The Last Missionary - Review

Given that Stephen the Levite had two of the dopest, most compelling and convicting contributions to Lampmode's recent The Church compilation -- the tracks Membership and Church Discipline -- it's appropriate that his long-awaited sophomore LP is heavily centered on that same subject. In fact, the title of the album, The Last Missionary, is a reference to the church, and the doctrine of the Church is expounded on throughout the majority of the album.

Over a luscious and lustrous beat, the album opens with The First Missionary, which is a reference to the Triune God's missional character as expressed in Genesis in the act of creation itself, but especially in God's presence in the Garden, dwelling with the first humans and delivering the 'protoevangelium'. This track seems to have had a foreshadowing in DJ Official's fantastic posse cut Not My Own, which features a verse by Stephen that covers similar ground.[1] Stephen delivers some stunning rhymes packed with rich theological content and structural beauty, carefully crafting his syllables with alliterative affects.

There are two scriptural analogies which primarily define the doctrine of the Church: the Church as the Body of Christ and the Church as bride, Christ as bridegroom (or Christ as the eschatological Adam and the Church as the eschatological Eve). While Stephen utilizes both in various ways throughout the album, on the track Voltron his verse brings the two together. Voltron is, obviously, a venerable cultural touchstone for hip-hop which symbolizes separate, distinct individuals coming together to act cooperatively toward one common mission or purpose, with the analogy to the Body of Christ being obvious. But as I said, Stephen really effectively brings the two analogies together in his verse: "[Adam] even cleaved to Eve, she's his own now / And he is hers, Jesus and the Church be the pronouns (Engaged) / Committed to mission till the big day / The bridegroom will arrive soon, until then wait (Harvest) / Workin' like the first in the garden / The last Eve, sowin' that seed, she is all of us".

On another posse cut, Wrote It This Way featuring Lampmode label-mates Timothy Brindle and Hazakim, the emcees explore the ways that the Body can (and must be) diverse, while not being divided. Brindle delivers a typically stellar verse which celebrates the multiethnic nature of his own family unit as a microcosm for the truth that God sent His Son for all people, of every tongue, tribe, and nation. Stephen's verse might be even better and he sets it off with a flourish: "Christ's blood has identified us / Doesn't uniform us, but it unifies us / We can be diverse but still not be divided / We would be deformed if everyone was like us". He goes on to excoriate the notion that 'unity' means arbitrary conformity to some cultural identity, rather than unity in Christ as the distinct, diverse people that He created us to be.    

The theme of Christ as bridegroom and the Church as bride is explored further on tracks such as S.O.S. and Beauty and The Beast. The former track does so implicitly as Stephen writes a song that is about his literal love and appreciation for his actual wife, but in the context of the album the track gains added depth, given what the institution of marriage is meant to teach us about the Church. The latter track explores the theme in a more explicit manner, telling the story of Christ and the Church in an extended metaphor.

The titular, final track of the album reflects the opener, and an analogy is thereby drawn between God's missional character and that of the Church, the last missionary. Stephen releases a torrent of sensational rhymes over a slamming beat while bringing the themes of the album to fruition in spectacular fashion.  

Throughout the album the aesthetic and artistic qualities are absolutely top notch. On the rapping side of things, Stephen's lyricism is incredible as he packs intense doses of luminous content into his bars while marshaling intricate rhyme schemes and a breathless, masterful flow. Just listen to the way he absolutely dismantles a track like Reign & Rebellion -- phenomenal.

The beats are excellent for the most part, and range from old school, stripped down tracks like Enter:missionary and Fight Club to more complex, robust tracks which dominate the album. The delicious cherry on top of all this is the fact that the album is almost entirely devoid of any R&B or otherwise sing-y choruses, and often features insanely ill turntablism instead, such as on Rehoboam and Dividing Lies. If you're fond of the brand of raw, 'East Coast', grimy, boom-bap that has always been my muse, then this should suit your tastes ideally as well.

