Mystical spirituality is not meant to be understood purely intellectually. From the Sufis to the anonymous author of The Cloud of Unknowing, the best mystics understood that mysticism is about experience. I’ve been thinking of this as I’ve listened to the forthcoming release from Joseph Allred.
Joseph’s new LP, New Jerusalem, will drop on October 27th via Centripetal Force records, and, like mystical religion, it’s hard to articulate the effect it can have on you. The trance-inducing sounds of Joseph’s new album transport you to a different state of mind if you’re willing to receive the messages.
Joseph is a talented musician, a painter, a lyrical poet, and a philosopher – a kind of creative polymath whose sounds on New Jerusalem felt like the musical equivalent of a William Blake painting. Joseph spent some time studying theology, and they distill some of their ideas onto the album. You don’t necessarily have to follow the lyrical content to get the message. It’s more so a feeling the music brings.
Allred has released so many albums they’re not sure how many are out there. Most of these creations are rooted in Appalachian folklore, mysticism, and a reverence for the American Primitive guitarist Robbie Basho. Most of Allred’s previous albums had delicate minimalism similar to other primitive guitarists of today and the past, such as William Tyler, Marisa Anderson, and John Fahey. New Jerusalem is an entirely different experience, with a large ensemble sound and Allred composing all the music and playing all the instruments.
“Gathering Flowers for the Master’s Bouquet” feels like a long-lost church hymn with joyous buoyancy. “Their Tears Become Pearls” features Joseph in a grand spoken-word poetry form, conveying their message emphatically like a modern-day prophet. “A Grain of Wheat” returns to the extravagant lyrical spoken word, while “What Strange Flowers Grow Here” offers a Middle Eastern feel in the instrumentation. “The Orchard” is one of the more folksy songs on the album and most similar to Allred’s previous work. “Reprise (A Vision)” features a slightly ominous organ like something from a gothic cathedral. “Wine Song” closes the record in grand fashion, another of Allred’s unique visions.
Joseph’s interest in theology and spirituality have always been themes in their work, but they take a more direct approach in New Jerusalem, tackling their vision head-on and presenting it to listeners. “I’d like for people to pay attention to the words on this one and try to meet me in good faith as I explore some topics that can be uncomfortable,” they said. “Religion makes many of us uncomfortable, but that seems to be a running theme for me.”
The record also ponders the notion of spiritual revelation and how it relates to mental illness. I can relate to this, given that I live with bipolar disorder and have been frightened by some of my “visions” before that were probably delusions and manic hallucinations. The line between genius and madness is thin; some of the greatest past mystics may have been labeled lunatics today. Nevertheless, New Jerusalem offers a glimpse into Allred’s mind, an artist who’s typically soft-spoken and private.
The lyrical approach to New Jerusalem is also interesting. Some of Allred’s previous records included vocals, but not all of them. Allred uses a surrealist method in the lyrics they typically use with their visual art, mixing personal writings with Bible verses, Buddhist sutras, and random scraps of words from some of their visual collage-making. It was all mixed in a big envelope, and lyrics were composed by grabbing handfuls of words and rearranging them, letting the subconscious take over.
While New Jerusalem may not be precisely psychedelic, the experimentation, orchestration, and composition of these eight pieces make it far out spiritually and mystically. This is like George Harrison taking a trip to India and meeting the gurus, except Joseph is likely more well-read.
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