The Crowder Requiem Review: Coda

Yesterday we heard someone walking up a path at the end of “Oh My God, I’m Coming Home”. At the beginning of the next track, “Leaning on the Everlasting Arms/’Tis So Sweet to Trust in Jesus,” they walk through the door; they have arrived home. This brings the album full circle from the footsteps of the very first track. As they open the door, a wash of sound envelops them. A band is singing a hymn in harmony to the accompaniment of banjo, fiddle, and some simple percussion. The two hymns David Crowder*Band has blended both express the joy and comfort of trusting in Jesus and relying on His guidance.

The sound of applause guides us to the next track, “Jesus, Lead Me to Your Healing Waters,” which has a similar texture and folky sound to “Leaning on the Everlasting Arms.” This original song sounds like a gospel-style hymn, with solo voice on the verses and a chorus of people singing the refrain. The theme is the healing and freedom of living in Jesus Christ.

More applause guides us to the final track of the album, “Because He Lives,” a setting of another hymn. David Crowder’s singing is soulful and expressive; rhythm guitar provides percussion and banjo brings color to the song. The other band members join in harmony on the refrain. In this hymn, we celebrate the wonder of salvation, Christ’s death on the cross, and most of all, His life, which brings us life. This Requiem is not for the dead; it is for the living, and we live now and after we die because He lives.

David Crowder*Band’s masterpiece is full of meaning, expressing Biblical truths using the framework of tradition, using a variety of well-crafted musical styles to bring fullness to that framework. To God be the glory. I hope this album gives you rest.


The Crowder Requiem Review: In Paradisum

The David Crowder*Band introduces a new twist to the Requiem Mass text about arriving in paradise. Christians think of heaven as home, our eternal home with God. Since the David Crowder*Band Requiem is meant for the living rather than the dead, the two songs coinciding with In Paradisum are about returning to God while we still live in our mortal bodies. Instead of entrance into heaven, these songs explore the emotions of our souls returning to God’s presence, even here on Earth.

“A Return” starts with simple finger-picked guitar, energized with the introduction of drums. The text is about our hearts wandering from God, as the prodigal son wandered from his father. The entrance of the electric guitar changes the attitude of the whole song, from a song of wandering to a song of return and rejoicing. When we return to God, nothing else matters; He welcomes us with open arms and everything becomes new.

“Oh My God, I’m Coming Home” is straightforward, voice and acoustic guitar, with very few lyrics:

Oh my God, I’m coming home.
Dance all day and sing along.
To the glory, hallelujah,
Oh my God, I’m coming home.

The song also takes us on a journey using sound effects. We hear someone get into a car and start driving, the white noise of the road beneath the wheels, and the song fades into the background as though it’s playing on the car stereo. The door opens, the keys jangle, and the driver walks up a path covered in dry leaves. He is going home.

There are still three songs left on the album, even though the Requiem mass is over. This coda is a sort of continuation of In Paradisum, the songs we sing in God’s presence for the sake of His glory. Come back tomorrow for some notes on these hymns.

The Crowder Requiem Review: Libera Me

We’re in the home stretch of David Crowder* Band’s album, Give Us Rest. Two sections of text remain in the Requiem Mass: Libera Me and In Paradisum. 

The Band does not set a text resembling the Libera Me; rather, “Sometimes” seems like an answer to the desperate tone of the Latin text. The speaker in the Requiem text fears the trials of judgement; this is at odds with the Christian hope of salvation for all believers, since in fact we have nothing to fear. David Crowder* Band addresses this apparent contradiction in the Latin text. The truth is that sometimes, we feel as though we’re not being saved; we feel the weight of our unworthiness; we fear the wrath that is not meant for us.

Sometimes, every one of us feels like we’ll never be healed.
Sometimes, every one of us aches, like we’ll never be saved.

But despite these feelings, we have hope in God’s eternal love. God’s love is “like a sea without a shore.” He has forgiven us, He is healing us, He is saving us. The song becomes an anthem of adoration and gratitude for God’s love as the music builds into a full texture, fearless and passionate.


The Crowder Requiem Review: Communion

Communion is a liturgical tradition that stretches back to the time of Christ. During the last supper before Jesus’s crucifixion, He told his disciples to eat bread in memory of His broken body and drink wine in memory of His blood, sacrificed for our sake. It is, as asserts, an intimate encounter with Christ. We commune with God when we accept the work of Jesus’s sacrifice and acknowledge our need of His mercy. In the Requiem mass, communion is taken during the text Lux Aeterna: eternal light.