While I enjoyed Stephen the Levite's first album To Die is Gain, I felt it was a little rough around the edges and the production was somewhat lacking. Here he steps into the forefront of currently working hip-hop artists -- holy or secular -- with a well-polished, intelligent, challenging and edifying record that keeps your head nodding incessantly, both to the beat and in agreement. Not only that, but he has gone the extra mile and successfully crafted a true album, with a unified theme and message, and one that is vitally important for the world today: the Church is Christ's physical representation on Earth and the means for extending God's Grace to the world and establishing his kingdom, so it's incumbent upon us to repeat the act of Grace shown at the cross, and be salt and light to a world in need of redemption. Or, to quote Stephen one final time: "If you’re a Christian then you’re a member of / His physical witnesses sent to finish His mission up / Paul would call us His body with many limbs and functions / workin’ and servin’ till He returns in the endin’ but / Give it up! / until His Kingdom comes and the mission's done / we volitionally and sacrificially give Him us / (Get ‘em bruh) This is something we struggle with and it's tough / but much is required from us because we’ve been given much".

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[1] As a somewhat nitpick-y theological aside: Both Phanatik on Not My Own and Stephen on The First Missionary speak of God in mutable terms i.e. pre-creation 'conferencing' within the Godhead and 'coming to decisions' about how to create, or how to solve some problem etc. Given the limitations of language and of the rap format, I don't have a huge problem with the artistic license invoked here, but it is technically incorrect; because of God's immutability any talk of Him 'coming to decisions' is an anthropomorphism. This is not to deny the existence of divine counsel or community within the Godhead, only to affirm God's immutability.

Elation Foundation - An Exposition on The Beatitudes

As I continue to delve into the world of Holy Hip-Hop, I recently have been listening to the album Elation Foundation by Evangel (of the group Christcentric). As I mentioned in an earlier post on Holy Hip-Hop, Evangel is a stellar emcee, who I would put as one of the top three best Christian emcees -- and probably just emcees period -- alongside Shai Linne and Timothy Brindle. I was first introduced to his work with Christcentric, which was all excellent, but it took me a while to get a copy of his solo albums. Now that I have, they are nothing short of amazing.

Evangel seems to be the archetype of what might be called the "expositional rapper". The first album I heard him on was Christcentric's Ephesians Project, which is an album-length exposition on the book of Ephesians, with each song covering a corresponding chapter and set of verses. His first solo album is titled Expository Journey, and his second solo album -- Elation Foundation -- is an exposition of The Beatitudes from the Sermon on the Mount. He structures the album so that each track is an exposition on each of the beatitudes. Here are the beatitudes, from Matthew 5 of the NIV:

1 Now when Jesus saw the crowds, he went up on a mountainside and sat down. His disciples came to him, 2 and he began to teach them.

    He said:

 3 “Blessed are the poor in spirit,
   for theirs is the kingdom of heaven.
4 Blessed are those who mourn,
   for they will be comforted.
5 Blessed are the meek,
   for they will inherit the earth.
6 Blessed are those who hunger and thirst for righteousness,
   for they will be filled.
7 Blessed are the merciful,
   for they will be shown mercy.
8 Blessed are the pure in heart,
   for they will see God.
9 Blessed are the peacemakers,
   for they will be called children of God.
10 Blessed are those who are persecuted because of righteousness,
   for theirs is the kingdom of heaven.
11 “Blessed are you when people insult you, persecute you and falsely say all kinds of evil against you because of me. 12 Rejoice and be glad, because great is your reward in heaven, for in the same way they persecuted the prophets who were before you.

And here is the tracklist for Elation Foundation, and the beatitude or verse which each song corresponds with:

1 Elation Foundation - (verse 1)
2 Mr. Smiley Face - (skit)
3 Bankruptcy Department - (verse 3)
4 Savings and Moans - (verse 4)
5 Soul Beneficiary Division - (verse 5)
6 Food Court - (verse 6)
7 Still The Elevator Man - (skit)
8 Mercy Mutual - (verse 7)
9 Pure Hearts - (verse 8)
10 Rejoice! - (verse 12)
11 Shalom Factory - (verse 9)
12 H.R. Dept. (Haters Revile, Heavenly Reward) - (verse 10)
13 Hilltop Housing - (verses 13-14)
14 Elation Summation (Outro summary)
15 Immigration Services (bonus)

As you can see, the title of each song reflects the beatitude that it covers. It's one thing to make a clever tracklisting, but what's extremely impressive is that the songs themselves have vibrant content that  faithfully expound upon each beatitude, in artistic ways. For example, on the track Food Court Evangel utilizes a running food and water metaphor throughout the song, relating them to Biblical truths that deal with hunger, thirst, food and water: "I seek to read, honestly a truth pursuit / Eatin' meat that ironically produces fruit / Because you faced terms / Were crushed for us, if we trust with faith firm / He'll flush the tapeworm". Concluding the song in this way: "Compliments to the Chef / There's no confidence in the flesh, leading to consequences of death / My etiquette is straight / I won't forsake the fellowship of saints / Now you imitate, go ahead and fix a plate."

