For those of you who don’t know, I’m making a record in 2016. I’m really excited. I’ve spent the past two months recording some basic demos for 14+ songs while I wait for responses from potential session musicians and make plans for the crowdfunding campaign.
Since my vocal coach got a hold of me in the beginning, what was once just a passive and casual outlet that was little more than a mimicry of my favorite bands at the time has become something much more.
I’ve been on one of the longest journeys of my life since the middle of 2009 when my walk with Christ really got underway. But things got especially bad in the beginning of 2011. A lot of the song that are on this record were either written about that time, during that time, or because of that time.
One song in particular has been difficult to write, but was one of the first ones I wrote after probably the most significant event, the one that started the 2011-present time period. I’m not just talking about the song was mechanically hard to write. I’m saying it took everything out of me. I poured out more pain into that song than I’ve ever poured into any other song.
It’s called “Closure (If You’re Hearing This).” The whole premise of the song is that after a falling-out, it’s really easy to just leave things unsaid in the same place that we leave the people who’ve hurt us… Okay, I should say that the whole emotional premise of it is that. But the story is bigger.
I believe that we will all stand judged before the Lord one day, and that everything that is hidden will be revealed. So, say that I left things unsaid. If I did, eventually, that truth will be revealed, no matter how hard I tried to hide it. Things left unsaid will be said. That is just when it’s the Lord doing it.
It starts out very sober. Single piano hits that hold for a measure at a slow tempo. Lyrics that are very objective, factual, stating the likelihood that she would never hear these words until we were both dead and in God’s hands. The “chorus” sees a change in the chord progression, still with the same single hits, same tension, but now posing a question: “Was I wrong to react the way I did? Was I capable of more hate for those who hurt me than I’d previously believed?”
Then the mood changes. The undercurrent of legato cellos, the pulsating beat of the piano, gently, yet tensely. I say how enamored I was to begin with, and how devastated I was at the fact that I was abandoned because of my feelings for her. As the second chorus begins, I solidify with certainty that my pushing her away was the only way to protect what was left of my sanity and self-esteem.
But as the bridge begins, the piano notes ascend, a slower pulse with more suspense, acknowledging that my distress, turned to hate, had turned me into something I never wanted to be. Made to feel despised, I despised everything.
As the bridge begins to build, I exclaim that I felt helpless, without an alternative. I never wanted to push her away or let her go, and that if doing so hurt her, I was sorry, without regard to my own personal feelings.
The ending is a sober plea for things to return to the way they were. The tension lessens, and the tempo slows at the very end. The music itself ends with a bit of optimism, a lot of longing, and no resolution.
I began the song in late 2011-early 2012. Even if the story behind the song had not seen two friends reconciled, I’d still have kept the song. I was allowed to feel that pain in order for God’s strength to show through an inherently weak man.
As I’ve begun wrapping up the orchestration to this song, the pain hasn’t fully subsided. Memories fade, but never completely. Even healed scars are still visible.
I’ve found a sweet solace, though.
Sometimes, it’s good to think about the past and feel the pain of it so we can remember why it stayed there.
Imagine what it would be like to bury someone alive, who couldn’t die. A scene from Heroes comes to mind, in which Hiro Nakamura digs up the grave of Adam Monroe, a man whose superhuman ability to regenerate allowed him to revive on his own upon exhumation. That’s what happens when we bury our experiences. It’s not really a memory that we’ve buried: it’s us. You can’t bury a memory without burying the pieces of your heart that bear its weight.
I think that’s what makes sad songs so sweet, ironically. They allow us to open up the ground above us and let in new air, allow the healing of the soul to begin. The tension, the suspense, the animosity, resonates with the parts of us that feel the same way.
But it’s not that we listen to songs about pain in order to perpetuate it. It’s like magnetism. We use magnets in compasses to tell which direction we’re going, because the earth is also magnetic. How else can you find people who are in pain? How can you expect to reach people who are in darkness, yet refuse to acknowledge darkness, refuse to bring light into the dark? It won’t just magically show up. They won’t simply wander out of pitch black.
Just north of here is Mammoth Cave. On several of the tours, once you’re deep enough in, all of the lights that have been installed in the cave are turned out for a moment so that tourists can experience what it might have been like for the original explorers to wander the depths with only a torch. For a brief moment, before a tour guide’s flashlight comes on, you experience total blackness. Nothing. No point of reference. No way out.
It’s even more terrifying that you get used to the dark, so much so that you have to adjust to the light.
It’s comforting to hear voices calling out to you, telling you that you’re not the only one down here.
It’s electrifying to see dim rays of light bouncing around the corner.
It’s overwhelming to see a map in the hands of your rescuers.
Songs like “Hymn For The Missing” and “Pieces” by Red, “It’s No Secret” and “I Found My Way Back Again” by Nevertheless, “Wrapped in Your Arms” and “All I Need To Be” by Fireflight, “Breaking You” and “Run Forward” by Audrey Assad, and many, many others… they’ve saved me more times than I can count. Most of my own sad songs, including “Closure,” have been the most therapeutic to write. It’s one of the reasons I’m so excited to share them with you in 2016.
If you’re like me, you probably know exactly what I’m talking about. It’s okay. If you know the darkness, it’s okay. But there is a way out. We’re calling out to you. Jesus is calling out to you. He knows. My God, He knows darkness. Let Him come find you. Call back to Him.