Customer Reviews

Stockholm Syndrome

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4 star:		(3)
3 star:		(1)
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Stockholm Syndrome is Derek Webb singing his swan song to the Christian mainstream. The album may be perceived as negative, and may only sell a few thousand copies, but I believe Derek has created a true work of art.

Webb steps back from the snappy pop of The Ringing Bell, and spent the last couple of years producing a simple and moody record. It is a very outspoken album that, in effect, is Derek's epistle to the modern Christian subculture.

Electronic? Yes. Timberlake? No. The music styles tend to be a bit spastic- from disco to trip-hop to modern pop.

Jena & Jimmy is a disco troupe send up to Mellencamp's Jack & Diane, shows two different takes on a shallow relationship. The Proverbial Gun shows the tension and resolve of a slow, deliberate melody. Freddie, Please is an experimental Motown track written as a letter to right-wing radical Fred Phelps. Heaven showcases Derek's superb knack for wit, and Cobra Con is probably his most accessible track on the album.

It's sad that this album is already being written off because of controversial nature of lyrics. In defense of these songs, profanity is not the purpose, but rather to show the imbalance of parallel moral standards. Mr. Webb's critics have already panned Stockholm Syndrome based on the "unofficial" release of this song. Listen with open ears, if possible.

INO records has taken a chance with Derek Webb - they let him write songs that he wants to write, about topics that he's passionate about, and have his own artistic take on these songs. This record will do little to increase his presence on Christian radio TV and the like, but they have an interlocking reliance on each other, creating a true album.

Stockholm Syndrome is easily Webb's best album since She Must and Shall Go Free. Whereas that album centered on the Church and her relationship with God, this album turns its focus on the decisions we make living in a fallen world. Specifically, how we often fall in love with things that do us harm. Webb has stated that this is his most personal album, and that is very much reflected in the lyrics.

Much has been made, and will be made, of the "controversy" surrounding this album. To focus too much on that misses the point of the album. "What Matters More" does include the word s*** as well as d***. However, the significance of the song lays in asking the question of why we put so much emphasis on certain things at the expense of others. That is the strength of the album: it will make you ask important questions about views so that you can know why you hold them.

Probing lyrics in a song would be somewhat useless if they were not backed up with great music. Webb doesn't fail to deliver. Together with Josh Moore from Caedmon's Call, he has created music that draws you into the songs so that the punch of the lyrics can be more acutely felt. For example, "Freddie, Please" is a song that speaks to Fred Phelps (and people like him), a "pastor" whose message of Christianity is that "God hates f***"; in a swinging style reminiscent of "Beauty School Dropout" (from Grease), Webb channels what Christ might have to say to Phelps if he showed up in a dream ala Frankie Avalon.

One note on the style of the album. In contrast with much of Webb's previous work, the music on this album moves away from the folk, single guitar feel. It has a more digital-organic feel with great beats. Different, but great.

In summary, Stockholm Syndrome is a great combination of music that is pleasurable to listen to while it makes you think.

Over two years in the making, Webb co-produced "Stockholm Syndrome", with former Caedmon's Call bandmate Josh Moore. "Stockholm Syndrome", delivers everything listeners have come to expect from Derek Webb: killer pop hooks and lyrics as thought provoking as they are emotionally revealing. Sonically, however, this record is a radical departure for Webb, who has left his acoustic, folk/rock roots behind for a sound he describes as "intentionally inorganic." "I've always loved folk music," Webb says, "because of its ability to tell the story of the times we're living live in, in a timeless way. But for me, the best folk music on the scene right now is hip-hop. So with "Stockholm Syndrome", I wanted to incorporate the more urban and evocative elements of hip-hop." Webb says he and Moore made the record Gnarls Barkley-style. Webb uses this album as a means of exploring deep issues through the central metaphor of "Stockholm Syndrome", illuminating the ways in which a society can fall in love with an oppressive culture and become enslaved by it.