Evangel's verse on H.R. Dept (which also features the other members of Christcentric), is among the better verses on the album and is worth quoting in its entirety:

Realizing the cost of the cross and the weight of it's worth
The world hates me, of course, 'cause it hated you first
If they're armed heavy with guns
There's nothing new under the sun, their stunts already been done
They're set to cry with their loud antithesis
Yet the scriptures testify with a cloud of witnesses
All the beatings they had, didn't silence their voice
They rejoiced and were exceedingly glad
When Jesus addressed with candor
They said he was demon possessed with slander
And it might get worse, John writes this verse
How Cain slew Abel for his righteous works
They won't leave us alone, Stephen was stoned
Looked up and saw you standing at the seat of your throne
Yeah, we endure cause we see the deal
It don't dare compare with the glory to be revealed 

The crowning jewel of the album comes just after all the beatitudes have been covered. On Hilltop Housing, which features a slamming sonic arrangement, Evangel discusses what it means for the church to be a "city on a hill that's not hidden", and the importance of righteousness, church discipline, and practicing what we preach. "As a body we need confrontation / We should be a congregation of consecration / Do we not see this? We call ourselves Jesus' / Body while parts of it look like prosthesis / These claims are unjust / When we're guilty of the same sin, let it not be named among us"

It should go without saying, if you've heard any of Evangel's work, that the rhymes throughout are superbly crafted and are sharply focused on whatever the topic at hand is. His wordplay and rhyme schemes are often extremely intricate, with each listening producing a greater appreciation for the amount of work that goes into the writing process. And his flow is masterful to boot.

The production on the album, save one or two soft beats, is hard-hitting and boom-bappy which suits my aesthetic preferences. I could have done without a few of the choruses, most notably on Bankruptcy Department and Pure Hearts, but since I'm primarily a fan of grimy, East Coast, beats-and-rhymes, boom-bap rap music -- which often finds hooks to be superfluous or detrimental -- that should come as no surprise. "Just get to the rapping", me and my brethren always say.

Evangel is one of the premiere rappers alive and working at this moment, and this is an extremely creative, Christ-centered, powerful album that is substantive and edifying for Christians and which demands attention from any serious hip-hop fan.

Timothy Brindle's Christ Triad

As a newcomer to the Lampmode records, high quality, Christcentric, lyrical theology rap scene I've recently been blessed with a wealth of recorded material from the last 6-8 years or so with which to occupy my music listening time. The two albums that have dominated my listening time have been Shai Linne's The Attributes of God and Timothy Brindle's Killing Sin. Both immediately struck me as monumental artistic achievements -- easily outclassing any of their anemic secular counterparts from the last decade -- as well as legitimate theological treatises with content so relentlessly focused and sound that it could stand alongside other well-regarded works in the Reformed theology tradition. There's much that could be said about both works, but in this post I want to focus on a triad of songs from the Killing Sin album: The Faithfulness of Christ, The Humility of Christ, and The Excellency of Christ.

Killing Sin is best described an album-length meditation or exposition on the process of sanctification that God performs in the lives of His followers. The focus on sin is intense and Timothy faithfully relates the extent to which God abhors sin, and even moreso in the lives of His followers. As Brindle says on the track The Sinfulness of Sin: "In a sense when a Christian sins / It's more sickenin' than the sins of wicked men  (why?) / 'Cause we've tasted His goodness as recipients of Grace / So every time we sin it's like we're spittin' in His face / If Christians are no longer trapped in its bondage / Why, like dogs, do we go back to our vomit?" Throughout the album Timothy attempts to artfully relate just how detestable sin is to God, while also outlining the ways that Christ's work on the cross and His Resurrection enables us to "put to death our crooked flesh" through the power of the Holy Spirit. None of this really does justice to the depth, breadth, and vibrancy with which the album addresses this topic, and, in any case, Timothy provides us with a kind of  thesis statement that does better than I can at summarizing the album's aim on The Intro.

