Listen to the River by The Collection opens with a midrash on 2 Samuel 6 that functions as a breakup letter to God: “I can no longer carry the ark / if it’s causing the death of my friends /
So I’ll trade that gold ballast for hand-laden altars / And baptize myself in the lake.” It’s a bold, thorny way to start a record, even if it is a fitting thesis statement for the following work that grapples with a seeming loss of faith amid a beautiful folk-orchestral suite.
For listeners tracking with Wimbish’s exploration of doubts in Christianity, this lyrical direction will not come as a surprise–but it might still hurt: lines like the aforementioned, the title “Siddhartha (My Light Was A Ghost),” and “I hope to break myself open / Drain this poison water / Let it flow back to its ocean / That I used to call, “Father”” (from “The Alchemy of Awe”) make no bones about the crumbling of faith. For those still in the faith, it’s always troubling to see people take their grievances and make for the doors; for those outside of the faith, this might read like someone coming to the light. For those who may be going through the same thing with Wimbish, this might be a vital touchpoint in the experience, along with David Bazan’s Curse Your Branches.
While Bazan has been very open with his atheism, Wimbish’s lyrics throughout still seem to be grappling. There are harsh words, yes, but there are also many moments where the harsh words seem to give way to resignation (“No Maps of the Past”) or disappointment (closer “The Listener”). The closer is sung directly at / to God, and Wimbish seems to be, yes, heading for the doors (“If I head south, will that be heresy? / No, I don’t think so”). But the fact that He’s still addressed leaves the door open enough to wonder where this will all go. That’s the thing with doubt: until it crystallizes into something else, it’s always a door that yet remains ajar.
In that opening salvo I mentioned earlier, it’s just Wimbish and a keyboard; the rest of the seven band members come crashing in afterwards. It’s indicative of the tensions encompassed in the record: the lyrics of this record are focused almost exclusively on Wimbish’s spiritual journey at the same time that the orchestral-folk unit sounds tighter than ever.
The Collection has really come into its own as a unit on this record, as Listen to the River replaces the fire and fury of predecessor Ars Moriendi with intricate, dense melodicism. Both are giant records stuffed full of instruments and vocals, this one is filled with subtle touches that play up the strengths of the band members.
Upbeat indie-pop tune “You Taste Like Wine” has a sweet (yet short) bass solo. Standout “Birds” has an astonishing clarinet melody–actually, anywhere Hope Baker’s clarinet appears is a great moment. The group vocals on “Sing Of The Moon” seem more like an actual choir singing than a giant group of people yelling. (Far be it from me, though, to knock group yelling: the shout-it-out conclusion of “Birds” is one of the most rousing moments on the record.) The electric guitar leads on “The Older One.” The songs are composed with a full outfit in mind, not just with the band as the finishing touch. As a result, the whole record is a touch calmer musically than former work.
There’s so much going on in a Collection record that there are nigh-on infinite angles to take in a review. I haven’t mentioned the lyrical themes of mysticism and divorce that run through this record, nor the sudden appearance of A Rush of Blood to the Head-era Coldplay piano work. There’s the consistent mention of rivers and water, of sleep and waking, of going somewhere. There’s vibraphone and synth. It’s just a ton of stuff happening.
If you’re into folk-orchestra work, challenging lyrics, religious themes, and/or music that requires your full attention, Listen to the River will give you plenty. It’s heavy. You may not want to go where it’s going. It is not dumbed-down. It is an honest chronicle of where they were and what they had to give, lyrically and musically. Wimbish and co. poured it all in. That’s worth noting.