Rivers and Robots ‘Still: Volume 1’

Written by: Laura Chambers (1/12/2017)

Music fills the pages of the Bible. Among the many examples are Israel’s song of triumph after crossing the Red Sea, David’s (and others)many psalms, and Mary’s song of praise upon hearing she was to carry the Christ child. While lyrics often garner most of the attention, we tend to overlook the passages in the Bible where we are encouraged to praise God with musical instruments too. Psalm 150, for instance, tells listeners (or readers, in our case) to praise God in several different kinds of ways; stringed, woodwind, and percussion instruments, and even dance.

If your next question is, “Wait. How can we praise God without coming out and saying it?”, the answer is, “By a)instrumentally covering songs whose praise and worship lyrics are known and b) creating a thing of beauty inspired by God.” That’s essentially what Integrity Music is doing with Still: Volume 1, part one in a series of instrumental projects, each to be overseen by different artists, who will lend their talents and unique musical styles to the album. Rivers and Robots takes the reins for this first retreat into the quiet of God’s presence.

“King Of My Heart” combines the rumbling thunder of piano keys with tentative string stirrings that seem to roll along like waves on an ocean, breaking every so often to give each instrument its moment in the sun.  “We Have Overcome” steadily continues down a straight pathway, kicking up dust as the wheels spin softly in the earth.  You get a sense of a life continuing along its way, unbothered by the occasional bump in the road. “Interlude 1” feels like a bus stop, or an elevator; a necessary stopping place while you await something new.

Their take on “Good Good Father” is at once busy and mysterious; the tambourine rattling makes one think of a hand passed along a beaded curtain. At the same time, it feels as though the song, like a butterfly, is fighting its way out of a cocoon most of the time.  “The Lion And The Lamb” marches onward like a valiant army flanked by…organists? Sounds wild but it works. A flute adorns the chorus as a crown of laurel leaves the head of a victor. Piano raindrops and a saxophone wind fall and rise. “Majesty” makes me smile as I recall the significance of the song’s (absent) lyrics, perfectly illustrated by the dual voices of calm piano and soothing violin. “Boldly I Approach (The Art Of Celebration” begins in a subdued mood, as though boldness begins with a small step that leads to another, until finally, you’re running into Jesus’ arms. It’s a whole different world there; everything else looks out of focus in comparison. You finally give way to the passionate love that’s enfolding and consuming you. “Interlude 2” transitions like one of those scenery shots in some documentary about the wild Celtic coast.

“I Exalt Thee” breathily wanders through a cathedral, hushed at the splendour evident in its architecture and the history filling its walls. It is a sacred moment that seems too holy to disturb, yet when it finally is, it seems the most natural thing in the world. The cry of one’s heart and soul echo off the ancient walls, joined by the voices of all the saints who have worshiped God there in times past. “Be Still” calms the soul with the soothing sound of a spring rain falling on a garden. Water tumbles off leaves and petals, collecting in hollows and crevices, refreshing the dry places and bringing life to the dust. It almost relaxes you into slumber, so maybe skip this track if you’re driving. “I Could Sing Of Your Love Forever” begins simply, adding more layers of instrumentation with each verse, like a child’s small hand reaching out further and further as he grows. Near the end, stars fill your vision as you ascend ever nearer to His presence. “Interlude 3” jingles like a wind chime in the breeze, or perhaps a jar of beads spilled onto the floor. It almost sounds like magic dust being sprinkled on one’s head.

“Saviour Of The World” sways back and forth like a swing that has been set into motion by the touch of a hand. There’s something constant to its rhythm, as though it might never stop once it has begun. But when it does, it leaves a whisper like wind through a catacomb. “Lord Let Your Glory Fall” thrusts one’s gaze skyward every so often whilst crawling on one’s knees towards an oasis of fresh, clear water, as though one needed to drink in the sky as much as liquid sustenance. “Lord I Need You” pares down the song to its simplest elements, before adding flourishes and adornments to declare that the need is not raw instinct alone, but rather a choice to love and be loved. The horn makes it sound almost Christmassy at one point. “Revelation Song” closes where the Bible does; at the end of days. Two contrasting piano voices, low and steady underneath, high and descending above, both unfold like a tiny flower opening to the glorious sun.

If a picture is worth a thousand words, you could say Still: Volume 1 is worth a thousand pictures. It wasn’t hard to imagine the beauty of God’s creation accompanying these songs. Alternating back and forth between His word and our responses, His glory and our worship, Rivers and Robots gives us the grand tour of God’s many aspects, one well worth taking.

4.2/5