It's within this context that these three songs are marshaled. The last two tracks -- Humility and Excellency -- are also the last two songs on the album, while Faithfulness comes a bit earlier in the album. The sequencing of the tracks was obviously done purposefully, and I think Timothy doesn't put Faithfulness at the end for two main reasons, though this is obviously speculation. First is that Christ's Faithfulness is mostly manifested in the way He stays by our side through our daily struggles. How He is trudging along besides us amidst the various difficulties and temptations of life, even when we fall and stumble. For this reason I believe the track is sequenced earlier in the progression of songs, placing Christ's Faithfulness within and among (though of course in no way separate from) our battles with sin, as reflected by the surrounding tracks which cover that topic. The second reason I think the sequencing makes a lot of sense is because the slot before Humility and Excellency is filled by the terrific Fix Our Eyes, which serves as a kind of turning point, a signpost to the climactic moments of the album.

Though Christ is strongly present throughout the entire album, the progression of the album is such that it works itself up and out of sin, into the radiant glory of Christ as depicted in the final three tracks where the focus on the person of Christ becomes utterly fixed, even though He was faithfully present all along.

On Humility, the best track of the album, Timothy turns his focus to the incomprehensibly amazing and loving act of God's condescension into finitude on our account. "If you seem confused with this / God passed through His own creature's uterus / I admit this is odd, but the Bible can persuade me / 'An omnipotent God crying as a baby?!'" The track is largely about the Incarnation, focusing on the Christmas narrative and God's decision to rescue humanity from our iniquity by becoming one of us and dying in our place: "What an awesome feat to drop so deep and cop His sheep / He didn't step down; He took a quantum leap / And I'm amazed how God, infinite in wealth / Put aside His fame, and limited himself / To time and space and eyes and legs / He died to save a violent race whose sins would bring em hell."

Lest the intensely, carefully crafted rhyme schemes be forgotten, I will bring attention to them here. As someone who has written rap lyrics -- very poorly I might add -- it's difficult to overemphasize just how well-crafted these rhymes are technically, or how incredibly they're delivered. With that artistic aside accomplished, let me get back to the content of Humility. I think I've said about all that I could about the track that it doesn't say better for itself, so I'll let Timothy's lyrics speak and just transcribe the last 20 bars of the song:

Slaughtered, bleedin', gushin', oozin' blood
The Father pleased to crush Him whom He loved
So He probably didn't even feel the crown and nails
He had to suffer more than that to bring down the veil
Our eyes are haughty and our lies are naughty
The Holy Christ bore our sins inside His body
Yeah His veins they burst, but no one's pain was worse
Cause the one who made the Earth became a curse
And He was one with the Father's essence
But on the cross, the God of heavens cut off His presence
So I can't share any language
That can rightly describe the Christ's despair and His anguish
So forever will I tell
In three hours Christ suffered more than any sinner ever will in hell
He who had infinite joy and pleasure
Became a man of sorrows so we could join forever
He took a cosmic plunge, put on some lungs
On the cross, became to God a sponge
To soak up His wrath
So the wicked wouldn't be sifted and blown into chaff

Um. Wow. It's really difficult for me to listen to this song without beginning to weep, mostly out of gratitude.

Finally we turn to Excellency. While Humility mostly focused on the Incarnation, it culminates with the crucifixion (as you can see from the above lyrics), and, as you might imagine, Excellency focuses on the Glory of the Risen Savior (accompanied by an appropriately triumphal sonic arrangement): "You're the Lion- yet the Lamb / You're divine yet you're a man / You're Messiah and 'I AM'/ You're triumphant in your plan / Resurrected in all power and might / Exalted in all glory and honor- the Father showered the Christ / Full time worshipers- forever we're employed / Christ came to give us the full measure of His joy."

And if you let the album repeat at this point we are brought full circle to the daily battles of believers with sin, which Christ's Resurrection empowers us to overcome. It's sometimes easy to forget that Christ died not only to save us from the penalty of death, but that He rose to give us His life, Eternal life which can begin living now if we die to our old sinful selves. But the real takeaway from the album is that dying to our sins and putting them to death isn't something we do once and are done with, but it is a continuous process in this life which can only be accomplished by fixing our eyes on the life, death, and resurrection of Jesus Christ.