“Our Communion” starts with a simple guitar, and a hollow, overtone-producing sound layers in. It sounds mysterious, big, empty. The lyrics are about dead hearts coming to life by the power of God’s love. Our hearts come to life when God’s love permeates to every corner, searches every part; a very intimate communion with our savior. As soon as we transition to “awake, looking for a way to get back home,” the music picks up tempo, with more percussion and banjo. This is the Christian life, our souls alive, our hearts longing to be at home with Him. We transition again to a refrain of “Oh Great God Give Us Rest,” uptempo from the original song and including a fiddle. This is to capture the Pie Jesu, which is a short text immediately following Lux Aeterna:

Merciful Jesus, Oh Lord, give them rest.
Merciful Jesus, Oh Lord, give them eternal rest.

I know that Zach’s heart was alive on Earth, and he will continue to live even though he has died. Christ said “I am the resurrection and the life; he who believes in Me will live even if he dies, and everyone who lives and believes in Me will never die.” Death has taken Zach’s body, but Hades will not take his soul; death cannot separate us from the love of Christ.

The Crowder Requiem Review: Sanctus and Benediction

It started raining about ten seconds before I arrived at work today. Like a true Phoenician, I was surprised to see the small wet spots on the ground— water is falling from the sky??– and I shared my surprise with the girl whose desk shift I was taking over. Even though I’m supposed to be sitting at a desk, I stepped outside at the start of my shift to just watch the rain. Rain is one of the things I actually miss about Michigan, and it never lasts long here. We don’t get long, soaking days of steady rain in Phoenix.

As simple as rain is, it reminds me of God’s greatness, the way the ocean does. Standing in the rain is like soaking in God’s power and love.

Today is the Sanctus and Benediction of the David Crowder* Band’s Give Us Rest. “Sanctus” means “holy” in Latin. The original text is short, so I’ll post the translation here:

Holy, holy, holy
Lord God of hosts!
Heaven and earth are full of your glory.
Hosanna in the highest!
Blessed is he that cometh in the name of the Lord.
Hosanna in the highest!


These words are adapted from Revelation 4:8 and Matthew 21:9. The text is encapsulated in the song “After All (Holy)”. Piano, guitar, synthesized and live percussion, and the simple, beautiful repetition of “Holy, Holy, Holy” in the chorus mark this song. It’s pure worship and adoration. The Band mixes words and larger phrases from the Sanctus and Benediction with their own text, reflecting God’s holiness and glory.


Holiness is an important attribute of God’s character. The English word has the same roots as the word “whole”– God is complete, undefiled, perfect. It also describes everything we cannot be without Him, and everything that He makes us when we turn to Him.


“After All (Holy)” is followed by “The Great Amen,” and the title does not disappoint. The song is one giant crescendo, a single, minor chord, sung by what sounds like a huge chorus. Their voices cover octaves of range to give a sense of magnitude, of height and depth. At first only the men sing, and two “amen”s later the women join in the upper registers. They sing “amen” eleven times, and each time is louder than the last, creating an increasing sense of awe.


The word “amen” is not Latin, nor is it Greek: it is Hebrew. It derives from the verb “aman,” meaning to strengthen or confirm. It confirms or strengthens the words which follow or precede it; we end prayers with it, or in liturgical churches confirm the words of the priest by saying “amen.” Its dramatic inclusion here is interesting, because to my knowledge “amen” is not generally included after the Benediction. “The Great Amen” instead confirms the holiness of God celebrated in “After All,” and reminds us of the liturgical origins of the album’s structure.


The brick sidewalk outside is almost dry by now. I may live in a desert, but God does not desert my heart. It’s raining in there.

The Crowder Requiem Review: Offertory

After the emotional turbulence of the Sequence, the David Crowder* Band includes a second reprise to transition into the Offertory. “Reprise #2” opens with a crackle of static, like an old recording. An acoustic guitar plays the melody of “Oh Great God, Give Us Rest,” doubled by a piano at the top of its register, creating a music-box effect. After the upheaval of the Dies Irae Sequence, this short reprise re-centers the listener and recalls rest and peace.

