“If I speak in the tongues of men and of angels, but have not love, I am a noisy gong or a clanging cymbal.” – 1 Corinthians 13:1
The church in 1st-century Corinth was divided over spiritual gifts, particularly the gift of speaking in tongues. The apostle Paul wrote 1 Corinthians 13 as a gentle rebuke to the misuse of gifts and the arrogance that came from competing over them. The first verse above could be paraphrased as “you can be speaking the most impressive-sounding things, but if you’re not saying it to benefit those who hear, you’re just making noise.”
But not just any noise – Paul purposefully chose two specific instruments. In a symphony, an appropriately timed cymbal or gong has a glorious impact that perhaps no other instrument can match. However, although you might not catch one bad note from a clarinet, you won’t miss a gong or cymbal played at the wrong time, even once! To God, the only one with a truly perfect ear, that’s what loveless words sound like.
“If even lifeless instruments, such as the flute or the harp, do not give distinct notes, how will anyone know what is played?” – 1 Corinthians 14:7
Today, I’ve decided to answer another writing prompt: “What’s your all-time favorite album?” It’s clearly off-topic for this blog, but I say why not?
I mostly listen to rock music of all types. Everything that could remotely be called rock, from Metallica and Rush to Imagine Dragons and twenty øne piløts to The Beatles and Led Zeppelin. But my clear #1 album is, in my opinion, the best album from Dream Theater, the only band I really listen to in their sub-genre of rock, progressive metal. Metropolis Part 2: Scenes From a Memory is great from start to finish and the only album I regularly listen to in order all the way through and lose myself in. The complex musicianship and interesting lyrics distract me from whatever I might need an escape from.
An interesting fact about the album is that they released an earlier song called Metropolis Part 1 and never intended to write a part 2. After a lot of fan questions and pressure, the band took some of the lyrical themes and musical ideas from the first song and turned it into this complete album.
Scenes From a Memory is a concept album telling the story of a man is tormented by memories that are not his own, so he goes under hypnosis in an attempt to figure out what’s going on. He discovers that his memories are actually from a woman who died decades earlier while involved in a tragic love triangle. The album ends with a great twist ending (I won’t spoil) that would be great in any movie or TV show.
Musically the album is wave after wave of heavy, catchy riffs and amazing solos, including the instrumental “The Dance of Eternity” and its 108 time signature changes in 6 minutes. Everything works and goes along with the changing moods of the story.
If you’re into this kind of music, check out this album if you haven’t already. If its not your cup of tea, that’s probably more likely…
Have you ever wondered what life was like for Adam and Eve during Genesis 3:7? This verse, which happens between the moment they fell to temptation and the moment they next meet God, says “Then the eyes of both were opened, and they knew that they were naked. And they sewed fig leaves together and made themselves loincloths.” Since they were able to figure out how to make clothes for the first time, we can guess that the time frame within Genesis 3:7 was more than a few minutes.
The song “Trees” by the band twenty øne piløts may be a contemplation of that time, and if it is, the song imagines that Adam and Eve had some time to think about it. Songwriter Tyler Joseph crafts lyrics that allow for religious and secular meanings, but also that sometimes also apply to multiple audiences. In the song’s lyrics, “You” is sometimes capitalized, and sometimes not, and therefore I think the song has two intended audiences, God and the band’s fans.
Reading between the lines a bit, I’ll explain below what I get from this song, in each audience perspective.
You = the Father The lyrics are relatively compact, with the repeated verse of:
I know where You stand, silent in the trees And that’s where I am, silent in the trees Why won’t You speak where I happen to be? Silent in the trees, standing cowardly
Our first ancestors had lived a perfect life in fellowship with God in the garden of Eden, but the fall into temptation changed that relationship, and the verse imagines how.
First, the sense of togetherness was gone. They were still in the garden, but the sense that God was also there was gone.
Second, although “the eyes of both were opened,” the voice of God guiding their activities had gone silent. They had chosen to determine their own way but had not considered the consequences. Wherever they were, He used to guide them, but now they were confused.
Third, instead of being comfortable in God’s presence, they were terribly afraid of Him.
And a repeated chorus of:
I can feel Your breath I can feel my death I want to know You, I want to see I want to say Hello, hello Hello, oh, hello
In the original Hebrew Genesis was written in, the words for “breath” and “spirit” are sometimes the same word. Therefore, the first two lines of this chorus mean that our ancestors could still feel God’s presence (His breath/spirit), but instead of it being a comfort, they now felt something they never felt before – their mortality. This is a foreshadowing of their being cast away from access to the tree of life.