If you liked something about this blog, I assure you that anything I've been able to convey is only a faint whisper of what this album has to say. Check it out for free on Spotify or purchase it at Lampmode's online store.

God's Love

'Love' is widely misapprehended because of a cultural tendency to associate it with saccharine sentimentality. Christians understand that God is love in the sense of 'agape' (or a combination of 'eros' and 'agape', depending on who you ask), but if the cultural understanding of love is something else entirely -- which ours is -- then it's important to clarify what it is we mean when we say things like "God is Love." If people think we are saying that God is what our culture understands love to be, they will think that we're saying something very far from what we actually mean.

The cultural understanding of love wouldn't include any space for things like "judgment". And within the social sphere, between and among fallen human beings, this makes sense to some extent. But from the perspective of a perfect Creator God who is far above His creatures in every way, space for righteous judgment as an aspect of love opens up fully, and is in fact logically necessary. The lyricism in the following track by Evangel expresses what God's Love is while being careful to contrast it to our culture's understanding of love. 

God is Love, we don't need proof of it / We see the truth of it in the crucifix / But He's not just the God who's got Love for the lost / But the God who said this world was judged through the cross / Believe it / God was Love, even when He sent His Angel of Death to kill the firstborn of Egypt / Not Casanova / But Love that needs the Lamb's blood for passin' over / The Wrath of Jehovah / With all that in mind / Know God is Love which suffers long and is kind / 'Til we fall into line / While His anger is buildin' / Patiently awaitin' His children / To become the world's strangers and pilgrims

Of course, some people make the opposite mistake and overemphasize His judgment at the expense of His patience, kindness, etc. The first verse of this song ensures it won't make that mistake, giving numerous examples of God's incomprehensible grace. But in our culture, I would argue that the concept of judgment and wrath being facets of perfect Love is almost completely foreign, and so is the much more common misunderstanding in need of correction. 

The Top 10 Things of 2011

Keeping in the spirit of this blog -- in which I write about my haphazard interests as inspiration strikes -- I decided to simply do a "Top 10 Stuff of the Year" list, rather than a Top 10 books, films, or albums list. Another reason to approach it this way is that I haven't seen 10 films I loved, or liked 10 albums that much this year. Part of that is me just not keeping up, but another part of it is that it has been a somewhat lackluster year in film and music, for example, not withstanding some stellar stand-outs. This also frees me up to highlight things that didn't necessarily arrive this year, but which I discovered or appreciated this year. Many of these things I've already blogged about, and so I'll mostly just quickly describe what was great about each thing and link to other more in-depth posts. Without further ado:

The Top 10 Things of 2011

10. Lakers Meltdown

Though I don't expend much energy following sports these days, as an avid, lifetime Laker-hater, I felt compelled to include their getting swept earlier this year in the playoffs in the top 10. Not only did the Mavericks sweep them, they did so in spectacular fashion, blowing them out by 36 in the fourth game, sending the Lakers into a pathetic temper tantrum. Kobe humbled, Phil Jackson sent into retirement, the dynasty very likely reconciled to at least a near-future of mediocrity; the sound of that legacy crashing with a thud is sweet, joyful music to my ears.

9. Drive

Though the thrills are somewhat tawdry and cheap, this stylish flick by Nicolas Winding Refn is one of the better of its kind that I've seen in recent memory. Ryan Gosling plays a part-time mechanic, part-time Hollywood stunt driver, and part-time robbery getaway driver that gets embroiled in a situation with a host of shady characters which explodes into violence. There's not a whole lot to the film, especially with Gosling's playing it in such a stoic fashion, but what it lacks in depth it makes up for in flair and pizzazz.

8.  The Republican Primary Campaign 

This is something I imagine 99% of the populous won't understand -- and I fully sympathize with your antipathy or apathy, whatever the case may be, I assure you -- but as a political junkie I have enjoyed following the campaign. Whatever it says about me, I religiously watched every televised debate but watched almost no other television this year -- you might have noticed the conspicuous lack of anything television related on this list. From Cain's downfall to Perry's flub to Newt's late rise to Romney's steady presence it has been interesting and disheartening, compelling and disappointing.