“Oh My God”  starts with a lively rhythm guitar foundation, and adds layers: voice, tambourine, lighter percussion, and a heavier drum rhythm when we hear the words “I can feel this heart beating inside.” The lyrics are a paraphrase of the Offertory text, focusing on the joy of passing “from death to life.” It is a song of praise, filled with expectant hope: “death will lose and we will win.” The refrain is simple and powerful, the ascending “Oh My God” rising into a cry of praise for what He’s done for us. A fiddle also lends festivity to this joyful song in the interludes; this song is for dancing.

“I Am A Seed” is surprising, lighthearted, and rather folky.The texture of this song is very similar to “Oh My God,” including much more fiddle as well as banjo. Towards the end of the song, they sing the main vocal theme from “Oh My God” without words. This musical recycling ties the two songs firmly together.  The lyrics of “I Am A Seed” are a kind of pun, leading you to believe that the speaker is a person beat down by the world, when in fact the speaker is a seed being planted.

I’ve been pushed down into the ground
How I have been trampled down
So many feet on top of me
I can’t help but sink, sink, sink…
Oh, I am a seed.
I’ve been pushed down into the ground,
But I will rise up a tree.

This playful song is based on the last lines of the offertory:

Lord, make them pass
from death to life,
as once you promised to Abraham
and to his seed.

“Seed” in the Requiem text refers to Abraham’s descendants, and the Band has taken the imagery of Abraham’s seed to a metaphorical level, as if God’s people are seeds that He waters with his love. Seeds are a great metaphor for regeneration and life; although we are pushed down by this world, God uses our trials to bring us into newness of life. We will rise up as trees.


The Crowder Requiem Review: Sequence, Part II

We’re still in the Sequence of the Requiem mass, as set by the David Crowder* Band. “Sequence 4” is a paraphrase of the next few stanzas of the Sequence:

Remember, gentle Jesus
that I am the reason for your time on earth,
do not cast me out on that day.

Seeking me, you sank down wearily,
you saved me by enduring the cross,
such travail must not be in vain.

The song begins with the more visual description of red blood hitting the dirt as Jesus died on the cross. It reflects on Christ’s coming to earth for wretched sinners, which fits with the wider theme of the Sequence text. The Band uses finger-picked guitar, strings, some banjo, and light percussion to evoke tenderness and gratitude.

“Sequence 5” has a radically different tone. Much heavier percussion, electric guitar, synthesizer, and growling vocals set a tone of distress and agony. The lyrics (“Have you left me in the cold?”) express the fear that God has left the speaker because of his sins, reflecting the agony of the speaker in the next stanzas of the Sequence text:

I groan as one guilty,
my face blushes with guilt;
spare the suppliant, O God.

An abrupt change of texture matches a change in tone from despair to hope. The distorted electric guitar, the percussion, everything ceases except for some synthesized sounds, stretching out beneath the new melody. The speaker now asks God to reserve a place for him at His right hand, as in this stanza of the Sequence:

Give me a place among the sheep…
placing me on Thy right hand.

“Sequence 6” continues in the sublime humility of the Sequence. We have returned to the simplicity of a single guitar and a single voice, singing only the words “I bow low with all my heart.” This is a paraphrase of the Sequence text “I pray, suppliant and kneeling, a heart as contrite as ashes…”

“Sequence 7” is the “Lacrimosa” of the David Crowder* Band Requiem. Other composers, who generally set the Dies Irae Sequence as a single movement, have sometimes set these final two stanzas as a separate movement. (Mozart is one such composer.) The string riff is beautifully appropriate for “Lacrimosa,” which means “weeping.”  The Latin text tells us that the final judgement day is a day of weeping, and begs God to spare the speaker. Although the Band has retained the first-person speaker for Sequences 1-6, they return to the collective in this song, singing “spare us, O God.” The texture includes piano, percussion including lots of cymbal use, distorted electric guitar, and the string riff.

As a whole, the generally minor tone of the Sequences set them apart from the majority of the album. The Latin text corresponding to the Sequences is, after all, pleading, humble, and fearful of God’s wrath.

When Brahms wrote his Requiem (which you simply must hear, it is glorious), he did not include the Dies Irae Sequence; he included scripture mentioning the final judgement day, but left out any mention of God’s wrath. The David Crowder* Band includes the fear and humility suggested by the original Latin Requiem text, as well as image of God’s terrible wrath. Remembering God’s wrath gives us more reason to be grateful for our salvation from it, and remembering our humility and unworthiness before God gives us more reason to be grateful for His love. We ought never to forget what God has given us and how undeserving we are of His gift.

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