#and chants and hymns and psalms and such

[5eraphim]

you know the writing's gonna be fire when your top five albums looks like this🔥🔥🔥🔥🔥

(not pictured the mass looping of Славите Господа (Slavite Gospoda) on YT bc there is- quite tragically- no good version on spotify 🤧)

[friarfag]

choir started back up at church and im so happy

[wordsmithic]

<< Hades in the Greek Christian tradition >>

Ancient concepts like the Underworld, "Hades", are still prevalent in Greek tradition. It can be found in traditional folk songs and, of course, in religious hymns. Many concepts of our ancient religions are found in the new, since it was the beliefs that changed with the coming of Christianity but not the culture.

In Psalm 140, the below Byzantine chant, we find the sentence "διεσκορπίσθη τὰ ὀστᾶ ἡμῶν παρὰ τὸν ᾅδην." (Their bones will be scattered into Hades)

Hades is still seen in the Greek tradition as the dark place under the earth where all humanity is destined to go after death. It coexists with the Christian concept of Heaven and Hell. Hades is mentioned in mourning songs, as well as joyful songs that encourage people to dance and have fun since they will go to Hades one day.

Another example: This 1950 rebetiko song is called "Five Greeks in Hades" (Πέντε Έλληνες στον Άδη). It's about five Greeks who played their local music in the underworld, making the whole place festive and driving everyone into dizziness and madness.

[queerprayers]

heya! can u tell me more about liturgy? i want to participate im a nondenominational catholic but i want to be more active in my faith! is it too late to start?

Welcome, beloved!

"Liturgy" comes from Greek and means "public service," and Christians use it generally to mean the order of events/ritual in communal worship, although it can sometimes refer to personal worship, like the liturgy of the hours.. Different denominations range in their formality and structure, but there is a pretty standard order in at least Western churches with traditional liturgies and from what I can tell, Eastern rites have very similar ideas/sections. Encyclopedia Britannica has a pretty good basic history of Christian liturgy, and the Wikipedia page has some good sections/links.

There are liturgies for different times of day and events, but the most common/important Christian one is the service of Holy Communion, practiced every Sunday. This comes from two places I can think of. First, Judaism has the practice of keeping the Sabbath, and the first Christians, being from Jewish communities, already had the ritual of weekly worship, but, partially to differentiate themselves from Jewish law but also as an acknowledgement of the most important event in the Christian faith, the Resurrection, began to meet on Sundays. Second, Jesus at the Last Supper commanded us to "do this in remembrance of me," and Paul tells us that "whenever you eat this bread and drink this cup, you proclaim the Lord's death until he comes." We eat and drink as Jesus taught us, and can see that even in the first generation of Christianity, the holy meal was central. 

We worship together because religion is interpersonal, and Jesus did not come simply for us personally, but for us all communally. My response to the missionary's question of "Do you have a personal relationship with Jesus Christ?" would be "No, I have an interpersonal one." (Unlikely my father, who said, "Yes, I eat him.") Obviously there is great diversity of situation/location, and joining a church is not in the cards for every person. But, nonetheless, we must live out our faith with others, whether that's church, family/friend gatherings, interfaith worship, or any kind of community gathering/serving. And I'll say it more later, but no, it's not too late to begin this or move in a new way.

Here is, very generally, the order/content of the liturgy of Holy Communion I know, which I think is almost identical to the Roman Rite:

Confession/absolution: We a general confession of sin, ask God to help us, and the pastor announces God's forgiveness. Private confession is not the norm in Protestant churches, so this where we bring our confessions to mind before God.

Procession/hymn: In my church, the pastor does the confession from the back of the room, and processes, with the assisting minister, acolyte(s), and crucifer, to the altar, while we sing an entrance song.

Kyrie/litany/hymn of praise: We sing petition and praise—the songs/chants change depending on the season.

Prayer of the day/collect: This prayer changes every week and gives the context for our gathering. It references whatever season we're celebrating and sometimes the Bible readings we'll hear.

Scripture readings/lessons: This is generally one reading from the Old Testament and one from the New Testament non-gospel books (Acts/letters/Revelation). The cycle of readings throughout the year follows the seasons and tells overarching stories/themes.

Psalm: The one book we read (or, sing) from every single week is the book of Psalms. In our church, we perform a call and response chant for that week's psalm in between the OT/NT readings.

Gospel verse/acclamation: As the Bible is being brought to the pastor, we usually sing "Alleluia, Lord, to whom shall we go?" including John 6:68-69, but during Lent we sing "Return to the Lord your God" from Joel 2:13. 

Gospel: A reading from Matthew, Mark, Luke, or John relating to the season/other readings.

Sermon/homily: The pastor preaches on the readings or season, usually providing further information about them and giving us a lesson to take with us for the week. 

Hymn of the day: We sing our second hymn here. This is usually the one most thematically relevant. 

Creed: Either the Apostles' or Nicene Creed is recited. This is a weekly affirmation of our shared beliefs, uniting us with every Christian across time and denomination who has said these words.

Prayers of the church: Multiple intercessory prayers are read relating to the season, current events, members of the church, etc. These conclude with a remembrance of the dead, naming those who have recently died and making space for people to call out their own loved ones.

The Peace: Historically, this ritual greeting was the "kiss of peace," but all churches that I've been to have gone for handshakes or hugs instead. I think Catholics do the Peace after Communion, which honestly makes more sense, but this is where it is for us. I have appreciated it recently, as I'm often crying after the remembrance of the dead. 

The Offering: The offering plate is passed around while singing, and people are welcome to make donations. These funds go toward paying the pastor and organist, worship supplies, upkeep of the church building/grounds, members in need of support, and donations to charity. After collection, we pray that we will use the money in service of God and our neighbor. 

Preface/Eucharistic prayer/Great Thanksgiving: The pastor begins holy communion with a recitation of Jesus's words at the Last Supper, and calls the Spirit to be present in our meal. 

The Lord's Prayer: The prayer Jesus himself gave us to pray! Everything we need to say, right there. Maybe we should save time and just do this?

The Communion/Eucharist: We all come forward and receive communion. Churches have varying levels of real bread and wine—we get real wine but little wafers, some places go for grape juice. This is the central act of gathering—we can read the Bible on our own, we can pray on our own, but we cannot share a meal by ourselves. Breaking bread together is the fundamental Christian ritual, however that materially/theologically shows up in our communities. 

Songs of thanksgiving/prayers: We give thanks for the meal, and pray that it will sustain us. 

Closing hymn: Catholics don't stay for all the verses of this, it seems. I've been the last one singing before—as a visitor. This is my main (loving) critique of y'all's liturgy. 

Benediction: (See, we're not allowed to leave because we have to wait for the blessing, however many verses of the hymn there are.) The pastor recites the priestly blessing from Numbers: "The Lord bless you and keep you. The Lord make his face to shine upon you and be gracious to you. The Lord look upon you with favor and give you peace." The assisting minister then sends us with these words: "Go in peace, serve the Lord. Thanks be to God."

I find liturgy really valuable for lots of reasons. Just on a base level, I crave rhythm and ritual. I've said the words my whole life, which means I don't have to know what to say or do, I don't have to get anything right or perform. I meet every week with a group of people who want to say the same words while coming from so many different kinds of lives. We want to tell stories and sing songs together, the same as Christians have since the very beginning, the same as humans have since creation. Every week, I am reminded of what this is all for. It's a kind of reset, and I keep needing it. 

It's also a foundation for our community--the church is our gathering space, where we share meals, where we mourn our dead, where we organize, where our children play. The liturgy grounds us in common stories/music, and we take this with us to everything else. Many people who have left the church have said that there's not really an societal equivalent, and I mourn the fact that the church has not been a space for everyone, and that there aren't similar secular spaces. Especially in the sharing of money and time, I've learned really valuable lessons about community from the church.

It is never too late to need this, to join in, to attend a church, to start praying, to get baptized—these things are not age-dependent, and they come to us all differently. The disciples were old and young, the saints have come to God at all different times, and our lives do not all follow the same pattern. There's that joke about how Jesus didn't start his ministry till age 30—but even if you're way past 30, you only need a day in which to live seeking God, and God willing you have many days ahead of you. 