7. The Expired Dictator

While I think the Obama administration has been a travesty, at least he gave the go ahead to kill Osama bin Laden. It's hardly a feat deserving of much credit -- any president that didn't sign off on it would be incompetent -- but he is a Democrat and conceivably could have backed off on the War on Terror altogether, but he didn't, so that's at least worth a small amount of recognition. Gaddafi and Kim Jung-Il also met their demise this year. Of course, the rate at which evil replaces evil in this world is often astonishing, so these developments may not have any significant, lasting impact, but the passing of these wicked men is something to be thankful for.

6. Google (Google+, Google Currents, Google Music etc.)

I'm not really much of a tech guy, and while I'm sure there were probably much more significant developments in the tech world, I mostly enjoyed the rolling out of these excellent Google products. I just finally got a smartphone this year, so these products having Android apps to go with them made Google a noteworthy contributor to my universe this year. Google Music? Upload your entire MP3 library and have it accessible from any browser anywhere. Delightful. Google+? The best social-networking experience available (though it still doesn't have enough of an active user base to be the runaway best, it is the most enjoyable to use). Google Currents? A slick, aesthetically and functionally pleasing way to read online news, blogs, articles, and essays. Total cost? $0. The technological age has a lot to be said for it, and Google is near the top of that list for me.

5.  The Attributes of God by Shai Linne

Highly related to entry number three, Shai Linne's Holy Hip-Hop album The Attributes of God was released in November of this year, and is by far the best rap album that I have heard this year. Titled and patterned after the book by A.W. Pink, The Attributes of God is an album-length meditation on just that: the attributes of God. His goodness, faithfulness, justice, wrath, love and grace, to name a few. Each attribute is addressed in a separate track (though there is some cross-pollination, of course). Shai Linne spits creative, incisive reformed theology of such high quality it's somewhat unfair to classify the album as "just" a hip-hop album. It's a legitimate theological treatise and an intense act of worship. Provocative, wise, and relentlessly christcentric, the album was unlike anything I had ever heard (though it led me to Lampmode's back catalog, where there were other similar gems). To add to the revelation that the album was, even aside from the content, the beats and rhymes themselves are more impressive than anything the secular rap world currently has to offer, and it isn't even really close.

4. Tim Tebow 

Try as I might, I was unable to resist the magnetism of the Tim Tebow phenomenon. A strange confluence of events on and off the football field led to one phenomenal football story as Tebow led the Broncos to a 6-1 streak while winning in bizarre, seemingly miraculous fashion week after week, and praising Jesus while doing it. How could this story not send me into fits of rapturous ecstasy, especially when Tebow's humble glorifying of the Creator of the universe actually raised the ire of critics? What's not to love here?

3.  Holy Hip Hop / Lyrical Theology / Reformed Rap

I've said almost all that I can say on this topic in my previous post. To summarize: I discovered Lampmode records -- most notably the rappers Shai Linne, Timothy Brindle, and Evangel -- along with the whole Holy Hip-Hop movement this year, opening up a new dimension of hip-hop to me, as well as providing a tool for spiritual education and edification. Not only are these guys making extremely intelligent, Christ-centered, theological music, but they're doing it with a very high level of skill, making the exact kind of hip-hop music that I enjoy. Hallelujah!

2. David Bentley Hart's Writings

If I make a similar list to this in years to come, I expect this to be a mainstay right near the top (especially with him having at least two big projects coming up soon). The Eastern Orthodox theologian's massive erudition as it relates to history, culture, language, and religion, and his penchant for being a delightfully acerbic polemicist are some of the reasons he's my favorite living writer. Not content to merely excoriate Christianity's facile critics and make significant contributions to high theology, he also displays a great amount of literary creativity, humor, and wit in many columns which may fully blossom in his upcoming short story collection.

1. The Tree of Life

I've written more about this film than any other subject this year, so I'll spare you too many more adjectives of adulation. But the gulf that separates The Tree of Life from every other film released this year is titanic. The scope and ambition of the film is gargantuan as it tackles the subjects of the universe, humanity, death, sin, family, existence, and God deftly and without pretension. Through the prism of the life of one family, as remembered by one man, the mystery of the exquisite savagery, grace, and beauty of the universe is explored and unraveled. I will be marveling at this work of art for some time to come.

