A pet topic of mine is the tendency of some Christians to fixate on belief and its boundaries. You can't just state why you think belief in x, y, and z is important to Christian faith and life; you have to claim that those who believe x and y but not so much z are not real Christians. You can't just disagree with someone with a different view from yours; you have to stage an inquisition.
It frustrates me to see this all-belief-all-the-time orientation used to frame things as us real Christians vs. them fake ones. When people take a similar approach in drawing themselves outside the circle, it just makes me sad.
Recorded in a converted New Orleans–area church over six days, Redemption is a jambalaya of Chicago blues, New Orleans funk, and robust soul. On the standout “Chariot,” Glen David Andrews’s voice rises with gritty passion as he trails into the song’s tag, borrowed from the spiritual “Sweet Home Chariot”:
On the mostly instrumental Pieces, JoyCut takes the sonic hallmarks of the 1980s New Wave era—from shimmering, echo-plastered guitars and propulsive picked bass to dysmorphic synthesizer pads—and reconfigures them in thrilling fashion.
Throughout this disc, Marco Di Maggio shows the versatility of a guitarist with an uncanny mastery of 1950s and ’60s surf, rockabilly, and country styles. On the lovely and gentle “Polka Dots & Moonbeams,” you’ll hear shadings of Wes Montgomery’s octave guitar riffing, along with the shifting jazz-pop chords of Chet Atkins.