Maybe this has been on your mind for a while, and it feels like you've missed your chance—you haven't. Each day we recommit ourselves to life, which means each day we have the opportunity to change it. I have never been to a church that would look down on someone beginning their church participation at any age—even the most annoying conservative churches I can think of love when people start coming. 

I don't know what the church options are where you live, but I'd encourage you to visit some! Attending is not a promise to join or keep attending, just a participation in a liturgy. There may be restrictions for taking communion depending on your baptism/membership, but there are no restrictions on coming and listening and singing. And even if just once, you'll have participated in the unfolding story of Christian communal worship, and made it better by being yourself and coming with love.

There are churches who have completely different liturgies/practices—Quaker meetings are a great example. As I mentioned, there are personal liturgies that, while not a replacement for community, can introduce ritual into our homes and keep us faithful us as we seek community (I'm currently practicing Phyllis Trible's Divine Hours). Tradition sustains us, and is continuously being created. Wherever you find your home, whatever songs you sing, may God go with you, and may you never feel it is too late to start absolutely anything.

<3 Johanna

[monstrousgourmandizingcats]

Some B&P collage art I did. A rundown of the symbolism:

The backgrounds are from two of the "O Antiphons", a series of short chants used in Catholic and Catholic-adjacent liturgies in the days leading up to Christmas. Barnes gets "O Sapentia," which is about divine wisdom and law ordering the universe; Paxton gets "O Oriens," which is about divine light illuminating a dark and suffering world. The O Antiphons are the source text for the well-known hymn "O come, O come, Emmanuel", and "O Oriens" is also an indirect source for much of J.R.R. Tolkien's literary worldview. The translations and musical settings are ones commonly used in Anglican churches.

The Hebrew text (which I set in Keter Aram Sova, a font based on the tenth-century Aleppo Codex, because the default Hebrew fonts for Windows all suck shit) comes from the Biblical passages that A24's marketing for the movie associates with Barnes and Paxton. Barnes gets Proverbs 31:25, which in my preferred New Revised Standard Version Catholic Edition reads "Strength and dignity are her clothing, and she laughs at the time to come." Paxton gets Psalm 46:5, which the NRSVCE has as "God is in the midst of the city; it shall not be moved; God will help it when the morning dawns"--but "the city" in the Hebrew is just a pronoun, whose antecedent is in the previous verse, so the New International Version preferred by many Evangelical Protestants has "God is within her, she will not fall; God will help her at break of day." My choices of Hebrew text read eshet chayil for Barnes ("woman of valor"; I refuse to render it "capable wife" lmao) and lifnot boker for Paxton ("daybreak"). Eshet chayil doesn't appear in Barnes's specific version, but lifnot boker does in Paxton's.

The paintings are of two saints who happen to both have been Carmelite nuns named Teresa. Barnes gets François Gérard's portrait of Teresa of Ávila, a sixteenth-century Spaniard with a chaotic personal background who found solace and grew into a great theologian in the ultra-structured environment of convent life. Paxton gets Céline Martin's portrait of her sister Thérèse of Lisieux, a nineteenth-century Frenchwoman whose similarities to Paxton are many. (The second link there speaks a little insultingly of atheists because it's from a conservative-ish Catholic source, but I think it's still worth a look.) The French on the picture frame says "my path is sure and I was not wrong to take it."

The crowns are in reference to a story often told about a third saint, Maximilian Kolbe, who is said to have been offered two crowns in a vision of the Virgin Mary, a white crown and a red one. The white crown would have made him persevere in faith throughout his life; the red one would have made him die a martyr. He took both.

Magnified and sanctified is the great name of God throughout the world, which was created according to Divine will. Let's all tell our friends and family to watch Heretic and stan Sophie Thatcher and Chloe East!

[roman-catholic-mass-readings]

22nd June >> Mass Readings (USA)

Solemnity of The Most Holy Body and Blood of Christ

(Liturgical Colour: White. Year: C(I))

First Reading Genesis 14:18–20 Melchizedek brought out bread and wine.

In those days, Melchizedek, king of Salem, brought out bread and wine, and being a priest of God Most High, he blessed Abram with these words:

“Blessed be Abram by God Most High, the creator of heaven and earth; and blessed be God Most High, who delivered your foes into your hand.”

Then Abram gave him a tenth of everything.

The Word of the Lord

R/ Thanks be to God.

Responsorial Psalm Psalm 110:1, 2, 3, 4

R/ You are a priest for ever, in the line of Melchizedek.

The LORD said to my Lord: “Sit at my right hand till I make your enemies your footstool.”

R/ You are a priest for ever, in the line of Melchizedek.

The scepter of your power the LORD will stretch forth from Zion: “Rule in the midst of your enemies.”

R/ You are a priest for ever, in the line of Melchizedek.

“Yours is princely power in the day of your birth, in holy splendor; before the daystar, like the dew, I have begotten you.”

R/ You are a priest for ever, in the line of Melchizedek.

The LORD has sworn, and he will not repent: “You are a priest forever, according to the order of Melchizedek.”

R/ You are a priest for ever, in the line of Melchizedek.

Second Reading 1 Corinthians 11:23–26 For as often as you eat and drink, you proclaim the death of the Lord.

Brothers and sisters: I received from the Lord what I also handed on to you, that the Lord Jesus, on the night he was handed over, took bread, and, after he had given thanks, broke it and said, “This is my body that is for you. Do this in remembrance of me.” In the same way also the cup, after supper, saying, “This cup is the new covenant in my blood. Do this, as often as you drink it, in remembrance of me.” For as often as you eat this bread and drink the cup, you proclaim the death of the Lord until he comes.

The Word of the Lord

R/ Thanks be to God.

Sequence Lauda, Sion

(The Sequence may be said or sung in full, or using the shorter form indicated by the asterisked verses)

Laud, O Zion, your salvation, Laud with hymns of exultation, Christ, your king and shepherd true:

Bring him all the praise you know, He is more than you bestow. Never can you reach his due.

Special theme for glad thanksgiving Is the quick’ning and the living Bread today before you set:

From his hands of old partaken, As we know, by faith unshaken, Where the Twelve at supper met.

Full and clear ring out your chanting, Joy nor sweetest grace be wanting, From your heart let praises burst:

For today the feast is holden, When the institution olden Of that supper was rehearsed.

Here the new law’s new oblation, By the new king’s revelation, Ends the form of ancient rite:

Now the new the old effaces, Truth away the shadow chases, Light dispels the gloom of night.

What he did at supper seated, Christ ordained to be repeated, His memorial ne’er to cease:

And his rule for guidance taking, Bread and wine we hallow, making Thus our sacrifice of peace.

This the truth each Christian learns, Bread into his flesh he turns, To his precious blood the wine:

Sight has fail’d, nor thought conceives, But a dauntless faith believes, Resting on a pow’r divine.

Here beneath these signs are hidden Priceless things to sense forbidden; Signs, not things are all we see:

Blood is poured and flesh is broken, Yet in either wondrous token Christ entire we know to be.

Whoso of this food partakes, Does not rend the Lord nor breaks; Christ is whole to all that taste:

Thousands are, as one, receivers, One, as thousands of believers, Eats of him who cannot waste.

Bad and good the feast are sharing, Of what divers dooms preparing, Endless death, or endless life.

Life to these, to those damnation, See how like participation Is with unlike issues rife.

When the sacrament is broken, Doubt not, but believe ‘tis spoken, That each sever’d outward token doth the very whole contain.

Nought the precious gift divides, Breaking but the sign betides Jesus still the same abides, still unbroken does remain.

The shorter form of the sequence begins here.

*Lo! the angel’s food is given To the pilgrim who has striven; see the children’s bread from heaven, which on dogs may not be spent.

*Truth the ancient types fulfilling, Isaac bound, a victim willing, Paschal lamb, its lifeblood spilling, manna to the fathers sent.

*Very bread, good shepherd, tend us, Jesu, of your love befriend us, You refresh us, you defend us, Your eternal goodness send us In the land of life to see.

