CD Stockholm Syndrome [Derek Webb] (CD 4678548),
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Stockholm Syndrome [Derek Webb]

  • 1. Opening Credits
    2. Black Eye
    3. Cobra Con
    4. Freddie, Please
    5. Spirit vs. The Kick Drum, The
    6. State, The
    7. Proverbial Gun, The
    8. I Love/Hate You
    9. Becoming a Slave
    10. Jena & Jimmy
    11. Heaven
    12. What You Give Up to Get It
    13. American Flag Umbrella
  • Additional Info
    Manufacturer Part Number (MPN): 8869754009

  • Credits
    ProducerDerek Webb; Joshua Moore
    EngineerDerek Webb; Joshua Moore

    Personnel: McKenzie Smith (drums).
    Audio Mixer: Joshua Moore.
    Recording information: Fort Sumner Studio, Nashville, TN; Pozo Hondo Studios, Round Top, TX; Sumner Studio; The Moore House, Houston, TX.
    Photographer: Aaron Greene.
    Even prior to its official release, some critics were referring to Derek Webb's album STOCKHOLM SYNDROME as one of the most important Christian records ever released. An agitator in the mold of the great Larry Norman, the ex-Caedmon's Call vocalist made a habit of calling out all manner of Christian hypocrisy throughout his career. On this 2009 release, though, Webb allowed his rebellious nature to extend beyond his politics into his art. Part Beck, part Mitchell Froom, part Radiohead KID A, STOCKHOLM SYNDROME represents a significant break with Webb's previous, pop singer-songwriter-style work, instead delivering a cut-and-paste collage of loops, found sounds, and jarring synthesizers that underscore the hard questions and frequent sense of alienation represented by the album's lyrics. Songs such as "What Matters More" and "Freddie Please" are frank criticisms of evangelists' mixed messages regarding faith and homosexuality, and they match challenging points of view with skittering, Moby-like electronics and, in the latter case, a loping, computer generated, 1950s ballad-like backing which features a disjointed, amateurish guitar solo. Throughout, the record is unnerving and off-kilter, consistently challenging listeners to simultaneously re-examine their ideas about Christian music's stylistic boundaries and the practice of Christian faith itself.

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