After a cool instrumental song called "Opening Credits", Derek gets right into what he considers the thesis statement of the album with the song "Black Eye", in essence the title song. According to Derek, "I was looking at the world around me and seeing evidence of Stockholm Syndrome everywhere. All the issues I was having - that my friends were having - that my community was having - were all deeply rooted in our being in love with the ideas and institutions that are holding us hostage. We love these things. We worship them." The song has a great upbeat style unlike any song I've ever heard by Derek and I think he's bringing up an important theme as Christians, which is how our culture is infatuated with everything that will destroy us. Derek framed the entire album from that perspective. "Cobra Con" is next, with a similar electro-pop musical style and another strong message of out-loving and out-suffering our enemies, the people who seek to do us harm. The tools and the weapons we need to fight back are patience and love.

Rather than address the messages behind each of Derek's songs, suffice it to say that like all of Derek's albums, he has social commentary about sensitive topics that most Christian songwriters don't address such as addressing anti-gay sentiments ("Freddie, Please"), relationships and sexuality ("I Love/Hate You", "What You Give Up To Get It") and his usual sarcastic commentary ("Heaven"). To just address the messages song-by-song would be an unfair way to rate this excellent album, the best overall album by Derek Webb in my opinion. Considering that I am a long-time fan of Derek's back to his Caedmon's Call days and that "Faith My Eyes", "Somewhere North", "Thankful", "Wedding Dress" and "Lover" are among my favorite songs of all-time, this album was worth the wait. Sonically, this album has everything I look for, musical hooks, great melodies and intelligent lyrics.

One of my favorite sections of the album is the flow from "The State" to "The Proverbial Gun". Derek kept recording after finishing "The State" and started singing an entire stream of consciousness paragraph that Derek had written which became the song "The Proverbial Gun", one of my favorite songs on the entire album. Musically it reminds me of the style of "I See Things Upside Down", with the songs having an intentional flow and musical connection. My other favorite song combination is "Becoming A Slave" and "Jena & Jimmy". If you like Derek Webb and the musical style of "The Long Fall Back To Earth" by Jars of Clay, I highly recommend "Stockholm Syndrome".

Oh how I ache for the sincerity and candor of "She Must and Shall Go Free". Gone are Derek's confessional and self-critical lyrics. They have been replaced by an accusatory tone which seeks to point the finger (albeit often rightly) at those who give the Church a bad name. I have purchased every one of Derek's studio albums since She Must and Shall Go Free and this is easily the worst. The lyrics lack the richness and worshipful tone of his earlier offerings, and the music is annoyingly experimental and unrefined. I love the fact that Webb feels the need to progress, but in this instance he "progresses" in a direction I am unwilling to follow him in, both stylistically and ideologically. I appreciate his criticisms of Fred Phelps, but that song is merely mediocre and unfortunately it remains the high-point on the album. As for the "controversy" regarding this album, I don't care if he uses the "s-word" a thousand times. It can't shock me into liking this album. I love you Derek, but I refuse to join you on a speck-finding investigation when I've enough planks to root out of my own eyes.

I bought the COMPLETE album which includes Derek's controversial song 'What Matters More'. The controversy arises over Webbs choice of words. Make sure you get the 'uncut' version of the album from derekwebb.com. Derek's album is a call to Christians to 'practice what they preach'. Poignant lyrics and great music with an indie/organic feel.

As a songwriter, guitarist and vocalist for Caedmon's Call, Derek Webb found success in Christian pop circles. But Webb's calling turned out to be broader than would fit within CCM, and his solo career, launched with 2003's She Must and Shall Go Free, showed his faith, both in Christ and in his own music, was stronger than some in the Christian world could handle. His approach to writing, and particularly to marketing, has evolved over the years, resulting in free album downloads and the launch of NoiseTrade. With his latest solo album he transitions once again, this time sonically, moving away from the singer-songwriter approach and electric guitars of his earlier works, and towards inorganic keyboards, drum machines, synthesizer washes and sampling that bring to mind Radiohead and techno bands.

Webb explores soul, hip-hop, funk, doo-wop, and electronica as his expressive voice provides warmth atop chilly music technology. He's stirred up controversy and a great deal of blog commentary with the song "What Matters More," crossing his record label's comfort level by including a four-letter expletive. Even without the lyric "Meanwhile we sit just like we don't give a (four letter word for 'excrement', starting with 's') about 50,000 people who are dyin' today" the song's confrontational indictment of Christian hypocrisy with respect to gays and AIDS had to be tough for iNO to release to its traditional customers. The album is being offered in both its original 14-song version (via Webb's web store) and a "clean" 13-song version that drops the contentious track rather than editing out the offending s-word. True to Webb's assertion, this is one of the album's most important tracks and is worth seeking out.

