New albums: “Confessions” by the Anachronists, “Though It Be a Cross” by Weston Skaggs, and more

Here’s my new Spotify playlist for July:

Every month I curate a mix of old and new Christian (or Christian-resonant) song releases. For this coming month, some of the new songs come from the following five albums that were released this spring or early summer, which I’ve really been enjoying. I list them here chronologically and encourage you to listen to them each in full!

New albums 2025

1. Jesus by Jon Guerra, released April 4, 2025: An album of original songs in conversation with the words of Christ. Guerra says that a few years ago, to reacquaint himself with Jesus, he began reading cyclically through the Gospels, and as he did, “little song fragments started coming. I was trying to really hear the words, to feel the stories again, and so I’d write little tunes around certain phrases—‘do not lay up for yourselves treasures on earth,’ ‘if anyone would come after me,’ ‘give to everyone who asks of you,’ ‘take this cup from me,’” etc. He then developed those into the twelve fully fledged songs that made it onto the album.

Favorite tracks: “Reckoner (An Axe Laid to the Root),” “Where Your Treasure Is” (above), “Love Your Enemies”

2. Sermon on the Mount: Bible Memory Collection by The Soil and The Seed Project, released May 16, 2025: The Soil and The Seed Project is a ministry that provides intergenerational resources for people as they follow Jesus, read scripture, and talk about their faith together. One of those resources is new music, written and recorded by an expanding collective of folks. All twenty-five songs on this new double album of theirs are based on the Sermon on the Mount in Matthew 5–7, which contains the Beatitudes, the Lord’s Prayer, warnings against hypocrisy, the call to be salt and light, the command to love one’s enemies, the parable of the wise and foolish builders, assurances of God’s care, and the promise that those who seek will find. For the first disc, the Project set 48 of the 111 sermon verses to music, and for the second, they invited a handful of singer-songwriters to write songs in response to what they encountered as they dwelt in the text.

The album is accompanied by a “Little Liturgies” booklet of litanies, reflection prompts, and line drawings covering eleven weeks. Both the music and the booklet (digital or physical, while supplies last) are FREE from their website!

Favorite tracks: “Come and Eat” (above), “Mountains of Treasure,” “God of Mercy, God of Peace,” “Take What You’ve Given”

3. Though It Be a Cross by Weston Skaggs, released June 20, 2025: An EP of six hymns, freshly arranged and performed by Weston Skaggs of Ohio. The album title comes from a line from “Nearer, My God, to Thee” (video below). “Sarah Fuller Flower Adams wrote the lyrics from the perspective of Jacob and his received revelation of God’s nearness. A nearness that only occurred when he felt most hopeless and alone,” Skaggs explains. “In meditating on that narrative, she determined to be like Saint Peter: who became the most like Christ his master when he was raised on his own cross.” This song and others feature backing vocals by Katy Martin.

The most stylistically daring is “For the Beauty of the Earth,” whose verses Skaggs transposed to a minor key—to allude to the beauty and brokenness of creation and relationships, Skaggs said, “invit[ing] listeners to hold both gratitude and longing in the same breath.”

Favorite tracks: “No, Not One,” “Nearer, My God, to Thee” (above)

4. Confessions by the Anachronists, released June 26, 2025: The Anachronists are Andrés Pérez González, Corey Janz, and Jonathan Lipps, three musician friends who met while studying theology at Regent College in Vancouver and who have formed a group to give renewed voice, through modern indie music, to theologians and mystics from ages past. Confessions is their debut EP, with six songs rooted in Augustine’s spiritual autobiography from the late fourth century. The songs address grief over the death of a dear friend, and God’s merciful pursuit of those who wander; a preconversion sense of dissatisfaction but as yet unwillingness to make any changes; God as the One who is fully at rest in his own self, and how we might share in that rest; struggles with distraction and pride in the spiritual life; and the promise of renewal both personal and universal.