*You who all things can and know, Who on earth such food bestow, Grant us with your saints, though lowest, Where the heav’nly feast you show, Fellow heirs and guests to be. Amen. Alleluia.

Gospel Acclamation John 6:51

Alleluia, alleluia. I am the living bread that came down from heaven, says the Lord; whoever eats this bread will live forever. Alleluia, alleluia.

Gospel Luke 9:11b–17 They all ate and were satisfied.

Jesus spoke to the crowds about the kingdom of God, and he healed those who needed to be cured. As the day was drawing to a close, the Twelve approached him and said, “Dismiss the crowd so that they can go to the surrounding villages and farms and find lodging and provisions; for we are in a deserted place here.” He said to them, “Give them some food yourselves.” They replied, “Five loaves and two fish are all we have, unless we ourselves go and buy food for all these people.” Now the men there numbered about five thousand. Then he said to his disciples, “Have them sit down in groups of about fifty.” They did so and made them all sit down. Then taking the five loaves and the two fish, and looking up to heaven, he said the blessing over them, broke them, and gave them to the disciples to set before the crowd. They all ate and were satisfied. And when the leftover fragments were picked up, they filled twelve wicker baskets.

The Gospel of the Lord

R/ Praise to you, Lord Jesus Christ.

[honey-minded-hivemind]

If Logan was the dad dragon to The Last Animus Reader, he would be dealing with a ton of trauma (besides the trauma he already had). His kid, his dragonet, his bby that he raised, nurtured, loved, was gone? Killed? By the very undeserving, ungrateful sons of eels who begged them to help them? To lavish their kingdom with treasure? To gift them plentiful food and water? To make them have power and live long, healthy lives? And then they killed them?

All he sees is RED.

He had to hold them, watch as his dragonet struggled to breath and lay dying in his talons, the light leeching from their eyes. He had to hear the gurgling of their breaths, feel their pulse slip away to nothing. Had to hear them give a curse (a vengeance) on the entire dragon world for the wrong done to them and the other animi, now all dead as their murderers prospered.

And they think they can hide from his wrath?

Whoever his talons land on fall, blood spraying over him, as he takes his own vengeance. Wings are torn clean off, throats slit wide open, tongues ripped out and eyes gouged and tails paralyzed-

All so he can avenge his murdered child. So their spirit can rest easy, knowing their papa did everything he could to make them pay. The years roll on, and slowly the kingdoms face disaster after disaster. Cropless harvests. Hot droughts. Rending hurricanes. Prey shortage. Plant rot. The continents seem to wither into almost nothing- except-

What the animi touched.

Whatever was blessed by animi, is untouched. Unhurt. Pools where you can always pull out a seal. Bowls that double anything put in it. Bracelets that summon rain. Spears that heal wounds. Trees that sprout light. Any animus object, anything enchanted by an animus, is safe. And so begins the riots. The dragons of the kingdoms suffered, have lost so much, all because their greedy queens and royals and soldiers wanted more than their due? So in mobs of swarming wings and tails, they revolt. And it turns into a massacre.

Yet soon... Dragons pop up, claiming that the animi, if appeased, if prayed to, will return. Will bless them. With nothing else to lose, cults begin to rise, praying to different animi, sometimes multiple. Sacrifices are made, prayers chanted, psalms and sermons and hymns rising to the skies above... Dad!Dragon!Logan becomes something of a myth, as it seems his kid enchanted him (or an object they gifted him) to be immortal. He helps down-on-their luck dragonets. Makes friend with dragons who believed good things of animus dragons, without the cultists ideas. And he keeps going. He may want to die, but...

He can't bare to get rid of anything left of his dragonet.

So he watches, and waits, always sleeping by a little tree they had enchanted, one to always sprout oranges, so they and everyone else could have oranges all year round...

It takes about a century or so, before the first rebron animus pops up. A dragon who creates storms with a flick of her tail, who can summon lightning with her talons, makes thunder with her wings. He makes friends with her, and together, they help any new animi that come along. He misses his kid, but he'll help these kids (and other dragonets in need of help), the way he knows how...

One day, though, he knows they'll be back. And he'll be waiting for them, always...

[soulbrothershow]

A Love Supreme: John Coltrane’s Sonic Prayer and the Sacred Union of Sound

There are albums that exist as mere collections of songs, and then there are albums that transcend sound itself—portals, transmissions, spiritual invocations. John Coltrane’s A Love Supreme is the latter. It is more than an album. It is an offering, a celestial hymn wrapped in vibration and light. Released in 1965, it was a declaration of devotion—not just to music but to the divine itself, to the eternal presence that Coltrane spent his life seeking. And now, in 2025, A Love Supreme stands at its 60th anniversary, its energy undiminished, still resonating like a cosmic bell ringing across time.

To hear A Love Supreme is to be pulled into its current, to feel its waves of sound ripple through the soul like light bending through a prism. The colors of the music are vivid, shifting in luminous waves—deep indigos, fiery oranges, golden streaks of sunlit brass. It is a sunrise of sound, each note a brushstroke on the vast canvas of the cosmos. Coltrane did not merely play the saxophone; he spoke through it, channeled through it, allowing it to become an extension of his spirit, a bridge between the seen and unseen.

A Love Supreme as a Sacred Ritual

"Acknowledgment." "Resolution." "Pursuance." "Psalm." These are the four movements of A Love Supreme, but they are more than just titles. They are initiations, stages of ascension, the journey of a seeker yearning for union with the divine. The album unfolds like an ancient scripture, a gospel not bound by words but by pure, undiluted sound.

The opening bassline of "Acknowledgment" is like the striking of a match in the darkness, a low, reverent hum that signals something sacred is about to begin. Then comes Coltrane’s mantra, that four-note motif—A Love Supreme, A Love Supreme—chanted like an incantation. This is not music for passive listening; it is an invocation, an invitation to elevate. Each note played is a breath of spirit, vibrating beyond mere soundwaves and into the unseen ether, where energy and intention shape reality.

In "Resolution," the saxophone burns with urgency, the kind that only comes from divine inspiration. It is the sound of a soul on fire, a sonic baptism in which Coltrane does not perform but pours himself into every phrase. Elvin Jones’ drums are not just keeping time; they are the heartbeat of the universe itself, pulsing, churning like waves against the shore of the infinite.

By the time "Pursuance" arrives, the music reaches a fever pitch, a transcendental sprint toward enlightenment. It is the soul running, leaping, ascending, climbing the celestial ladder. McCoy Tyner’s piano shimmers like constellations blinking into existence, cascading in starbursts of harmony. The energy is both ferocious and tender, like a love that has outgrown the physical realm and transformed into something ineffable, something eternal.

And then, "Psalm"—the final movement, the culmination. This is the prayer, the place where words surrender to pure emotion. Coltrane plays his saxophone as if speaking directly to Yahweh, to the great beyond, to the source of all things. The melody is Coltrane reciting a poem without words, his breath carrying the weight of his devotion. It is as if he has stepped beyond himself, beyond his body, beyond even time, and what remains is only light, only love.

John and Alice Coltrane: Cosmic Partners, Spiritual Mirrors

To speak of John Coltrane’s spiritual ascension is to also speak of Alice Coltrane, his divine counterpart, his mirror in music and spirit. Theirs was not just a love of flesh and bone but of frequency, of soul. John’s journey to spiritual enlightenment did not end with A Love Supreme; it continued through Alice, through her hands upon the harp, her voice in celestial choirs, her compositions that seemed to emerge not from this world but from the spaces between worlds.

Alice did not merely carry John’s legacy; she expanded it. After his passing, she became the flamekeeper, transforming grief into transcendence. Through albums like Journey in Satchidananda and Universal Consciousness, she wove tapestries of cosmic resonance, reaching the same divine space that John had sought, but through a different portal. If John’s music was the sound of fire rising, Alice’s was the sound of water flowing, of galaxies drifting in slow, sacred motion.

Together, they were twin stars orbiting the same divine source. They understood that music was not just entertainment but a conduit for spiritual transmission. They knew that sound was vibration, and vibration was energy, and energy was the language of the divine. Through their music, they cracked open the veil, allowing us glimpses of the infinite.