Also, instead of the constant conversation with God they had known their whole lives, now they wanted to speak with God and know Him again, but He was not responding. In the context of the song, maybe it was then that “they knew that they were naked.” They knew they had done wrong, were exposed, and thought judgement was what they should expect. Adam and Eve went from perfectly hearing their Father’s and Master’s voice, to feeling like orphans and castaways from His family.
What came next? Genesis 3:8 says, “And they heard the sound of the LORD God walking in the garden in the cool of the day, and the man and his wife hid themselves from the presence of the LORD God among the trees of the garden.”
You = The Fans The “you” in the song is also the band’s fans – and Tyler sings out to them, in the trees. Tyler says the song is also about a personal experience he had, which he doesn’t publicly explain, but He does publicly display tattoos of both the cross of Christ and of bands around his wrist, which likely represent rubber bands people wear to manage and prevent self-harm. These tattoos are like permanent memorials – or Ebenezers – from his life, and his ongoing recovery from mental illness. Many of the band’s fans are going through similar struggles and many feel left behind by the world.
Therefore, the “you” of the song is those who feel alone and silent in the trees, who feel ashamed before God, hiding themselves. They expect God to show up in judgement, as Adam and Eve expected, and hid their nakedness. Tyler could be calling out to them: God did not judge me, and neither will He judge you if you call out to Him. God will speak to them, “where they happen to be.” After all, Genesis 3:9 says: “But the LORD God called to the man and said to him, “Where are you?” It was God who desired and initiated reconciliation with His people.
The outro of the song has Tyler screaming HELLO over and over again, before the song ends with 12 seconds of intentional silence before the track ends.
What will be the answer?
When you find someone alone and silent in the trees, remember James 1:27 – “Religion that is pure and undefiled before God the Father is this: to visit orphans and widows in their affliction, and to keep oneself unstained from the world.”
If you find yourself alone and silent in the trees, tell your Heavenly Father you want to say hello. He wants to know you and He wants to see you.
Coda For many years, “Trees” has been the last song played at every twenty øne piløts concert. Why is this? On the album “Vessel”, “Trees” was the next-to-last song and other parts of the album built to it. The first song on “Vessel” describes demons and spiritual warfare, the second song is called “Holding On To You,” and the third song, “Migraine,” has the repeated line:
And I will say that we should take a moment and hold it And keep it frozen and know that life has a hopeful undertone
It seems like from the beginning of the album, that moment to hold on to when you’re battling whatever demons you have was coming. So, in each concert, the fans know that the moment to hold on to is coming. The song is a moment you can remember when you’re down and know you’re not alone. The song an Ebenezer in its own way, and a bold statement that the band is not going to ignore the problems of people left behind, the metaphorical widows and orphans of the world. Also, if they pay close attention, those fans can find the message of Christ in the lyrics. God doesn’t wait until our affliction is over and we make ourselves acceptable to come to us. He bridges the divide Himself.
Below is a video I took last year at a concert in Philadelphia. Apologies for the video quality, especially when they fired massive amounts of confetti into the air, which fans collect to remember the moment later. My phone camera just couldn’t keep up, but I offer it as a 5-minute moment you can take and hold and know that life has a hopeful undertone.
And what’s all this about widows and orphans? This post continues a series on James 1:27, which began here. “Religion that is pure and undefiled before God the Father is this: to visit orphans and widows in their affliction, and to keep oneself unstained from the world.”
Yesterday’s post was about Jeremiah’s comparison of false religion to a broken cistern, with God alternatively being “the fountain of living waters.”[1] Jeremiah lived when most of God’s people – including most of the priests and prophets – had turned from Him to follow other gods. As Jeremiah remained faithful, correctly predicting that Jerusalem would fall to Babylon, he was persecuted, including this instance in Jeremiah 38:6, where King Zedekiah’s officials “took Jeremiah and cast him into the cistern of Malchiah, the king’s son, which was in the court of the guard, letting Jeremiah down by ropes. And there was no water in the cistern, but only mud, and Jeremiah sank in the mud.”
Since God is “the fountain of living waters,” the only path to eternal blessing, it’s incredibly ironic that Jeremiah, one of the few remaining faithful prophets and therefore a rare source of God’s “living waters,” should be cast into a cistern with no water. Perhaps it was broken. King Zedekiah thought he could silence the “living waters” Jeremiah represented by casting them into a cistern, trading truth for falsehood.
Later, Jeremiah seems to recall the cistern experience in Lamentations 3:52-57, where he said:
“I have been hunted like a bird by those who were my enemies without cause; they flung me alive into the pit and cast stones on me; water closed over my head; I said, ‘I am lost.’ ‘I called on your name, O LORD, from the depths of the pit; you heard my plea, ‘Do not close your ear to my cry for help!’ You came near when I called on you; you said, ‘Do not fear!’”