Even without "What Matters More," there are plenty of Webb's provocative lyrics. He takes Baptist minister Fred Phelps to task for his decidedly un-Christian hatred of gays, contemplates the seductive nature of oppression, explores cat-and-mouse relationships, and envisions a Heaven that redresses the ailments of modern society. Webb's couched his lyrics in upbeat melodies and funky bass-and-drums that may distract you from the songs' thematic weight, but the messages will seep into you as you sing along to Webb's declaratory words. The few ballads include the doo-wop inspired "Freddie, Please" and moody closer, "American Flag Umbrella," each providing a rest from the album's more insistent beats.

This is an adult album, set squarely as a challenge to Christian believers. The album's title suggests that Webb sees church orthodoxy as a suffocating captor to whom believers become overly attached and sympathetic. Non-Christians will be interested in hearing how Webb's libertarian philosophy coexists and conflicts with his Christian beliefs. This is neither an evangelical album nor an attack on Christianity, but more the inner monologue of a believer striving to make sense of the dissonance he feels between the religious and secular worlds. Stockholm Syndrome's political and philosophical ponderings, as well as its modern pop and techno sounds should pick up new fans to replace those CCM listeners who can't handle Webb's version of the truth. [©2009 hyperbolium dot com]

"Stockholm syndrome is a psychological response sometimes seen in abducted hostages, in which the hostage shows signs of loyalty to the hostage-taker, regardless of the danger or risk in which they have been placed." -- Wikipedia

Reviewing Derek Webb's new release, "Stockholm Syndrome" is one of the most daunting tasks I've undertaken. In fact, I'm leading off with the clinical definition because I feel I am already walking a tightrope between objectivity and possibly being "co-opted" by the powerful ideas in this work.

Let me start off by saying I'm no fan of the techno/electronic music genre that Derek Webb embraces here. I'm not remotely qualified to tell savvy listeners what this compares with or whether it is technically "good." But listen to it two or three times and, like me, I think you will be enthralled.

I confess I got caught up in the hype surrounding the artist's use of profanity in the uncut version; even participated in the internet "scavenger hunt" where hundreds of fans pieced together the offending song. (Briefly, in the song "What Matters More," Webb takes a page from evangelist Tony Campolo when he says: "Meanwhile we just sit, like we don't give a s*** about 50,000 people who are dying today.")

But I'm trying to take a 30,000-foot view of "Stockholm Syndrome" that embraces more than a squabble over language; that makes room for questions about Christian complacency, misplaced political agendas, superficial faith, nonviolence, materialism and a God whose extreme love, Webb says, can be "a noose around my neck."

A haunting instrumental guides you into the first cut, "Black Eye," which weaves themes of captivity with homophobia and complacency. One line says, "Stockholm Syndrome comes to where they're keeping you. You never know what time it is." I'm reminded of Matthew 24:36, "No one knows about that day or hour, not even the angels in heaven, nor the Son, but only the Father."

The refrain says:
"Time is no friend to the ones who wait for daylight to come.
"Time looks the same at the ones who hate, and the ones that do nothing."

I find myself thinking, as a Christian, who is holding me hostage? Who or what is keeping me from the freedom Christ purchased for me on the cross? Is it society? Is it the modern church that winks and turns a blind (black) eye to the parts of the Gospel that are hard to sell?

The next cut, "Cobra Con," combines an exhilarating backdrop of street protesters hurling Molotov cocktails with the underlying issue of our attempts to draw God into our violent conflicts. The bridge of the song prays, "God bless these bombs, baptize these ropes, lie with us in the bed we've made." But the challenging nonviolent alternative comes in the refrain:

"It is harder to stay
"It is harder to wait
"To out-love, to out-suffer them."

"The Spirit vs. the Kick Drum" is a lively tune that spotlights the Christian tendency to take the easiest paths to God. In choosing a kick drum over the Holy Spirit, we prefer being transported by contemporary worship music to being transformed by God.

The song goes on to say:
"I don't want the Son I want a jury of peers," and "I don't want the Father, want a vending machine."