Music as a Gateway to the Divine

What A Love Supreme offers is not just music but a practice, a way of being. It asks the listener to surrender, to step outside the self and into the current of the eternal. It is no accident that so many who have heard this album describe it as a spiritual experience, as if they were lifted beyond themselves, transported. This is because A Love Supreme does not exist solely in the realm of sound—it exists in the realm of energy, in the unseen forces that shape the universe.

Coltrane understood that certain frequencies could open doors within the mind and soul. He played not just with technical mastery but with spiritual intention, imbuing each note with prayer, with devotion. This is why A Love Supreme feels alive, why it continues to breathe even after six decades. It is not bound by time because it was never of this world to begin with. It is a bridge between dimensions, a stairway spiraling toward the divine.

The Eternal Resonance of A Love Supreme

Now, 60 years later, A Love Supreme remains untouched by time. It is still as fresh as the day it was recorded, still as potent, still as revelatory. Every listen is a new experience, a new journey. The colors shift, the emotions deepen, and the message remains: surrender to love, surrender to divinity, surrender to the music.

Coltrane’s saxophone still sings like a prophet calling out to the heavens. His energy still radiates through the grooves of vinyl, through the hum of digital waves, through the hearts of those who are willing to listen—not just with their ears, but with their spirits.

Because A Love Supreme is not just something you hear.

It is something you become.

[daveslutstaine]

It's been a while since I've made a proper blog post (and this is a music blog after all), so here is a band I've been wanting to talk about for a while. I never thought I would enjoy ambiance music, but this band made their way into my heart. Ladies and gents, I present to you all, Love Spirals Downwards

Beginning with their first album, and the first one I listened to by them, Idylls.

Shades of blue, the images of crashing waves, the rippling of water, immense cliffs overlooking the vast oceans, these are the images I get when I listen to Idylls. The first thing I noticed during my first listen of the album is the simple riff that starts off the first track and the calming effect it had on me. LSDs' founding member, Ryan Lum, has a talent for writing music that makes me feel like I'm floating through the air over open fields on a downcast day. The music is greatly complimented by their beautiful singer Suzanne Perry, with her ethereal voice further placing me under the music's spell. Even when she sings complete nonsense, I find myself feeling the music deep within my heart. Speaking of the lyrics, a lot of the songs have nonsensical lyrics or they are poems that, to my knowledge, Suzanne wanted to use as lyrics for LSDs' songs. In terms of my favorite songs they are: "Illusory Me", "Scatter January", "Stir About The Stars", "Drops, Rain, and Sea", and "And The Wood Comes Into Leaf".

The next album is one that I have been playing a lot lately, so much so that I can safely say that it is my favorite album by Love Spirals Downwards.

Ador by Love Spirals Downwards has been playing both in my head and on my phone for over a month now. This album is like lying in the middle of room with sunbeams and swirls of pink and white dancing all around me. Lums' guitar does its magic in transporting me to a different place, while Perry's angelic voice continues to enchant me. The opening song "Will You Fade" truly made me feel as though I were fading away into a different world. The next song titled "Sidhe" is one of my favorites! Though the lyrics are the lyrics of another song on this album played backwards, I still adore it. It almost feels like an ancient chant that's been lost to time. I remember at one point trying to search up the lyrics because I actually thought that that was the case. It just feels like something that's been forgotten, only to be rediscovered and brought to life by Lums' music and Perry's voice. And on the topic of songs that make me go AAAAAAA, the song "Avincenna" is my favorite on this album. Listening to it makes me feel as though I caught a glimpse of Heaven itself. The lyrics are Psalm 119, which is incredibly fitting considering that this song almost sounds like "Hymn of The Cherubim" by Tchaikovsky. It is much shorter than Psalm 119 since they had to condense it in order for it to fit the song, but the message and emotions it invokes is the still the same. Other songs I love are "Depression Glass" and "Write In Water". Overall it's a really good album if you want something calm but full of emotion to listen to! I cannot recommend it enough!!!

Next up is an album that I don't reach for a lot, but it's enjoyable nonetheless! This is Ever

This album seems to get pushed to the background a lot, and after giving it another, more focused listen, I think I found the reason why. It's not a bad album, but from my perspective, it's just doomed to live in the shadows of their more popular works like Flux. Maybe people see it as Flux Lite, especially since the opening track titled El Pedregal does sound like it would be better suited for Flux. Same can be said for Madras. That song almost sounds like Nova. The rest of the album sounds so toned down in comparison to the two previous albums. There's more acoustic songs on Ever than on Idylls or Ador, and Flux doesn't have many acoustic songs on it either. I will say, the inclusion of the acoustic songs on this album doesn't automatically make it a bad album. I do enjoy "Sideways Forest" and "Cay at Dawn", along with other songs on this album, but it's definitely a more chill and less energetic album. Though it lacks that feeling of an ancient and forgotten era that the first two albums have, I would still recommend giving it a shot.

And now on to their final album, the ever popular Flux

This is the album in which the industrial vibes hit you full force. Beginning with the opening track titled "City Moon", the album gives off the sensation of blurred city lights on a rainy evening. It almost feels like walking in a big city, with the whole world disappearing around you as the music envelops your senses. At least that's how it comes across to me. It's a simple track, with Perry's voice seemingly fading into the background, like a siren's call that's just barely audible. The instrumentals paint most of the picture, with a clean yet pleasant guitar sound to tie everything together. The next track, "Alicia", to me feels like a continuation of "City Moon". The feelings in the song are nearly identical, with the only difference being Perry's more prominent vocals in this song than the previous one. From there we find ourselves listening to "Sound of Waves", a song with made with all the hallmarks of a LSD song with a hint of a futuristic tone to it. This trend continues with the next song "Psyche", which interestingly enough is sung by Suzanne's sister, Kristen Perry. Little fun fact, Kristen was originally going to be the vocalist for LSD, but she never did end up being the voice of LSD. It's so fascinating to hear her sing in this band. Her voice is lower than that of Suzanne's, but for "Psyche", it's oddly fitting. And now I can finally talk about my favorite song on the album, and that is "Nova". This song truly captures the industrial feeling of the whole album, with the classic LSD dreampop sound, accompanied by an incessant, monotone beeping sound that to some people may be unpleasant, but I like personally enjoy it. It gives off the impression of concrete, machinery, and green light. Even Perry's distorted vocals work fantastically here. She sounds as though she were a beacon of hope out of the oppressive grey by being the green light guiding me out of there. It's a strange song for Love Spirals Downwards, but it's my favorite for that reason. "By Your Side" and "Ring" break that setting and go back to the city type feeling, with Kristen Perry back on vocals for "Ring". "Ring" is interesting to me in that there's this underlying anger to that song. Now I fully understand that that's probably just me misplacing an emotion onto that song, but I don't know. I guess it's just the way Kristen sings on this song, but something, something on this song gives off that impression. Maybe it's just me, but I don't know. "I'll Always Love You" is definitely the most calming track on this album. It sounds like something that would play in the background of those diner paintings, if that makes any sense? It's also kind of a grey looking song, but the hints of blue make up for that. I actually enjoy listening to it on rainy days since that's what it looks like to me. And lastly, we have "Sunset Bell", ending with a song that's a mixture of classic LSD and the futuristic vibes of Flux. More distorted vocals, but with the background more focused on the sounds from Ardor. It's a beautiful song that balances the ancient with the modern in a lovely way, and I love it immensely for that!

Anyway I hope you guys enjoyed my unintelligible ramblings and hope you guys give LSD a shot some time! See ya!

[discoveringorthodoxy]

The 9 Biblical Odes & What They Teach Us

When you go to a Matins service you may notice halfway through the service different hymns appearing called odes. But what are these odes?

The Biblical Odes (also known as canticles or odes) are a set of nine passages that are from Scripture and form the foundation for the odes in the canon (a major component of Matins). For our sake, in this article the Biblical Odes are referred to as the canticles, while the hymns that make up the canon are referred to as the odes so that there is no confusion between the two. While there are nine odes, only eight are used in the service every day (Marangos, 1999). The only time all nine odes are sung is during Great Lent, specifically on Tuesdays of Great Lent. However, it is the troparia without its respective verse in the odes that are used in most parishes today (with the exemption of the Magnificat and canons sung in monasteries).