Lyrical Theology. Holy Hip-Hop. Reformed Rap.

If you know me or have read my blog, you know that theology and rap music are two interests of mine. They have almost always been distinct and separate interests, for me. While I had heard some good (and lots of mediocre and bad) Christian rap back in the 90s, and early aughts, none of it was extremely theological in character. And even the best Christian material I heard from those times wasn't among the best hip-hop music being made, in terms of the aesthetic and artistic quality. Around the mid aughts I stopped keeping up with newer rap music in general and didn't have any connections that would alert me of quality Christian rap that was being released, so the little amount of it that I had heard was all that I was aware of.

Last month Challies -- a reformed blogger-pastor -- posted something about Shai Linne's new album The Attributes of God, giving the album very high praise. As a hip-hop aficionado myself, I was highly skeptical as to the actual quality of the rapping and beats (I had never seen Challies post anything about hip-hop), even if the theological content was excellent, as Challies was claiming (I trusted him on that count). After giving the album a listen on Spotify, I was stunned. Not only was the rapping top notch quality, but the content was vibrant, coherent, intelligent, Christ-centered, and unrelenting. The first comparison that came to mind when listening to Shai Linne's album wasn't golden-era, mid-90s, boom-bap rap music (though stylistically, that is his heritage), but Reformed theologians! Not only was this Christian rap, but it was lyrical theology and it was brilliant.


As I had become largely calloused toward, and weary of, new rap music in general, this was a revelation on two levels: re-igniting my interest in new rap music, period, as well as acting as a portal into the Reformed Rap or Holy Hip-Hop world, which I didn't even know existed (outside of The Cross Movement). Two of my interests and passions were combined thereby creating a more intense love for both of them.

After listening to The Attributes of God -- which shares the title of, and is kind of patterned after, the book by A.W. Pink -- I went on to listen to a few more of Shai Linne's albums such as Storiez and The Atonement, which were excellent as well. After this, I listened to some material from a guy named Timothy Brindle, who was featured on a number of Shai Linne's songs and who seemed to be a phenomenal emcee. It turned out he had two albums to his name, The Great Awakening and Killing Sin, which were both excellent. Though it's a somewhat tired touchstone for comparison, Brindle is comparable to a Christian Eminem, in that they both made waves in the secular battle circuit, and stylistically they have similarities.

Another artist that had collaborated with Shai Linne was named Evangel, and since his couple of verses were incredible, I sought out some more music by him. There were no solo albums of his on Spotify, but he was a member of a group called Christcentric who had a newer album out called The Ephesians Project, which is a hip-hop-album exposition of the entire book of Ephesians. His songs and verses on there were great, as was his song Beautiful Church which was on the compilation The Church. Evangel is just a beast with a wicked flow (but not a wicked message, of course).

Discovering one new incredible hip-hop artist would have itself been a revelation. That happens very rarely, especially in the current climate of hip-hop, which is fairly dismal. Having been introduced to three incredible rappers, who all have a solid amount of material recorded and released already, was just that much more amazing. Essentially discovering a whole new genre, one that strongly appeals to my intellectual and spiritual interests, which can actually enhance my relationship with the living God, and a genre which all of these phenomenal, newly discovered artists are working within was just that much more incredible.

I know that sounds like a lot of breathless, overzealous, hyperbolic rhetoric for some rap music, but I should tell you that I'm a very cynical and critical hip-hop consumer. Even if these guys were praising God and glorifying Christ with sound theology, but they had weak beats and rhymes, it wouldn't do much for me. But the actual quality of the lyrics and the rapping catapulted all three of them into my upper echelon of living, working rappers.

Since this discovery, I haven't listened to much of anything else on Spotify except my Lyrical Theology playlist, which is quite extensive. Lampmode records, which boasts both Shai Linne and Timothy Brindle on its roster, has other artists who I haven't even yet given a proper listen, who may also be great. Stephen the Levite, for instance, had two great tracks on The Church compilation, and I haven't yet listened to his solo album in its entirety. So, even with the new universe of Holy Hip-Hop opened to me, and having already explored it heavily, there's still more to discover, not to mention whatever else God has in store in the future, working through these artists and new ones. Hip-hop is back on my radar and it's being used to glorify the ruler of heaven and Earth.