The still life colored-pencil drawing commissioned for the album cover is by the Finnish artist Minni Havas; it portrays Easter lilies growing out of a compost heap. It was especially inspired by the concluding song, “All of Our Decayed Parts,” which is itself based on an excerpt from Book IV.16 of the Confessions:

Do not be vain, my soul. Do not deafen your heart’s ear with the tumult of your vanity. Even you have to listen. The Word himself cries to you to return. There is the place of undisturbed quietness where love is not deserted if it does not itself depart. See how these things pass away to give place to others, and how the universe in this lower order is constituted out of all its parts. “Surely I shall never go anywhere else,” says the word of God. Fix your dwelling there. Put in trust there whatever you have from him, my soul, at least now that you are wearied of deceptions. Entrust to the truth whatever has come to you from the truth. You will lose nothing. The decayed parts of you will receive a new flowering, and all your sicknesses will be healed. All that is ebbing away from you will be given fresh form and renewed. (trans. Henry Chadwick)

This album comprises just six of the thirty-some Confessions-based songs the trio has written; they are testing the waters with it to see if there is more interest and funding to record more, and then to apply this approach to other ancient and medieval theological and spiritual writings by such luminaries as Athanasius and Julian of Norwich. Some laypeople feel daunted to read centuries-old works, or assume that they’re mostly irrelevant. But the Anachronists seek to mine the riches of historical Christian thought and provide an easy access point through music, hopefully encouraging folks to seek out the sources. I’m excited to see what they do next! Follow them on Instagram @anachronists.music.

Favorite tracks: “God of the Runaways,” “All of Our Decayed Parts” (above)

5. All Shall Be Well by the Good Shepherd Collective, released June 27, 2025: This album consists mainly of gospel and hymn covers. The artists in this collective, whom I’ve mentioned many times before, are top-notch, and I’m always excited to see what they put out.

Favorite tracks: “Lift Every Voice” (James Weldon Johnson and J. Rosamond Johnson), “Ancient of Days” (Ron Kenoly) (this appears to be a re-release from the collective’s Gospel Songs, vol. 1; above), “My Jesus Is All” (the Staples Singers), “I Saw the Light” (Hank Williams)

Roundup: Multilingual Easter song, modern performance of medieval mystery play, and more

SONGS:

>> “He Is Lord (In Every People),” adapt. Gregory Kay: In this video from 2021, members of Spring Garden Church in Toronto take turns singing the popular twentieth-century worship song (of unknown authorship) “He Is Lord” in their native languages: English, Portuguese, Arabic, Korean, and Chinese. Greg Kay, one of the church’s copastors, added a fun refrain that highlights the global character of Christianity and the lordship of Christ over all creation, which everyone joins in on. Love this idea! [HT: Liturgy Fellowship]

>> Easter Medley performed by Infinity Song, feat. Victory Boyd: Infinity Song is a sibling band from New York City that was led for years by Victory Boyd, who is now focusing on her solo music career; its current members, represented in this video from 2021, are Abraham, Angel, Israel, and Thalia “Momo” Boyd. (Victory is singing lead.) The group combines the songs “In the Name of Jesus” by David Billingsley, “Jesus Is Alive” by Ron Kenoly [previously], and “Redeemer” by Nicole C. Mullen into an Easter medley at Fount Church in New York.

>> “Yessu Jee Utheya” (یسوع جی اُٹھیا) (Jesus Is Risen), performed by Tehmina Tariq: Tehmina Tariq is a prolific gospel singer from Islamabad, Pakistan. Here she performs a song in Urdu by Nadir Shamir Khan (words) and Michael Daniel (music). Press the “CC” button on the YouTube video player to follow along with the lyrics. For a more recent Easter song that Tariq recorded, see “Zinda Huwa Hai Masih” (The Messiah Is Risen). [HT: Global Christian Worship]

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MEDIEVAL MYSTERY PLAY: The Harrowing of Hell from the York cycle, produced by the YMPST (York Mystery Plays Supporters Trust): From the mid-fourteenth to mid-sixteenth century in England, during the feast of Corpus Christi in early summer, villagers used to enact stories from the Bible on moveable stages called pageant wagons, which would wheel through town making various stops for performance. Playing the roles of sacred personages were not professional actors but members of the trade guilds. Such plays were banned in Tudor times but since the mid-twentieth century have enjoyed a revival.