Because none of the original scriptural canticles are read besides during Great Lent, the first part of the canon that is chanted is a verse called the irmos. The irmos is like an overture connecting the theme of the canon with the theme of the canticle (Marangos, 1999). This theme is then further developed by the subsequent troparia. The last hymn of an ode is called a katavasia. Therefore, in Matins, when we sing the katavasias after the Synaxarion (ex: Katavasias of the Theotokos), we are singing the last hymns of the each ode in the canon. Sometimes this katavasia is the irmos from another canon or it could even be repeating the irmos of the given ode like during Pascha (“Glossary of Liturgical Terminology.”). So overall, the general structure of a canon done today is the following: Irmos, troparia, and katavasia.

There are groups of the odes. The first two odes are based on psalms in the Scripture while odes three through seven are based on prayers. Because all of the odes are based on Scripture, it is very important to have an understanding of it to understand the odes themselves.

The First Ode (Exodus 15:1-19)

The first ode is based on the First Song of Moses (Exodus 15: 1-19). The first song of Moses occurs after Moses and the Israelites cross the Red Sea. In this song, the Israelites are praising and giving thanks to God for delivering them from Egypt. They recount all that God has done for them. When the Jews gathered for worship, they would sing the canticle of the Song of Moses so that they could be reminded of all the good works that God has done for them. Similarly, it teaches us today how God helped the Israelites in the past and prepares us to face any obstacles we may face in the future (Marangos, 1999). Because of this, the first ode helps us see how God prepares the way for the new Israel under the New Covenant of His Son, Jesus Christ.

Small Supplicatory Canon to the Theotokos. Ode i. Mode pl.4

"Crossing the waters as on dry land, in that way escaping from the evil's of Egypt's land, the Israelites cried out exclaiming: To our Redeemer and God now let us sing."

Katavasias of the Cross. Ode i. Mode pl. 4

"A cross did Moses inscribe, when with an upright stroke of his rod he divided the Red Sea for Israel who went on foot; then he turned and smote the sea, once again uniting it o'er Pharaoh's chariots, with transverse stroke portraying the invincible weapon. Wherefore, let us praise in song Christ our God; for He truly is glorified."

Canon of Pascha. Ode i. Mode 1.

"Resurrection day! O peoples, let us brilliantly shine. Pascha, the Lord's Pascha! For Christ our God has out of death passed us over into life, and likewise from earth to heaven, as we now sing unto Him a triumphal hymn."

The Second Ode (Deuteronomy 32:1-43)

The second ode is based on the Second Song of Moses (Deuteronomy 32: 1-43). The second Song of Moses occurs towards the end of Moses' life. This song was written because God told Moses that the people of Israel would go back on their covenant with God. So, God told Moses to write down and teach people this song to remind them of their covenant with God and so that the people would have no excuse when God calls out their transgressions. This ode is only said on Tuesdays of Great Lent due to the severe nature of the canticle ("Biblical Odes"). This ode emphasizes the woe, anger, and apostasy of man; the need for our repentance; and the vengeance of God (Marangos, 1999).

The Third Ode (1 Samuel 2:1-10)

The third ode is based on the Song of Hannah (1 Samuel 2:1-10). Hannah is the mother of Samuel, who was the last of the Judges of Israel. Hannah was one of the wives of Elkanah but was childless. Her womb was barren due to the Lord closing her womb. But, she prayed to God and promised to dedicate her son to the Lord if she were to have one. As a result, Samuel was born. These words from Hannah are often compared with Mary's words from the Magnificat. Because of Hannah's story, we often see a theme of God filling something barren: the Lord has given life to something void of it (Marangos, 1999). There is also the theme of the Lord giving riches and exaltations (Marangos, 1999).

Katavasias of the Cross. Ode iii . Mode pl. 4

"The rod is perceived as a figure of the Mystery, for by its blossoming it showed who was chosen to be priest. And for the Church that formerly was barren hath the Wood of the Cross now blossomed forth unto strength and steadfastness."

Canon of Pascha. Ode iii. Mode 1.

"Now everything, heaven and the earth and the nethermost regions, have all been filled with light. Let the entire creation therefore celebrate the rising of Christ. For it is established in Him."

Katavasias of the Transfiguration. Ode iii. Mode 4.

"The bow of the mighty is become weak, and the strengthless have girded themselves with power; wherefore my heart is established in the Lord."

The Fourth Ode (Habakkuk 3:1-19)

The fourth ode is based on the Prayer of Habakkuk (Habakkuk 3:1-19). Habakkuk was one of the Twelve Prophets who wrote during the Babylonian captivity. This ode deals with things such as revival, exaltation despite bad situations, losing everything due to sinfulness, and repentance. Another common theme is the glory of God. There is also the phrase "I have heard" shown in this ode, emphasizing how we have heard what God has done for others and ask Him to do the same for us (Marangos, 1999). We also begin to see the first steps of repentance here: obedience to the commandments of God (Marangos, 1999).

Katavasias on the Sunday of the Prodigal Son. Ode iv. Mode 2.

"When the Prophet foresaw Thy birth from a Virgin, he proclaimed it, crying: I have heard Thy report, and I was afraid; for from Thaeman, and out of the overshadowed holy mountain art Thou come, O Christ.

Katavasias of the Transfiguration. Ode iv. Mode 4.

"I have heard of Thy glorious dispensation, O Christ God, that Thou was born of the Virgin, that Thou mightest deliver from error those who cry: Glory to Thy power, O Lord."

Katavasias of Theophany. Ode iv. Mode 2.

"Cleansed with the torchlight and fire of mystic vision, the Prophet singeth hymns of mortals' renewal; His voice he raiseth, which is moved by the Spirit, showing the unutr'able Word's Incarnation, Who hath wholly crushed the dominion of the mighty."

The Fifth Ode (Isaiah 26:9-20)

The fifth ode is based on the Prayer of Isaiah (Isaiah 26:9-20). This takes place right before the Babylonian captivity, and this song (unlike the last ode) is more a song of victory than a song of defeat. This ode connects the light with the commandments. If you want to be illumined and enlightened, then focus on the commandments of God (Marangos, 1999). The canticle also talks about the raising of the dead as a prophecy, so we see this reflected in Ode 5.

Katavasias on the Sunday of Orthodoxy. Ode v. Mode pl. 4

"Thou, my Lord, didst come as Light to the world, a holy Light, turning those who praise Thee away from abysmal folly."

Katavasias of the Transfiguration. Ode v. Mode 4.

"O Thou Who didst hew the primordial light from the light, that Thy works might hymn Thee in light, O Christ, our Creator, guide our ways in Thy light."

Katavasias on the Sunday of the Pharisee & Publican. Ode v. Mode pl. 2

"O Good One, lighten with Thy divine light the souls of those who come to Thee early and eagerly that they may know Thee, O Word of God, the true God, Who callest us from the darkness of iniquities."

The Sixth Ode (Jonah 2:2-9)

The sixth ode is based on the Prayer of Jonah (Jonah 2:2-9). This prayer takes place when the prophet Jonah was swallowed by a sea creature after he disobeyed God's commandments. He stays in the belly for three days and three nights as a type of Christ's burial and Resurrection. In the belly of the whale, Jonah is praying to God after he recognizes his error and repents. The themes for this ode are calling sinners to repentance, the abyss of sin, and the honor of the Trinity (Marangos, 1999).

Katavasias on Sunday of the Prodigal Son. Ode vi. Mode 2.

"I am ever oppressed in a deep of sins, O Savior, and I am tossed in the gulf of life; but like Jonas from the sea monster so bring even me up out of the passions and preserve me."

Katavasias of the Cross. Ode vi . Mode pl. 4

"When Jonah, who was in the belly of the sea monster, stretched forth his hands in the form of a cross, he prefigured the saving Passion manifestly. Hence also, when he came forth on the third day, he indicated the supernal Resurrection of Christ God, Who was crucified in the flesh and enlightened the world by His Arising on the third day."