Returning to the book of Jeremiah, we read that Ebed-melech, an Ethiopian eunuch, heard of Jeremiah’s situation and pleaded his case: “My lord the king, these men have done evil in all that they did to Jeremiah the prophet by casting him into the cistern, and he will die there of hunger, for there is no bread left in the city.”[2] This unlikely source – a foreigner – was Jeremiah’s deliverance from God to rescue Jeremiah from the well. Ebed-melech gathered 30 men, “Then they drew Jeremiah up with ropes and lifted him out of the cistern. And Jeremiah remained in the court of the guard.”
Jeremiah was not the only Old Testament figure to suffer for his faithfulness. Many years earlier, King David also referred to “sinking in the mire” in the Messianic Psalm 69, verses 14-15:
“Deliver me from sinking in the mire; let me be delivered from my enemies and from the deep waters. Let not the flood sweep over me, or the deep swallow me up, or the pit close its mouth over me.”
David knew this feeling of sinking came not because of his sin, but when he was faithfully serving his Lord. David’s “sinking in the mire” happened under these circumstances from verse 9 of the same Psalm:
“For zeal for your house has consumed me, and the reproaches of those who reproach you have fallen on me.”
In Jeremiah’s case, as well as David’s and that of Jesus, whom Psalm 69 foreshadowed[3], we know that cannot judge our faithfulness based on whether it improves our circumstances. When we do, we might stop being faithful because it seems we are “sinking in the mire.” Being reproached by the world and feeling down aren’t the circumstances we prefer, but “Blessed are those who are persecuted for righteousness’ sake, for theirs is the kingdom of heaven.”[4] Through these and all other circumstances, God develops in us deeper trust in Him.
Therefore, with David may we pray:
“But as for me, my prayer is to you, O LORD. At an acceptable time, O God, in the abundance of your steadfast love answer me in your saving faithfulness.” – Psalm 69:13
And in His time, He will deliver us, perhaps in ways we don’t expect.
Coda
In 1995, Christian rock group Jars of Clay released their self-titled album, and the track “Flood” has similar themes to this post. The song was also a mainstream hit, charting as high as No. 12 on the Billboard Modern Rock Tracks chart,[5] amazing for a song that is essentially a prayer like David’s in Psalm 69.
While this blog got its name from an old twenty øne piløts song called “Taxi Cab,” my second choice would be to use something from “The Beautiful Letdown” by Switchfoot. The line – “set sail for the Kingdom come” – would have been a good blog title! I’ve intended to post about the song for some time, and it fits in with this week’s other posts, so here we are.
The theme of “The Beautiful Letdown” is that while we don’t like being let down or disappointed, it’s a beautiful and blessed thing when we are let down by the things of this world, because that is when we can find God. In Jeremiah 3:21-23, God calls His people to turn back to Him from the many temptations of the world in striking language:
“A voice on the bare heights is heard, the weeping and pleading of Israel’s sons because they have perverted their way; they have forgotten the LORD their God. “Return, O faithless sons; I will heal your faithlessness.” “Behold, we come to you, for you are the LORD our God. Truly the hills are a delusion, the orgies on the mountains. Truly in the LORD our God is the salvation of Israel.”
The language is striking because we don’t like being told that the things we worship are a delusion, and we don’t like being accused of spiritual adultery, but regardless, being let down from the delusions of the world is a beautiful thing, because it’s a requirement for knowing God more deeply. Back to the Switchfoot song, the lyrics say it’s beautiful when we find out that “all the riches this world had to offer me would never do,” but that “we’re still chasing our tails and the rising sun.” It also says its ok to be “painfully uncool” by the world’s standards because those are the wrong standards. We are “the church of the dropouts, the losers, the sinners, the failures and the fools.”
But perhaps my favorite part of the song is the bridge:
“Easy living, you’re not much like your name Easy dying Hey, you look just about the same Won’t you please take me off your list Easy living, please come on and let me down”
Wouldn’t it be nice to be “off the list” of messages from the world lying about how amazing it is, and how easy things would be if we just bought the right products and had the right lifestyle? If only we floated along with the world’s idea of progress? However, as C. S. Lewis wrote: “We all want progress…but if you’re on the wrong road, progress means doing an about-turn and walking back to the right road; in that case, the man who turns back soonest is the most progressive.” Being let down by the world is a good thing.
“But whatever gain I had, I counted as loss for the sake of Christ. Indeed, I count everything as loss because of the surpassing worth of knowing Christ Jesus my Lord. For his sake I have suffered the loss of all things and count them as rubbish, in order that I may gain Christ” – Philippians 3:7-8
Driving Toward the Morning Sun 