One of the few complete surviving English mystery play cycles, consisting of forty-eight individual verse dramas of about twenty minutes each, is the York Mystery Plays, named after the historic town where they originated. One of the plays, assigned to the town saddlers, is The Harrowing of Hell. The following video is a 2018 performance sponsored by the York Mystery Plays Supporters Trust, also available on DVD. You can follow along with the script at TEAMS Middle English Texts, though note that the players do adapt it lightly. Learn more at https://ympst.co.uk/.

York Mystery Play (Harrowing of Hell)
A soul writhes in Hades, awaiting rescue by Christ, in the 2018 YMPST waggon play performance of The Harrowing of Hell

For a preview of the language, here’s Adam’s speech toward the end, after Christ binds Satan and casts him into a fiery pit (I love the alliterative phrase “mickle is thy might”!):

A, Jesu Lorde, mekill is thi myght
That mekis thiselffe in this manere
Us for to helpe as thou has hight
Whanne both forfette, I and my feere.
Here have we levyd withouten light
Foure thousand and six hundreth yere;
Now se I be this solempne sight
Howe thy mercy hath made us clene.

Modern English translation:

Ah, Lord Jesus, mickle [great] is thy might
That makest thyself in this manner
To help us as thou hast said
When both of us offended thee, I and my companion [Eve].
Here have we lived without light
For four thousand six hundred years;
Now see I by this solemn sight
How thy mercy hath made us clean.

The YMPST performance incorporates modern elements in the music and costuming, including an electric guitar–driven rendition of the American gospel song “Ain’t No Grave” at the opening and closing.

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ART COMMENTARIES:

Below are discussions of two medieval English artworks of the Harrowing of Hell, one of my favorite religious subjects. In modern-day parlance, the word “hell” (an English translation of the Greek “Tartarus” or “Hades” or the Hebrew “Sheol”) typically connotes a place of eternal torment where the damned go, but in Christian theology it was long used more broadly to refer to the compartmentalized netherworld where both righteous and unrighteous souls go after death to await the general resurrection that will take place at Christ’s return.

>> “The Harrowing of Hell” (Smarthistory video): Drs. Nancy Ross and Paul Binski discuss a fifteenth-century alabaster that’s in the collection of the Victoria and Albert Museum in London. What sticks out to me—the commentators mention it only briefly—is that Christ stands on a green, flowery lawn! The artist is probably alluding to the springtime, the new life, that Jesus’s resurrection ushered in: the redeemed exit the hellmouth, barefoot like their Lord, onto this lush grass. This detail reminds me a bit of Fra Angelico’s Noli me tangere fresco at San Marco in Florence.

Harrowing of Hell alabaster
The Harrowing of Hell, England, 15th century. Carved, painted, and gilt alabaster, 58 × 32 cm. Victoria and Albert Museum, London.

>> “Under the Earth” by Joanna Collicutt: The Visual Commentary on Scripture is a free online resource that provides material for teaching, preaching, researching, and reflecting on the Bible, art, and theology. For one of her three VCS-commissioned “visual commentaries” on Philippians 2:1–11, Rev. Dr. Joanna Collicut has selected an illumination of the Harrowing of Hell from a thirteenth-century psalter. The Christ Hymn that forms the meat of this passage celebrates Jesus’s descent and ascent, and in verse 10 it says that at his name, every knee will bow in heaven, on earth, and “under the earth.” This phrase had never stood out to me until now.

Resurrection (Arudel 157)
The Harrowing of Hell and The Holy Women at the Tomb, from an English psalter (BL Arundel 157, fol. 110), ca. 1220–40. Ink, tempera, and gold leaf on vellum, 29.5 × 20 cm. British Library, London.