Small Supplicatory Canon to the Theotokos. Ode vi. Mode pl.4

"My petition, I pour out to the Lord, and to Him I will confess all my sorrows; For many woes fill my soul to its limits, and unto Hades my whole life has now approached, like Jonah, I pray to You, from corruption, O God, now raise me."

The Seventh Ode (Daniel 3:26-56)

The seventh ode is based on the Prayer of the Three Holy Children (Daniel 3:26-56). This prayer is found in the "apocryphal" parts of the Book of Daniel. In the book of Daniel, the three Hebrew youths are thrown into the furnace after they follow the commandments of God. But they are not consumed by the fire because an Angel of God (God) appears, and the fire becomes like water to the youths. This story is read in its entirety on Holy Saturday morning because, at this point, Jesus is in Hades preaching to the dead. One theme of this ode is that God is with us in our martyrdom, whether it be physical, financial, or other types of martyrdom (Marangos, 1999).

Canon of Pascha. Ode vii. Mode 1.

"The same One who delivered the Lads from fire, becoming a mortal man, suffers in the flesh; and by His Passion He arrays mortal nature with majesty free of all corruption, the only God of the fathers, blessed and supremely glorious."

Katavasias of Christmas I. Ode vii. Mode 1.

"The Servants nurtured piously together, with contempt regarding the impious king's decree, intrepidly faced the threat of holocaust, and while standing in the midst of flames they chanted thus, saying: O God of the fathers, you are blessed."

Katavasias of the Cross. Ode vii. Mode pl. 4

"The ungodly tyrant's most insensate decree affrighted common folk, breathing forth with threat wicked mouthings of blasphemy. But the Three Children were not struck with fear by rage wild and bestial, nor by roaring fire; but in an echoing and dew-besprinkling breeze, they stood amidst the fire and sang: O Thou supremely praised God of our Fathers and our God, for ever art Thou blessed."

The Eight Ode (Daniel 3:57-88)

The eighth ode is based on the Song of the Three Holy Children (Daniel 3:57-88). After the Angel appears in the fire and brings the Holy Youths protection, Hananiah, Azariah, and Mishael sing with the angels, praising God. On Holy Saturday, while also reading the entirety of Daniel 3:1-56, we also sing all the verses of the Song of the Three Holy Servants. We praise and sing to the Lord because He is in the furnace of Hell at this point along with everyone who has died (Marangos, 1999). The hymns say that in our present life this will also happen with us when we suffer some sort of martyrdom for Christ.

Katavasias of Dormition. Ode viii. Mode 1.

"We praise and we bless and we worship the Lord. Unto the Servants in the furnace, God's almighty Angel showed a flame burning the impious, but the saints cooling as with dew. Into a life-welling fountain He has made the Theotokos, gushing destruction upon death, but life to those who sing the hymn: We who have been redeemed chant in praise of the only Creator, exalting Him supremely unto all the ages."

Katavasias of the Theotokos. Ode viii. Mode 4.

"We praise and we bless and we worship the Lord. Guitless were those Servants in the furnace. The Son of the Theotokos went and rescued them. He who was prefigured then, having been incarnate now, is gathering the whole wide world into His Church to sing: 'O all you works of the Lord, to all ages sing praises to the Lord and exalt Him beyond measure'."

Canon of Pascha. Ode viii. Mode 1.

"Come on this illustrious day of Resurrection and day of Christ's Kingdom, let us receive the communion of the joy divine from the new fruit of the vine for eternal life, and highly extol Him as God unto the ages."

The Ninth Ode (Luke 1:46-55, 68-79)

The ninth and final ode is based on the Magnificat (Luke 1:46-55) and the Song of Zacharias, which is also known as the Benedictus (Luke 1:68-79). All of the other canticles come to their culmination with this ode (Marangos, 1999). The person who can step in the fire, liberate us from the belly of the whale, liberate us from Babylon, take us from the desert into Paradise, and allow us to cross the Red Sea is Jesus Christ, and He is born into the world for us through Mary (Marangos, 1999). And after we are told about Christ in the odes, we soon transition to the Divine Liturgy where we have a deeper connection with him.

As mentioned before, this is usually the only Biblical Ode whose verses we read during the service. You can see this when we sing the Magnificat during Matins.

Ode ix. The Magnificat. Mode 3.

Verse: My soul magnifies the Lord, and my spirit has rejoiced in God my Savior.

“Greater in honor than the Cherubim, and in glory greater beyond compare than the Seraphim; you without corruption gave birth to God the Word, and are truly Theotokos. You do we magnify.”

But you also have parts where the verses are not read. For example, after the Magnificat usually follows the ninth ode of the Katavasias for the service.

Katavasias for Summer. Ode ix. Mode 4.

"Your childbirth occurred without corruption. For God it was wearing flesh who came forth from your virginal womb. For He appeared on earth and made His dwelling among men. And therefore you O Theotokos we all magnify."

Small Supplicatory Canon to the Theotokos. Ode ix. Mode pl.4

"Saved through you, O pure Virgin, hence we do confess you to be most truly the birthgiver of our Lord; with choirs of bodiless Angels, you do we magnify."

Canon of Pascha. Ode ix. Mode 1.

"O my soul, magnify Him who willingly suffered, was buried, and a rose from the grave on the third day. Arise, shine! Arise, shine, O new Jerusalem! Shine! For the glory of the Lord has risen upon you. Zion, exult and be glad now. O pure Mother of God, rejoice, celebrating the resurrection of Christ your Son!"

Conclusion

Overall, the nine odes help us in navigating our salvation journey. They teach us what God has done for us, but also show us that God can be wrathful. They teach us about how God grants us life and about repentance. Finally, they teach us about how God protects those who follow his commandments and about the greatness of our God in all these things.

Next time you attend Matins or any service that has the canons, I hope you'll keep the stories of the canticles in mind. Pay attention to the songs that are being sung and see what you can learn about our faith and our journey to repentance! May God bless you all.

-Joanna

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Works Cited

“Biblical Odes.” OrthodoxWiki, orthodoxwiki.org/Biblical_Odes#cite_note-1.

“Glossary of Liturgical Terminology.” Holy Trinity, Holy Trinity Cathedral, www.holy-trinity.org/liturgics/lazor-glossary.html. Accessed 24 Oct. 2023.

Marangos, Frank. “Tone 2.” Sing Praises to God: An Examination of the Eight Tones. 17 Dec. 1999, www.goarch.org/-/sing-praises-to-god-an-examination-of-the-eight-tones?redirect=%2Fchapel%2Fchant%2F&_com_liferay_asset_publisher_web_portlet_AssetPublisherPortlet_INSTANCE_FCDSMkO4ID2i_viewSingleAsset=true.

Katavasias taken from the Antiochian Orthodox Christian Archdiocese of North America and from Digital Chant Stand. Paraklesis text taken "The Service of the Small Paraklesis to the Most Holy Theotokos" by Holy Cross Orthodox Press

[santmat]

Spiritual Awakening Radio Podcast:

Seven Steps to Heaven, The Way of the Mystics, Following a Living Spiritual Path

"Blessed are the souls who in today's materialistic world have an inclination towards spirituality." (Swami SantSevi Ji Maharaj)

Today, A Spiritual Talk (Satsang Discourse) by Swami SantSevi Ji Maharaj at Maharshi Mehi Ashram, Kuppaghat, Bhagalpur, Bihar, India

The Seven Stages of Ascension to Heaven According to Swami SantSevi Ji and a Living Spiritual Path Called Sant Mat

Praise or Bhakti (singing praises: banis, bhajans, kirtans, odes, psalms, hymns);

Prayer (Communion With God -- Conversations With God);

Manas Jap (Simran, "Praying Without Ceasing", Mentally Repeating/Chanting the Name or Names of God -- Mantra -- the First Stage of Meditation);

Manas Dhyana (Visualizing the Form of the Master* -- the Second Stage of Meditation);

Dristi Sadhana (Seeing Inner Light at the Third Eye Center -- the Third Stage of Meditation);

Nada Sadhana (Hearing the Inner Sounds -- Surat Shabd Yoga -- the Fourth Stage of Meditation);

Reaching Kaivalya: Oneness with Soundlessness, the Nameless One (ANAMI), the Formless Supreme Being, Supreme State, the Ocean of Love (beyond all forms, lights and sounds) -- the Fifth Stage of Meditation -- the Isht or Goal;

*NOTE: Visualizing the Form of the Master: “In Kali Yuga no other spiritual activity will succeed. It is only the contemplation of the Satguru’s Form, repetition of the Name of the Supreme Being, and concentration on Shabda [Spiritual Sound] that will be successful and beneficial”. (Soamiji Maharaj)

Seven Steps to Heaven, The Way of the Mystics, Following a Living Spiritual Path - Spiritual Awakening Radio Podcast - Listen and/or Download @: https://traffic.libsyn.com/spiritualawakeningradio/Following_A_Living_Spiritual_Path.mp3

@ the Podcast Website with Show Notes: https://spiritualawakeningradio.libsyn.com/seven-steps-to-heaven-the-way-of-the-mystics

& @ Wherever You Subscribe and Follow Podcasts (Apple Podcasts, Spotify, Google Podcasts, etc…).

