REGARDING "ESCAPE" ALBUM:
Sound/Style: skillfully rendered and stylistically varied instrumentals
By Steve Morley
(UMCom)—Question: What distinguishes music as inherently "spiritual" or "non-spiritual"? (Hint: It can’t be definitively answered…) Considerable controversy has sprung up from time to time around this inquiry, relevant here as this writer prepares—for the first time ever at UMC.org—to address the merits of an instrumental album.
Some may question whether music without lyrics can speak to issues of Christian life. That argument rapidly escalates, though, when you consider the mention of Jesus Christ in a song doesn’t necessarily make that song "Christian" any more than the mention of the devil renders a song satanic. Ultimately, it’s the spirit one senses in music – a divine gift in itself – that says the most about its "spiritual value."
Anyone who has heard guitarist Phil Keaggy’s The Master And The Musician or Beyond Nature is well aware of this (admittedly, it helps to know the artist has a Christian foundation, though this can result in narrow-minded "profiling" if the listener requires such information to find a piece of music acceptable).
Composer and multi-instrumentalist Ric Flauding is one of many who have submitted recordings for review in this forum, designed specifically for independent Christian artists. His prodigious catalog contains CDs of hymns and predominantly sacred Christmas music, yet his less classifiable album, Escape, is an artistic statement that veers from the path of pleasant yet unremarkable works by indie acts, whether secular or sacred in intent.
Often, collectors of meditative, atmospheric music must settle for the work of artists whose faith orientation is foggy, licentious and clearly not aligned with their own, as is the case with much "new age" music, despite the quality it may contain. This is hardly the case with Flauding, who puts his work in perspective in the CDs liner notes: "My goal has always been to (express) love for God, serenity and simplicity (and) to provide an escape from the everyday events that can prevent us from seeing the beauty around us." For most people, that would constitute a ministry.
Flauding delivers on his promise of an aural excursion, with spaciously produced compositions featuring acoustic guitar flanked by flutes, saxophone and auxiliary textures both rhythmic and ethereal. His classical-influenced guitar style is clean and precise yet as free and emotive as that of a beret-topped troubadour. He alternately evokes the cinematic ("A Gentle Thunder," "Braw Bricht Moon"), the South American ("Brasilia," "San Juan") and the wistful on cuts such as the Celtic-influenced "My Love Awaits." On more ambitious pieces like "Above The Clouds" and "Rejoice" he mixes the above mediums, turning unexpectedly jazzy corners and uniting the exotically romantic with the celestial.
To his credit, the skilled guitarist doesn’t call undue attention to his six-string prowess, letting his songs be the canvas upon which he and his guest musicians paint soothing and evocative hues. The rising and falling soundscapes on Escape, despite their sedative tendencies, stop just short of the snooze-inducing nature of much "quiet time" music, often enchanting and occasionally invigorating the senses with imagination and finesse.
Steve Morley is a freelance music journalist living in College Grove, Tenn.
This review was developed by UMC.org, the official online ministry of the United Methodist Church.
Steve Morley - United Methodist Music Review: "ESCAPE"
(May 22, 2008)