Hailing from New York’s Hudson Valley, the not-at-all-preachy, not-too-serious-but-seriously-concerned pop rock duo New Middle Class returns with their latest album, Arguing with God. In this new collection of occasionally XTC-leaning musings, the award-winning musicians reflect on things spiritual, but realize the depths and tenacity of their philosophical exploration yield only more questions (and perhaps crash soundlessly into the boundaries of human existential comprehension). Ready for New Middle Class and their musical wrestling with life, death, and the meaning (or imposed meaning) behind it all? Let’s listen, and talk about it.
Wait. Who does what?
The very married New Middle Class is Barbara Borok (vocals) and Mike Borok (vocals, guitars, bass, keyboard, mandolin, harmonica, percussion, programming). Mike writes ‘em, and the duo expresses ‘em.
Bonus band members featured on Arguing with God: Utilizing the Musiversal service, Barbara and Mike collaborated with musicians hailing from various corners of the world, including South America, Europe, Africa, and Asia.
And what’s the meaning, the inspiration behind, and/or the intent of Arguing with God?
Per the musicians: “New Middle Class looks at life and death (and beyond) from different angles.
Maybe we walk a spiritual road between faith and doubt. Arguing With God could be this journey’s soundtrack.”
Listening, and talking about it (i.e., hitting the highlights).
Arguing with God begins with, well, “Arguing with God.” It’s soft acoustic guitar, vibes, light organ, and layered in places with punctuating harmonies. It introduces the album’s conceit: a presentation of all the big questions with no apparent answers given. It’s clever, catchy, relaxed but dynamic – a successful, finger-snapping album opener.
“Oh, Lord! (a Vision)” features Mike on vox (a baton passed from Barbara). It’s a slightly diabolical voice teeming with rebellious attitude, and a ‘70s-ish rock song that postures a bit while sharing a heavenly vision – but it softens in places with cool wind harmonies while maintaining its sleeveless skepticism. What a great track!
“Blind” is quiet with acoustic guitar. Mike tells the story of God’s presumed disappointment, and does so with brief string rushes and logical deductions many prefer not to face. It’s a shorter moment put to music, and presents its doubts intelligently without a singular moment of venom-dipped down-talking.
“After the Afterlife” is a quirky number that casually (and humorously) asks what comes after the big after. Barbara takes the lead, and her voice is an interesting blend of Karen Carpenter and Olivia Newton-John; it’s easy, devoid of any forced melodrama, supportive, and lullaby-at-night soothing. Backed by acoustic guitar, string synths, and some industrial percussion, the song simply asks, to paraphrase…what comes next? Where, truly, is the answer (since the existence of death makes one wonder “why?” quite often)? This one is especially clever, and perhaps mocks the expectations of a grand revelation that may never come.
“The Choir” is a personal favorite. With dramatic piano, and a slightly more dramatic Barbara, it features beautifully layered and bending harmonies. It’s a shorter one, but packs a considerable emotional punch before spending its energy completely and respectfully dismissing itself.
“Softer than Bullets” features acoustic and sliding, supportive, jet-engine-amped electric guitar. Barbara takes the lead as the song effortlessly navigates genres, vacillating between something quiet/soft rock-ish to the subtle trappings of a ‘70s southern rock anthem. It’s another quick one; it states its conceits, whispers its collective thanks, and bows while the curtain quietly drops.
Album closer “Land of Love” is pulling for a particular version of the afterlife – an eternal land suffused with absolute love. And this makes sense, considering love is a mortally perceptible, pervasive emotional experience that could actually assure perpetual peace. It’s undying, and as the grandest human power we hold, it could potentially share this immortality and carry us into infinity. With country flourishes, flowing-from-the-fields vocals, and a graceful piano pop presentation, “Land of Love” is the comforting, hopeful closer this album deserves.
But is it good?
Arguing with God, a concept album of sorts with its unifying, perplexed-like-the-rest-of-us themes regarding the meaning of life cast against ostensibly cruel impermanence, is a big swing, and a HUGE win. Thematically, lyrically, musically, emotionally – it takes on humanity’s biggest questions, and…successfully doesn’t answer them (because the necessary data simply isn’t there; we’re a little lost, a little alone, and forced to find what makes sense – and go with it). And, according to New Middle Class, the solution, ultimately, is love. “Is it good?” It’s great, and this greatness occurs regardless of life’s perhaps cognizant obfuscation – because we’re able to cleverly glean just enough individual purpose, and simply enjoy the ride. HIGHLY recommended.
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