In Divine Love (Bhakti), Light, and Sound, At the Feet of the Masters, James Bean Spiritual Awakening Radio Podcasts Sant Mat Satsang Podcasts Sant Mat Radhasoami A Satsang Without Walls

[ongolecharles]

DAILY SCRIPTURE READINGS (DSR) 📚 Group, Fri May 23rd, 2025 ... Friday of the Fifth Week of Easter, Year C 

Reading 1

---------

Acts 15:22-31

The Apostles and presbyters, in agreement with the whole Church,

decided to choose representatives

and to send them to Antioch with Paul and Barnabas.

The ones chosen were Judas, who was called Barsabbas,

and Silas, leaders among the brothers.

This is the letter delivered by them:

"The Apostles and the presbyters, your brothers,

to the brothers in Antioch, Syria, and Cilicia

of Gentile origin: greetings.

Since we have heard that some of our number

who went out without any mandate from us

have upset you with their teachings

and disturbed your peace of mind,

we have with one accord decided to choose representatives

and to send them to you along with our beloved Barnabas and Paul,

who have dedicated their lives to the name of our Lord Jesus Christ.

So we are sending Judas and Silas

who will also convey this same message by word of mouth:

'It is the decision of the Holy Spirit and of us

not to place on you any burden beyond these necessities,

namely, to abstain from meat sacrificed to idols,

from blood, from meats of strangled animals,

and from unlawful marriage.

If you keep free of these,

you will be doing what is right. Farewell.'"

And so they were sent on their journey.

Upon their arrival in Antioch

they called the assembly together and delivered the letter.

When the people read it, they were delighted with the exhortation.

Responsorial Psalm

---------------

Psalm 57:8-9, 10 and 12

R. (10a) I will give you thanks among the peoples, O Lord.

or:

R. Alleluia.

My heart is steadfast, O God; my heart is steadfast;

I will sing and chant praise.

Awake, O my soul; awake, lyre and harp!

I will wake the dawn.

R. I will give you thanks among the peoples, O Lord.

or:

R. Alleluia.

I will give thanks to you among the peoples, O LORD,

I will chant your praise among the nations.

For your mercy towers to the heavens,

and your faithfulness to the skies.

Be exalted above the heavens, O God;

above all the earth be your glory!

R. I will give you thanks among the peoples, O Lord.

or:

R. Alleluia.

Alleluia

--------

John 15:15b

R. Alleluia, alleluia.

I call you my friends, says the Lord,

for I have made known to you all that the Father has told me.

R. Alleluia, alleluia.

Gospel

---------

John 15:12-17

Jesus said to his disciples:

"This is my commandment: love one another as I love you.

No one has greater love than this,

to lay down one's life for one's friends.

You are my friends if you do what I command you.

I no longer call you slaves,

because a slave does not know what his master is doing.

I have called you friends,

because I have told you everything I have heard from my Father.

It was not you who chose me, but I who chose you

and appointed you to go and bear fruit that will remain,

so that whatever you ask the Father in my name he may give you.

This I command you: love one another."

***

FOCUS AND LITURGY OF THE WORD

This Gospel reading must be one of my favorites. Not just because the message is impactful and clear, but because there are several beautiful hymns that reference this scripture. I myself have sung one such hymn at several weddings, which brings me back to when I was learning about what love meant in marriage preparation. God calls us in this scripture to love one another as He loves us… so what does it mean to love like Christ? I remember reflecting on how there are different kinds of love. Not just the romantic love we feel for a spouse, but the platonic love we feel for friends and family or the general love/respect we have for our world and those who inhabit it. Beyond those kinds of love, however, is Christ-like love. It is a love with no conditions, and no bounds. There is nothing we could do that would stop Christ from loving us and rejoicing when we come home to Him. It is limitless- He loves every person the same, vast amount. Kind of hard to fathom… and yet, that is not even the most intense part. He loved the Church (us) so much that He chose to die painfully on a cross for our salvation. He obeyed his father in heaven when he was asked to die, and we are similarly called to obey the Lord’s commands in scripture today: “You are my friends if you do what I command you.” We are asked to lead Christian lives. Everyone knows to follow the ten commandments, sure, but beyond that, we should try to be Christ’s love in the world.

What does it look like to love in such a way?  In marriage, we are called to emulate Christ-like love towards each other. A lofty goal, and one I am sure no one completely achieves. But if I tried to love my husband today as Christ would love him, what might look different? Would I have more grace? Would I be more willing to serve? We are called to love our spouse like Christ loved the church, and Christ loved the church so much he died for it! Beyond spousal love, we are also tasked with loving our neighbor. The neighbor you get along with, but perhaps most especially, the neighbor you don’t. Let's pray ...

Today my prayer begins with all married people, that we may constantly strive to serve our spouses in love, to obey Christ’s commands, and to continually work to be closer to each other and God. But for all people, as we are called to love our most challenging neighbors, please fill us with your Christ-like love that knows no bounds, so that we may be your light to those that need it most.

***

SAINT OF THE DAY

Saint Gregory VII

(c. 1025 – May 25, 1085)

Saint Gregory VII’s Story

The 10th century and the first half of the 11th were dark days for the Church, partly because the papacy was the pawn of various Roman families. In 1049, things began to change when Pope Leo IX, a reformer, was elected. He brought a young monk named Hildebrand to Rome as his counselor and special representative on important missions. Hildebrand was to become Gregory VII.

Three evils plagued the Church then: simony–the buying and selling of sacred offices and things; the unlawful marriage of the clergy; and lay investiture—kings and nobles controlling the appointment of Church officials. To all of these Hildebrand directed his reformer’s attention, first as counselor to the popes and later as pope himself.

Gregory’s papal letters stress the role of the bishop of Rome as the vicar of Christ and the visible center of unity in the Church. He is well known for his long dispute with Holy Roman Emperor Henry IV over who should control the selection of bishops and abbots.

Gregory fiercely resisted any attack on the liberty of the Church. For this he suffered and finally died in exile. He said, “I have loved justice and hated iniquity; therefore, I die in exile.” Thirty years later the Church finally won its struggle against lay investiture. The liturgical feast of Saint Gregory VII is celebrated on May 25.

Reflection

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The Gregorian Reform, a milestone in the history of Christ’s Church, was named after this man who tried to extricate the papacy and the whole Church from undue control by civil rulers. Against an unhealthy Church nationalism in some areas, Gregory reasserted the unity of the whole Church based on Christ, and expressed in the bishop of Rome, the successor of Saint Peter.

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[dozanworld]

Sacred Choral Music for Every Heart | Dozan World Dozan World curates uplifting sacred choral music—beautifully recorded vocal masterpieces that inspire peace, prayer, and joy. Explore timeless hymns, psalms, and chants, thoughtfully selected to enrich worship services, personal reflection, and communal gatherings worldwide.

[violingospelblogs]

The Roots of Christian Worship Music: Ancient Chants to Modern Praise

Hey there! Ever wondered where those soul-stirring hymns and upbeat praise songs in church come from? Christian worship music has a rich, winding history that stretches back centuries, weaving together faith, culture, and creativity. It’s not just about singing—it’s about connecting with something bigger. 

