the action. This foreboding quiet serves two purposes. The wonder and devastation of those in proximity to Jesus is emphasized through the centrality afforded to the lyrical performance, which is wonderfully delivered by sole (at this point) member Mark Nicks. Secondly, it allows for the dynamics to fully explode and erupt in full emotion when need. This isn’t to discount the musicality of even the quieter moments, even the passages comprised of simple piano chords are precisely composed to maximize the mood and emotional weight, leaving a lasting impact and memory on the listener.
The literary quality of this work is on full display from the first real song, “Are You Coming?”, written from the point of view the man renting out the upper room for the last supper. It’s a masterful telling of personal tragedy and the light of Christ that allows for acknowledging the joy felt by His followers in the aftermath of the triumphal entry while also immediately starting to build the haunting atmosphere for the modern listener and place the focus squarely on His last days. In another masterpiece of composing brilliance, melodies and vocal phrases introduced here recur throughout the album, sometimes darker, sometimes brighter, again emphasizing the coherence of the story among its many voices. I want to avoid specific description as much as possible, because it really should be experienced in full, but I need to comment on one more song. “His Eyes” *, the centerpiece of the album’s Passion narrative, is one of the most incredibly affecting songs I’ve encountered. An absolute brilliant use of space and simple melodies that build through speed, adding instruments and distortion to create almost unbearable tension that simply refuses to resolve. It’s an incredibly moving portrayal.
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* There’s also a fun easter egg (pun incidental) on “His Eyes”. The track is co-arranged by Tim McTague, best known as the guitarist for Underoath. When the tension finally explodes into a few measures of heavily driven guitar around 4:35 into the song, that melody is a very slightly modified version of the one immediately preceding the breakdown (about 1:25 in) on Underoath’s hit “Writing On The Walls”. Even more interesting, the lyrics immediately following in that breakdown are “We walk alone, we walk alone”, repeated several times. In “His Eyes”, this riff sits right in between Christ’s journey through the Via Dolorosa and His crucifixion. Whether intended to refer to His loneliness and isolation on that day, or to the fact that through His sacrifice His followers are no longer alone on their journeys, or simply incidental self-reference, it’s a very cool connection.
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