LABEL: BRASH MUSIC
RELEASE DATE: SEPTEMBER 20, 2011

t first, appreciating Ghosts Upon The Earth was a challenge. Maybe it was because I felt I needed to churn this (already rather late) review out fast. It could be because I was hoping for “Beautiful Things: The Never Ending Continuation”. Or possibly because I’m from the Spotify generation and I like things on shuffle. But that was ‘at first’. Now… I’m glad took the time to delve into this excellent piece of artistry.

Contrary to popular belief, Gungor have been making outstanding music for quite a while, albeit initially under the name ‘The Michael Gungor Band’. Even before Michael’s collaborations with Israel Houghton, great things were beginning to emerge. Yet, it took the epic Beautiful Things before people began to sit up and take notice. Worship music had never been so imaginative. Finally, here was a band doing ingenious things in the most tired genre of the industry. So with the announcement of a new project, we all began to wonder: could they do it again?

The narrative arc begins with “Let There Be” a courageous attempt to paint the sounds of creation from void to grandeur. The music is rich in symbolism as what began as Lisa’s solo vocals crescendos into a symphony of sound. Then, suddenly “Brother Moon” begins. As the flutes start, the mood changes instantaneously. This is all about seeing the goodness of God in the world around us. It is about joining in with creation in praising the “One who is everything good”.

Lyrically, the album is rich in metaphor as the band explores the story of man’s relationship with God. Starting with creation, through the fall and onwards through the resurrection and onto redemption, each song tells an incredible story on its own, which is only enhanced by the music. The simple statements “When death dies, all things come alive” (“When Death Dies”) are incredibly powerful; there are thoughts behind every word. “Vous êtes mon cœur” is sung in French, purely for the romance of it.

Always unorthodox in their methods, Gungor refuses to bow to convention, eschewing the classic instrument choices for a hotchpotch of varied instruments. My personal favourite features at the beginning of “Every Breath” –the first heartbeats of the Gungor’s unborn daughter. Exotic time signatures (listen closely to “Crags and Clay”); off beats and dissonance all find a place on Ghosts Upon The Earth. The album is a music-maker’s delight.

Inspired mainly by C.S Lewis’ “The Great Divorce” as well as the band members’ personal experience, the album is a fusion of philosophy and art, theology and beauty and all the ideas in between.  It is all the nuances that make it so remarkable. Ghosts Upon The Earth does not shy away from difficult topics or oversimplify the truth; in “Ezekiel” we are reminded of our unfaithfulness and challenged to return, in “The Fall” we are confronted with our wickedness. Although it is worship music, I have a feeling that this meant for an intimate session, not designed for a corporate setting.

Whilst there are beautiful vocals, stunning arrangements throughout – every second of the project has been thought through and executed flawlessly – you have to enter into the spirit of the album to fully engage with it. Ghosts Upon The Earth is not play-in-the-background album. One has to sit and listen to glean from its wealth. That in itself is a gift; this is a project where even the order of the tracks has been thoughtfully considered. It is not easy listening because that would detract from its intrinsic beauty.  But this may put some casual listeners off.

Ghosts Upon The Earth is nothing like Beautiful Things. Worship artists are not generally known for the innovativeness, yet the resourcefulness and creativity shown by Gungor is nothing short of astounding.  It is like they’ve reinvented themselves entirely once more. They did it again. There is something for everyone in this album. The question now is ‘will you hear it out?’