Eric Church: Evangeline vs. the Machine
I don’t write much about music these days. If you’re not using the proper terminology, it’s hard to say anything about it without trotting out clichés, like When the drums kick in and so on. The other thing, of course, is that I am very out of touch, and though I might be as willing as I ever was to discover new music in my favoured genres, the algorithms have made it just about impossible. We’re hamstrung, hogtied, caught in the maw of the machine, unable to escape.
I think back to how I used to discover new music. It was so analogue and organic: I’d browse record shop bins (yes, like one of those guys) and I’d read magazines and I’d watch the CMA awards every year, hoping for something new to catch my ears. But as I wrote a while ago, the CMA awards are now wall-to-wall face tattoos and stunt duets hoping to capture the Chris Stapleton/Justin Timberlake magic. There are no magazines*, and the few record shops that exist seem to be carrying the same selection they had 30 years ago.
And then there are politics. Since the Dixie Chicks Incident, it has been a positive minefield, and it has only got worse since half of America lost its mind. I love country music/americana, but I tend to steer clear of paying attention to the actual words, most of the time. I avoid the face tattoos, the redcaps, the dixie cups, the rappers, the beer-and-truck guys, all the signifiers of Problematic Views.
Which doesn’t leave much else.
You hope with all your heart that Jason Isbell was right and that there can’t be more of them than us, but there’s little evidence that is true. I didn’t feel moved, anyway, to write anything about Jason Isbell’s divorce record (though, in hindsight, weren’t the last couple divorce records?). And the fact is that there aren’t enough Amanda Shires and Brandi Carliles in the world to compensate for the overwhelming tidal wave of N-word spouting white dudes.
Which brings us to Eric Church. I posted a while ago about a few of his songs that get heavy rotation in my ears. In 2021, I posted about his two-albums-and-an-EP collection Heart & Soul. I’ve been living with those records for years now, and they still get played more than almost anything else in my collection. Even the ampersand EP, &, got a wider release eventually.
His new record is Evengeline vs. The Machine, which features the greek letter Sigma on its cover. On apple music, this 𝚺 rotates so that it is sometimes an E and sometimes and M. Evangeline/Machine. The use of sigma is also a nod to the yoof, of course, who use the word to refer to a certain personality type: the self-reliant lone wolf. Not an Alpha, who relies on the pack for status, but Sigma. Anyway, once you’ve fought your way out of that rabbit hole you have just 8 tracks to come to terms with. The album is just 36 minutes long (which is actually a little bit longer than the individual Heart & Soul albums).
The notable thing about this record is that the arrangements make extensive use of orchestra and choir. If you like, it sounds even less like a “country” album than Church’s previous work, which already didn’t really sound like a country album. He just doesn’t. I’d call this rock, except rock as a genre has something completely different going on these days. But the thing I’d say to you about Eric Church is that, when I have music on in the car or at home and there are people around, he is the one people ask about. ‘Who is this please?’ they want to know. It’s Eric Church. He’s very good.
Anyway, Church doesn’t need my endorsement. I think he’s very popular in his home nation. I suspect, he said, with a measure of contempt, there might be a lot of “Born in the USA” syndrome going on. I think there are an awful lot of his audience pumping their fists along to songs like “Stick That In Your Country Song” not realising that it’s an implicit critique of all the other stuff they pump their fists to.
Anyway, as you might expect with its title and it’s rotating sigma symbol, this is an album about duality. It’s about staying human and creative in the face of the machinery of capitalism and, you know, BIG TECH. The combination of a choir with Church’s voice, is interesting, and a musical direction he has used before, on “Mistress Named Music” on his 2015 album Mr. Misunderstood. The effect he’s going for is the contrast between the cool silkiness of the choir and the hot gravel of his voice. It works. It’s a good album, and you’ll hear echoes here of lots of other stuff that you probably like. On “Evangeline”, for example, you’ll hear “You Can’t Always Get What You Want”, and there are references to Dylan, AC/DC, Elton John, and more, and more. In that, he reminds me a bit of Kevin Rowland, and the way he would try to evoke soul/emotion by referring to songs that had soul and emotion. Which is not to say that Church is a fake, or producing mere pastiche. This is not the place for those tired old authenticity arguments. I just think it means that Church is thoughtful and deliberate in what he does.
But you do wonder. How much of his audience is turning up to hear “Springsteen” and pump their fists to “Stick That In Your Country Song” and aren’t really paying attention to the message? Because, with AI coming for everybody’s jobs, we are all Evangeline vs. the Machine.
Evangeline
On a banjolin, light bleeding in
Through the stained glass of my heart
Song she hums
Stuck in my head could raise the dead
Bring a blind man out of the dark
https://youtu.be/-jz9owb08qA?si=vzqONCEFzlIBvF__
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