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)

Blessed Are (Artful Devotion)

Come ye blessed by Nathaniel Mokgosi
Nathaniel Mokgosi (South African, 1946–2016), “Come, ye blessed . . . ,” 1980. This linocut is one of ten in a series on the Beatitudes. Source: Christliche Kunst in Afrika, p. 274

Blessed are you who are poor, for yours is the kingdom of God.

Blessed are you who are hungry now, for you shall be satisfied.

Blessed are you who weep now, for you shall laugh.

Blessed are you when people hate you and when they exclude you and revile you and spurn your name as evil, on account of the Son of Man! Rejoice in that day, and leap for joy, for behold, your reward is great in heaven; for so their fathers did to the prophets.

—Luke 6:20b–23

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SONG: “Blessed Are the Poor in Spirit” | Traditional, performed by Mitchell’s Christian Singers, on Mitchell’s Christian Singers, vol. 2 (1936–1938)

The Great Depression had a devastating effect on America’s recording industry, but a gradual recovery started in 1934, and that’s when the gospel quartet climbed to ascendancy within the broader genre of African American religious music. One of the most celebrated groups of this period was Mitchell’s Christian Singers from Kinston, North Carolina, originally called the New Four but then renamed for manager Willie Mitchell.

Each of the members had a different day job—tobacco warehouse laborer, truck driver, stonemason, coal salesman—but they formed a habit of singing together in the evenings and were discovered by a local talent scout. They went on to record more than eighty sides from 1934 to 1940, and in 1938 they even appeared onstage at Carnegie Hall alongside other greats, including Sister Rosetta Tharpe and Count Basie, for a landmark program titled “From Spirituals to Swing.” (One review of the concert noted how Mitchell’s Christian Singers sang “with touching solemnity . . . intensity and abandon . . .”) But despite their extensive output and relative popularity, none of the members opted for full-time professional musicianship. They traveled out of state to make records from time to time but generally stayed close to home, performing at churches and community functions.

The recording above, from an August 11, 1937, studio session, features Louis “Panella” Davis, Julius Davis, William Brown, and Sam Bryant. It was reissued in 1996 by Document as part of a four-volume CD set of the group’s complete works.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Sixth Sunday after Epiphany, cycle C, click here.

Jesus comes to Singapore: The New Testament imagery of Eugene Soh

In 2010 Eugene Soh was enrolled in Nanyang Technological University’s School of Art, Design, and Media, on track to becoming a game programmer, when Campus magazine, aware of his photography hobby, asked him if he’d like to contribute a centerfold to an upcoming issue. He said yes but, after combing through his photos, realized he had nothing great to offer—he’d have to shoot something new, something epic. He chose to restage Leonardo da Vinci’s Last Supper at Maxwell Road Hawker Centre (a “hawker center,” or kopitiam, is what Singaporeans call their open-air food courts), using vendors as models for Christ and his disciples.

The Last Kopitiam by Eugene Soh
Eugene Soh (Singaporean, 1987–), The Last Kopitiam, 2010. Photograph, 140 × 230 cm.

The photo was published but went without much notice until two years later in 2012, when it went viral online. Galleries started contacting him to do shows, not realizing that The Last Kopitiam was a one-off thing. Soh decided to finish out his concentration in interactive media, graduating in 2013, and then to pursue fine art photography as a career.

Encouraged by the interest in his Leonardo adaptation, Soh translated more Western art masterpieces into a contemporary Singaporean idiom, among them the Mona Lisa (renamed Moh Lee Sha), The School of Athens (Food for Thought), The Birth of Venus (Arrival of Venus), Saturn Devouring His Son (Saturn Devouring His Naan), A Sunday on La Grande Jatte (Sunday Afternoon on the Island of Singapore), Arrangement in Grey and Black No. 1 (Arrangement in Grey, Black and Yellow), and American Gothic (Singapore Gothic).

His Creation of Ah Dam, after Michelangelo’s famous Sistine Chapel ceiling fresco, shows a wet-market grocer transferring the spark of life to “Ah Dam” via carrot.

Creation of Ah Dam by Eugene Soh
Eugene Soh (Singaporean, 1987–), Creation of Ah Dam, 2015. Photograph, 80 × 120 cm.

It is Soh’s process, as demonstrated in these photos, to shoot his human subjects separately and then stitch them together digitally to create a single composite image. The hawkers in The Last Kopitiam, for example, couldn’t all get away from their stalls at the same time, so this sort of cut-and-paste manipulation was born out of necessity. At first Soh was resistant to using Photoshop in this way, thinking of it as “cheating,” but he quickly became convinced of its legitimacy and artistic potential.

Earlier this year Soh developed a new series called The Second Coming, which reenvisions the life of Christ on Singaporean soil (much like David LaChapelle did, for America, in his 2003 series Jesus Is My Homeboy). Mounted as a solo show in February and March at Chan Hampe Galleries, The Second Coming draws on familiar devotional image types, like the Madonna and Child, the Crucifixion, and the Pietà, as well as invents some new ones, like Jesus answering his cell (Hold Up, Dad’s Calling) or helping one of his hosts prepare dinner (What’s Cooking, Jesus?).

In Happy Birthday & Merry Christmas, Jesus, Jesus blows out the candles on his cake. The mise-en-scène includes a foam crown, maracas, and an umbrella drink.

Happy Birthday & Merry Christmas, Jesus by Eugene Soh
Eugene Soh (Singaporean, 1987–), Happy Birthday & Merry Christmas, Jesus, 2016. Photograph, 140 × 140 cm.

In contrast, the mood of The Last Christmas is gloom and doom. According to the artist, Jesus has just announced that he is going to destroy the world, putting a damper on the birthday festivities (though one attendee chooses to make light of the news). Staged like a Last Supper, this imagined scene takes place immediately preceding Armageddon. It’s everyone’s last Christmas. Continue reading “Jesus comes to Singapore: The New Testament imagery of Eugene Soh”