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For each period in the timeline, Jeff will join Fr. Unlike any other Bible podcast, Ascension’s Bible in a Year podcast follows a reading plan inspired by The Great Adventure Bible Timeline, a ground-breaking approach to understanding salvation history developed by renowned Catholic Bible scholar Jeff Cavins. Mike Schmitz walks you through the entire Bible in 365 episodes, providing commentary, reflection, and prayer along the way.
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Widowspeak are touring the US and Europe in October and November.In The Bible in a Year podcast, Fr. We kept it sparse, because that’s how it always felt to me: kind of lonely. The lyrics are great: “soft dive of oblivion” … The first Third Eye Blind record was the first CD I ever bought for myself, like with my own money, and I listened to this song way more than “Jumper” or “Semi-Charmed Life.” I sort of always gravitated towards the melancholy, even as a younger person who didn’t really understand what it was about. Hall track in our house, for a 7″ … They both felt like they came from a similar mood or place as each other, and sort of as the album. We were coming off making the album, and we recorded this and a Tom T.
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Here’s what Widowspeak frontwoman Molly Hamilton had to say about the EP in general and “How’s It Going To Be” in particular: “How’s It Going To Be” is featured on a new 7″ called Two Covers. Widowspeak just released a new LP, All Yours, which is out now via Captured Tracks. It’s a sincere and wondrous reimagining of a song that deserves such treatment, capturing the ambivalence, sadness, and sepia-toned beauty of the source material, while viewing all of it through a whole new lens. Widowspeak don’t deal in the sort of widescreen quiet/loud dynamics favored by Third Eye Blind, but their minimalist tools serve the arrangement well, and their cover manages to scale the same heights as did the original. “How’s It Going To Be” is a melancholy piece of music to begin with, but in Widowspeak’s hands, it’s legitimately bleak: The central riff now brings to mind a warped-tape early recording of the Velvet Underground’s “Sweet Jane,” and the duo’s Robitussin-sweet vocals recall the depressive ambiance of Mazzy Star or early Low. Today, the Brooklyn dream-folk duo Widowspeak share a cover of that song, slowing it to the pace of a funeral march and stripping it to its ghostly essence. The song is elevated to excellence on the strength of 3EB frontman Stephan Jenkins’ contributions: his melody and vocal performance - both of which are Stipe-ian in their understated force - and his vivid lyrics (“I don’t see lightning like last fall/ when it was always about to hit me”), all of which combine to achieve something far greater than the sum of their fairly estimable parts. The album’s best song is its second single, “How It Going To Be,” a richly rendered, indulgently somber power ballad about the moments before a toxic romantic relationship is put to death, as one of its participants reflects on what is being sacrificed, what will follow, and whether it’s worth it. Still, the band seem to be remembered as a goofy guilty pleasure rather than an artistic unit of real value, which is too bad: Third Eye Blind is not only leagues above the genuinely disposable detritus of the era, it’s actually aged better than a bunch of ’97’s critical darlings. 3EB’s self-titled 1997 debut album went 6x platinum and spawned five singles, all of which featured high-impact, earwormy emo hooks belied by some dark-as-fuck lyrics. I’m not sure Third Eye Blind are necessarily due for widespread reappraisal, but I can’t think of many other bands whose critical recognition (or lack thereof) is so incongruous with their actual music.