We want to be judged on a scale we understand, and we want a God who delivers what we want, at a price we can afford.

"The State" is a slow-paced, thoughtful look at a Christianity that has been slowly neutered by its adoption of political and legal agendas over the Gospel. What happened to a faith that was once strong enough to rise above secular concerns and rest securely on God?

"Right and wrong written on my heart
"And not just in the laws that condemn me
"But now with Caesar satisfied
"I can even do the things that should offend me."

Once we have "married my conscience to the state," the danger is that we become more of worker bees for a political solution than the embodiment of Christ.

Some cuts speak to greed, materialism and past sins brought on in the name of progress.

"Becoming a Slave" starts out with a vision of American Indians being stripped of their heritage, a theme echoed a few songs later in these lyrics:

"Like an Indian casino or a tank of unleaded
"It's never quite worth what you give up to get it."

The album wraps up with a prayerful tune called "American Flag Umbrella" that seems to encapsulate what Webb is trying to do.

"I'm building a house on the limb
"I need something that could stop the war
"I'm assailed on all sides
"By extremists with eyes on my heart."

After one more tour down a memory lane of abuse, oppression, racial segregation and war, Webb ends on an up note:

"And in the end it will all be OK
"That's what the wise men tell us
"So if it's not OK, then it's not the end oh my friends
"There's hope for everyone."

Here's hoping he's right.

Like the original Christian Rock pioneer, Larry Norman, Derek Webb has never been afraid to make religious people mad. Despite fathering an industry characterized by a lack of originality and inane lyrics, Larry's music has far more an influence over people like Derek than Chris Tomlin. Both tackled taboo subjects and remained brutally honest while never abandoning the humility of a sinner set free. Now Derek has been one of my favorite artists since his days in Caedmon's Call, but I'd have to say that Stockholm Syndrome is probably his most ambitious work yet. Abandoning his signature folk rock style, Derek dabbles in various genres from industrial to electronica to hip-hop and as strange as it might sound on first listen, it really works. His lyrics are as brutally honest as ever and once again, he doesn't shy away political issues (The State), the increasing "softness" of churches (The Spirit vs. The Kickdrum) or calling out people who call themselves Christians but do not love like Christians (Freddie Please and What Matters More off the unedited version). However, while Derek doesn't shy away from stepping on toes, he manages to remain biblically sound and deliver a powerful, if difficult message. Bottom line, if you are looking for happy-smiley CCM music that you can turn off your brain while listening to, don't buy this. But if you are looking for an incredible piece of art made by a follower of Christ, get this (however I'd get it off Derek's site in order to get What Matters More. Believe me, it's worth it).

This is a rather difficult review for me. I have really enjoyed and benefitted from Derek Webb's music. This CD, though, just doesn't really do it for me. Maybe I'm too simplistic, but for me, I judge music with some pretty basic criteria. 1) Do I like it; is it good music; will I listen to it? 2) Do I resonate with what the music communicates? Does it speak to me in some way? Do I connect with it: "Yes, that's how I feel!"? Does it challenge me?

I guess that's pretty much it. As far as the style of this CD goes, I really tried to like it. I gave it probably a solid 20 listens end to end. But it's like trying to "get into" a book that I know I should like, but just can't. Finally, I just set it aside. Maybe I'll come back to it and it will connect, I don't know.

I get the message, but it doesn't really make me want to be a better person. It's just kind of whiney. It just feels like, "OK, here's another voice telling the church where it's missing the mark." I think people who will say, "Yes!" are those who already pretty much feel the same way as Derek about our culture, our spirituality and the way the church interracts with the world around it. By contrast, when I listen to Keith Green's stuff from the late 70's and early 80's, I am still challenged. But the difference is that he leaves me wanting to follow Jesus more closely and authentically. He makes me want to change. Robbie Seay's newest album does the same. This album simply does not.

I know I'll come back to Stockhold Syndrome again. Maybe I'll connect with it better then.

this is the first time derek webb's work has found its way into my hands and left me less than thrilled. the quality of this work is good (as usual) and the work is thoughtful, but the style left me a little ... well ... wanting. maybe i need to listen to it a lot more, but i doubt this one will get a lot of play from me. and that's a HUGE change from what happens to the rest of derek's work when it's in my player.