![]() ![]() This doesn’t mean sacrificing production value or abandoning the use of outside players, but everything here takes a backseat to Beam’s melodies. Beam knows this: In the record’s forward, he writes, “The ferris wheel keeps spinning and we’re constantly approaching, leaving or returning to something totally unexpected or startlingly familiar.” He finds comfort in retracing his own steps. It is the sound of Iron & Wine returning home, ending one chapter and beginning another. So when Beast Epic opens with a few seconds of Beam counting off under his breath and gently tapping the rhythm on the body of his acoustic guitar, it’s like wrapping a warm blanket around a cold body. Moving to Warner Brothers for 2011’s Kiss Each Other Clean, Iron & Wine hit number two on the Billboard 200-but that record’s glitchy electronic moments, Motown horn sections, and James Taylor-breeziness all worked to divorce Beam from the humble songwriting he’d become known for. It wasn’t the same Iron & Wine that listeners had fallen in love with, but the growth was symbiotic to the festivals Beam was starting to play. Iron & Wine didn’t remain a stripped-down bedroom project for long by his third album, 2007’s The Shepherd’s Dog, he’d developed a rollicking full-band sound. ![]() A move like covering the Postal Service’s “Such Great Heights” helped broaden a genre where breathy acoustic folk and pulsing radio-ready synth pop could be flip sides of the same coin. It was that label’s co-founder Jonathan Poneman who took a chance on Beam’s intimate home recordings in 2002-in part on the recommendation of future Band of Horses leader Ben Bridwell-allowing Iron & Wine to help define the direction of Sub Pop and indie rock as a whole for the rest of the 2000s. Beast Epic also finds Beam returning to Sub Pop Records. The record doesn’t take this concept literally, but Sam Beam-who began recording as Iron & Wine about 15 years ago-has himself noted that stories where animals act like people are good vessels for thinking about life in general. However, the low-key nature of the ceremony in space itself later led to rumors that it happened in secret.The sixth Iron & Wine album is titled Beast Epic, referring to narrative verses where the characters are animals with human emotions. Lunar Communion Sunday is still celebrated annually at Webster Presbyterian and elsewhere to commemorate the event, and Aldrin spoke and wrote about the experience later in life. The first space communion was only experienced by two men, but it hasn’t been forgotten by the wider world. Serafim of Sarov, a Russian Orthodox saint, to space in 2017. And Russian cosmonaut Sergei Ryzhikov took a relic of St. Israeli astronaut Ilan Ramon reportedly recited the Jewish Shabbat Kiddush prayer in space (he later died when Space Shuttle Columbia exploded in 2003). ![]() In 1994, three Catholic astronauts took Holy Communion on board Space Shuttle Endeavor. Though the press did report the fact that Aldrin would bring communion bread on the spacecraft, he kept the ceremony low-key and, out of respect for the debate over religion on the moon, kept the ceremony confined to the spacecraft and not the surface of the moon.Īldrin wasn’t the only astronaut to experience religious rituals in space. When Aldrin told the flight crew operations manager about his plans to broadcast his communion service, the manager told him to go ahead and have communion, but “keep your comments more general.” ![]() Though O’Hair’s case was ultimately dismissed, it made an impression on NASA officials, who worried that any overtly religious display might open the agency up to another lawsuit. A handwritten card containing a Bible verse that Buzz Aldrin planned to broadcast back to Earth during a lunar Holy Communion service, featured in a space-related auction in Dallas, Texas, 2007. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |