Last week marked the release of an album I've been impatiently awaiting: Josh Garrels’ new LP, Chrysaline. To be honest, I was kind of apprehensive. I wondered how this new record would fare next to Josh’s last two releases, Home, and its Christmas counterpart, The Light Came Down. These two records had, in many ways, raised the bar for Josh’s music. What would he do next? I’ve been (virtually) spinning this new record over the past week, while chasing late-summer sunsets. Now, though I hadn’t planned to, I’m writing down some of my musings on Chrysaline: a record which has taken me by joyful surprise.
Chrysaline feels like its name: a renewal, an awakening. If I were to sum up what's happening sonically, I might look to the cover artwork as a visual reflection. There are flourishes of brilliant color accented by a dark and dense backdrop. Like the artwork, the songs have a kind of symmetry. A balance and appropriation to the sounds; each element tasteful and in a fitting place.
[[MORE]]
The production on every song is top notch; just what I would expect from a Garrels record. There are some amazing moments. Josh is stretching his vocals in new ways and I am loving it! In short, it is a beautiful record.
Yet for all of Chrysaline’s beauty, its opening words paint a not-so-pretty picture:
"Every mouth is like an open grave / No one searches for Your face / There are none righteous ones among / All of us have gone astray”
But the darkness of humanity’s rebellion against its Maker is soon pierced through by brilliant light:
“But You came and gave Yourself away / You are, the only one there is / Only by Your blood can we be saved / Oh Lord, this is a gift, from You”
The second verse builds in musical and lyrical momentum:
“Those who dwell in dark will see the light / Perfect love has found a way / To be the just and justifier of / Those who call Your name by faith…”
Then the name is uttered in a desperate, piercing cry:
“…Jesus!”
It’s a stunning opening track musically, and also for its message. There can be no theme more moving to me than the the gospel of Jesus Christ. One might say Chrysaline is, essentially, a musical celebration of the gospel.
This record is unique among Josh’s discography for its lyrical genre. It is comprised entirely of psalms and hymns. Sacred songs. Josh draws from old and modern writers of the church in songs like “Consecration” and “Perfect Love,” the former a hymn text written in 1874 by poetess Frances Havergal, and the latter by modern hymnist Wesley Eader. Josh makes contributions of his own with songs such as “Closer than a Brother,” “Anchor of My Soul,” and “The Banner.” But Chrysaline is unique: it’s not a hymns album, and it doesn’t fit the mold of modern “worship” music. It’s something new.
In some ways Chrysaline reminds me of Josh’s 2011 release, Love & War & the Sea In Between (my introduction to his music). Chrysaline, like Love & War, runs over one hour in playing time, yet is diverse and engaging—and I don’t mind an epically long album if it engages me! Like Love & War, Chrysaline is rich in scriptural themes and imagery, only showing further theological maturity. Chrysaline’s scriptural depth is a refreshing thing. There was this time I was grooving to “Butterfly” (from which the name "Chrysaline" comes), when a Bible study jumped out of the second verse:
“I’m a worm not a man / Take me to the garden / Bury me inside my skin / Lord make me whole again”
Beautiful imagery. It’s right out of Psalm 22, David’s prophetic lament fulfilled by Christ on the cross. Jesus was that crimson worm, “marred beyond human semblance,” making a way for us—if we are willing to take part in his death, and to be buried (in the garden tomb) with him—to one day share in his glorious resurrection.
There’s strength in simplicity, sometimes. I love the simple yet profound prayer that is “Invocation.” I was struck by that same glorious simplicity in “What a Friend”:
“What a friend we have in Jesus / What a friend we have in Jesus / What a friend”
“Greater love has no man / Than he who lays down his life for a friend”
Listening through the album, I hear elements from a kaleidoscope of musical cultures: South American (“Consecration”), African (“Praise Him”), Middle-Eastern and Indian (“Invocation”), even East Asian (“Closer Than a Brother”). There’s Americana (“Perfect Love”) and of course, the soul is still strong!
After hearing “Butterfly,” my brother made comment on its sound, saying it felt like a natural fit for Josh’s vocal style. I agree: Josh is more in his element now than ever!
The soul / R&B on this record is absolutely groovy. “The Banner,” for instance, is a beautiful and memorable track, and one of my favorites. It feels like it might have been produced in a time machine. Organ, layered vocals, lush strings, even a blazing electric guitar solo at the end. It’s Jesus Music resurrected! It even fades out at the end in true 80s fashion. “Follow” is another pretty song from the same creative vein. Why be current when you can be timeless?
There’s also some really brilliant programming on this record. A couple of highlights for me: the swelling, brooding bass on “Closer Than a Brother,” and the shimmering B3-esque keys at the end of “Anchor for My Soul.” The programming doesn't overwhelm. It's tasteful, and it sort of fills in and melds the other musical elements together.
In “Praise Him,” Josh revisits the experimentation of “Always,” the maverick track off of Home. “Praise Him” is another highlight for me. The drums and choir vocals give a lucid energy to the song. The words of the last verse, I feel, are timely:
“Let all pray / And stay awake / My Lord, He won’t delay / So I keep that oil on the flame / This darkness will soon fade away / Then I will see Him face to face / And I will // Praise Him…”
As the record comes to a close it slows pace with two softer songs, and I want to pay special attention to them.
“Don’t Be Afraid” is my favorite song off of Chrysaline, at least for now. It was the one which instantly connected with me. It has a reflective and nostalgic sound and I love the rich, resonating harmonies. It sits in just the right spot on the track list. It’s a song of admonishment and encouragement from one believer to another. For some reason this song just really grabs me. I love it.
Then comes “Take, Eat” and the soaring, resounding vocals of the previous track become intimate and soft. The words are brought into focus as Josh sings them slowly, yet with grace:
“Take, eat / This is My body / Broken for your healing / This is My blood / Shed for remission / And forgiveness of your sin”
“Do this to remember what I’ve done for you / Do this to remember Me”
That the songs on this record continually bring me back to the cross, and the love of the Savior for me, is a precious, precious thing—I can never hear of that enough.
Then “Evangeline” closes the record with an explosion of color. It’s an exuberant orchestral piece, giving occasion to reflect, and to rejoice. We’ve been given so much in our dear Savior, Jesus. If you listen really carefully at the very end of the song, you’ll hear the voices of the Garrels family, and little Poppy Evangeline Garrels—she sounds adorable!
I’m grateful for Chrysaline. I’m grateful for people like Josh who let the gospel continue to break them and reshape them—and remake them. What comes out is something they can’t take credit for, because it points to the amazing grace of God. Thank you, Josh, for your willingness to be a vessel. Continue to be weak that Christ would be strong in you.
“Let the word of Christ dwell in you richly, teaching and admonishing one another in all wisdom, singing psalms and hymns and spiritual songs, with thankfulness in your hearts to God.” (Colossians 3:16, ESV)
In closing, I would like to recommend Josh Garrels’ Chrysaline. I may, in fact, have found my album of the year!
Originally published on Listen!.