Let’s take a casual stroll through its roots, from ancient chants to the stuff you might hear on a Sunday morning. We’ll break it down into four parts: its early beginnings, how it evolved through the ages, the role of instruments, and what it looks like today. Ready? Let’s dive in!

Where It All Began – The Ancient Foundations

Picture this: it’s the first century, and small groups of Jesus’ followers are gathering in homes or secret spots, singing praises to God. That’s where Christian worship music kicked off. It didn’t start with fancy organs or electric guitars—think more along the lines of simple, heartfelt chants. 

These early Christians borrowed heavily from Jewish traditions since, well, Jesus and his disciples were Jewish. They’d sing psalms—those poetic songs from the Old Testament—like Psalm 23 or Psalm 100, often without instruments, just voices lifted in unison.

Back then, music wasn’t just decoration; it was a way to teach and remember. Most folks couldn’t read, so singing helped spread the message of Christ. Scholars reckon these early songs were pretty basic—repetitive lines, easy to memorize. They might’ve sounded strange to us today, more like a chant than a melody. 

But it wasn’t all serious—there���s evidence they’d throw in some spontaneous “hallelujahs” or prayers, keeping it real and raw.

By the time the church got more organized, around the 4th century, things started to shift. Enter Gregorian chant, named after Pope Gregory I (though he didn’t invent it). These were smooth, single-line melodies sung in Latin by monks. No harmony, no instruments—just pure, haunting voices echoing through stone cathedrals. 

It was all about focus, drawing people into worship without distractions. That’s the ancient bedrock of Christian music—simple, sacred, and straight from the heart.

Evolution Through the Ages – From Hymns to Harmony

Fast forward a few centuries, and Christian worship music starts to grow some legs. It’s a wild ride through history, with each era adding its own spin. Here’s how it unfolded:

Medieval Era: Think Gregorian chants—those single-line, no-frills melodies sung by monks in Latin. It was all about keeping things solemn and focused, with voices doing all the heavy lifting.

Reformation (1500s): Martin Luther, that fiery German monk, shook things up. He wrote hymns like “A Mighty Fortress Is Our God” in everyday German, not Latin, so regular folks could sing along. Suddenly, worship was for everyone, not just priests.

Revivals (1700s-1800s): The Great Awakenings brought the energy. Songwriters like Charles Wesley pumped out thousands of hymns, and camp meetings had people shouting rowdy, emotional tunes. It was less about quiet reverence and more about stirring the soul.

Gospel Roots: In African American churches, spirituals morphed into gospel—a soulful mix of struggle, hope, and rhythm that could move mountains. It added a whole new flavor to the mix.

Luther’s push for congregational singing was a game-changer, and guys like Isaac Watts in England kept the ball rolling with classics like “When I Survey the Wondrous Cross.” These hymns packed theology into catchy lines. 

By the 1800s, revival vibes and gospel vibes were blending in, showing how worship music could reflect different cultures and times. It wasn’t stuck in one mold anymore—it was alive, adapting, and growing.

The Sound of Faith – Instruments in the Mix

Okay, let’s talk about instruments. They weren’t always part of the deal, but when they showed up, they changed the game. Here’s the rundown:

Early Days (1st-4th Century): No instruments allowed. Early Christians stuck to voices only, partly to avoid pagan vibes, partly to keep it pure. It was all about the words and the heart.

Middle Ages (500s Onward): Organs snuck in. Those massive, pipe-filled machines filled cathedrals with deep, rumbling tones, backing up chants. They became the go-to for centuries—loud, versatile, and perfect for big spaces.

Reformation Split: Not everyone was a fan. Luther was cool with organs, but folks like John Calvin banned them, saying they distracted from the lyrics. It was a big debate—music as help or hindrance?

20th Century Boom: Revival meetings added pianos, tambourines, even banjos—whatever got the crowd going. Then the 1960s Jesus Movement brought acoustic guitars and drums, turning worship into a folk-rock vibe.

The organ ruled for ages, but the 20th century flipped the script. Today, you might hear guitars, drums, keyboards, or even hand-claps and choirs, especially in gospel settings. Instruments didn’t just change the sound—they shifted the feel, making worship more celebratory and personal. 

From solemn chants to full-on jam sessions, they’ve kept the music moving forward.

Modern Vibes – Worship Music Today

So, where’s Christian worship music now? It’s everywhere—churches, radio, even Spotify playlists. The late 20th century birthed the “contemporary Christian music” scene, with bands like Hillsong, Elevation Worship, and Bethel Music leading the charge. 

These groups took the energy of rock and pop, mixed it with faith, and turned worship into an experience. Songs like “Oceans” or “Reckless Love” aren’t just sung—they’re felt.

Tech’s a big player too. Recording studios, streaming, and YouTube mean anyone can share a worship song with the world. Smaller churches might use pre-recorded tracks, while megachurches roll out full-on productions with lights and screens. It’s a far cry from chanting monks, but the heart’s the same—connecting people to God.

Yet, it’s not all smooth sailing. Some folks argue modern worship feels too commercial, like a concert instead of a prayer. Others miss the old hymns, saying they’ve got more depth than today’s repetitive choruses. Fair points—there’s a tension between keeping tradition and chasing relevance. 

Still, the diversity’s wild: you’ve got gospel choirs, acoustic sets, and even rap-infused praise. It’s Christian music doing what it’s always done—adapting to the times.

Conclusion

And there you have it the roots of Christian worship music in all their messy, beautiful glory. From ancient psalms sung in secret to electric guitars rocking packed auditoriums, it’s been quite a ride. 

Each era added its own flavor, whether through chants, hymns, or drum beats, reflecting the people and places it came from. Today, it’s a global tapestry, still growing, still shifting. 

Next time you’re singing along at church or humming a worship tune, think about that history—thousands of years of voices, all joining in one big, timeless song. Pretty cool, huh?

[hiljametsa]

The Usual Beginning

In the Eastern Orthodox Church, most services and most longer series of prayers begin with what is called 'The Usual Beginning' (all but the Divine Liturgy itself starts therewith). It is, in a way, the requisite recognition of and reflection upon the relationship of man to God. Practically, it is a set of somewhat unrelated prayers, concluding usually with an exhortation to the hearers to come and bow before the Lord in worship. It is always as follows:

Priest: Blesséd is our God, always, now and ever, and to the ages of ages.

If the priest is not present: In the Name of the Father, and of the Son, and of the Holy Spirit,

Reader:  Amen. Glory to You, our God, glory to You.

(Not chanted between Pascha and Pentecost): Heavenly King, Comforter, Spirit of Truth, everywhere present and filling all things. Treasury of Blessings and Giver of Life, come and dwell in us, cleanse us from every impurity and save our souls, O Good One.

Holy God, Holy Mighty, Holy Immortal, have mercy on us! (thrice)

Glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and to the ages of ages. Amen.

All-Holy Trinity, have mercy on us. Lord, cleanse us from our sins. Master, pardon our transgressions. Holy One, visit and heal our infirmities, for Your Name’s sake.

Lord, have mercy. (thrice)

Glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and to the ages of ages. Amen.

Our Father, Who art in heaven, hallowéd be Thy Name. Thy Kingdom come. Thy Will be done, on earth as it is in heaven. Give us this day our daily bread and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from the Evil One.

Pr: For Thine is the Kingdom, and the Power, and the Glory of the Father, and of the Son, and of the Holy Spirit, now and ever, and to the ages of ages.

R: Amen.

If the priest is not present: Through the prayers of our holy fathers, O Lord Jesus Christ our God, have mercy on us and save us. Amen.

Lord, have mercy. (twelve times)

Glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and to the ages of ages. Amen.

Come let us worship God our King! (metania, a low bow, after crossing oneself)

Come let us worship and bow down before Christ, our King and our God! (metania)                                   

Come let us worship and bow down before Christ Himself, our King and our God! (metania)

The Usual Beginning is often followed by introductory Psalms specific to the service or series of prayers to be said, as well as occasionally specific hymns (called Troparia and Kontakia), antiphonally connected by "Glory to the Father, etc." and "Now and ever, etc."