"The Stockholm Syndrome" is the term given to the behavior of kidnap victims who, over time, become sympathetic to their
captors. In Derek Webb's world, the people who have Stockholm Syndrome are those who chose to continue hating
others rather than abandoning their prejudice. The premise for Webb's fifth studio and most 'important' project only begins to
set the tone for one of the most skillful and edgiest project I have heard in Christian music.
Although Webb has now thoroughly defined himself as a solo artist, over the years he hasn't strayed far from the acoustic/folk
rock template that Cademon's Call (Webb is a departed member) has used for years. But now, since he admitted he is bored of
acoustic music, Webb takes the Stockholm Syndrome on a totally different path than fans are traditionally used to as he
experiments with synthesized beats and electronic pop. Driven by an acoustic guitar, "The Proverbial Gun" is one of the few tracks
which doesn't incorporate a major techno influence, but toward the ballad's finish, the tune does take on a light electronic
flavor. Only the acoustic, piano-fueled finale "American Flag Umbrella" and the solid ballad "The State" avoid significant
Webb's transition to the electronic flavor, while not perfect, improves the album and proves Webb's creativity can extend
beyond folk rock. However, Stockholm Syndrome hits its bumps early with the awkward base in "Black Eye," but Webb turns
the song around with its soft, but melodic chorus. The 80's, techno-flavored pop tune "Jena And Jimmy" is good, but "I Love/Hate
You" contains a more artistic stroke with the great beat and clever ending hooks. The album could have done without the pop rock
(with a hint of hip-hop) "The Spirit Vs. the Kick Drum," and the surprisingly similarly structured "What You Give Up To Get It"
doesn't really compliment Webb's creativity. With the exception of the previously mentioned songs, Webb does a remarkable job of
offering plenty of listenable, diverse tunes and even adds an epic atmosphere to a few songs, like "Becoming A Slave," which features
an innovative interjection of bells to go along with his stellar vocals and a haunting piano. The only drawback to "Becoming A
Slave" is the awkward ending which is so out of place and smoothless that it leaves Webb's final word hurting the formula of the tune.
Even though both Webb and INO records agree that the battle for 'artistic freedom' wasn't a publicity stunt, it can't be said
that the controversy leading up to Stockholm Syndrome's release wasn't a great way to raise interest for his disc.
Webb's and INO (whose roster includes MercyMe, Sara Groves, Disciple, Todd Agnew, and many other artists firmly cemented in CCM)
struggle over "What Matters More" and the harsh profanity enclosed on the track delayed the release of Stockholm Syndrome.
But the issue was ultimately settled when the two parties decided to release the album under the label without the song
(while Webb offers the full, unedited fourteen track version on his website). But, although Webb's insistence to speak his mind
may cause tension, insightful songwriting often manifests itself through controversy. And throughout his solo career and clearly
on Stockholm Syndrome, it's pretty obvious that controversy has been his friend.
Since Webb has already given up on any saviors on Capitol Hill, in an age where big government is growing, it's not
surprising to see Webb nostalgically reminiscing on "The State" on days when 'There was no government without our consent'
when we can now do 'the things that offend me' even though Webb knows it's still wrong ('Right and wrong written on my
heart, not just in the laws that condemn me'). Webb also takes a conservative position when he sets standards for
"agents of the law" saying they 'should always be blind and on time/so there's freedom for everyone.'
"Cobra Con" encourages perseverance and love to win out conflict while making a reference to the folly of asking God to bless
us in our sin.
Webb speaks of God and spiritual things often, but he never quite brings out hardcore Biblical theology, much less any kind
of praise and worship music. In fact, Webb's humorless picture of "Heaven" contains depictions never seen in the Book.
After being killed, Webb describes a homeless man who remains homeless and hungry after getting to a rather chaotic depiction
of heaven. When Jesus Christ does arrives on the scene, He is seen in his bullet proof car to make sure 'everyone is safe/From
the man who tells the truth.' Also, on "Jena And Jimmy" Jimmy's method of presumably trying to get in bed with Jena
involves giving her multiple rounds of alcohol at an anti-war protest ('Before she knew it she was up on his chopping block and
he was flagging down a taxi'). Other non-explicit sex references surface periodically, and the word "hell" is used as a
profanity on "The Proverbial Gun."
Although the rhythm of the heavily electronically based "What Matters More" has a little repetitive beat, the overall
swift and fairly catchy track really doesn't sound like a controversial song. But the unmistakable profanity that appears includes
the use of the word "d**m" and another harsh profanity (hint: Webb uses it to rhyme with 'sit'). It will be interesting
to see how Webb justifies using a word that can't be used around most areas of television and why Webb, a committed Christian,
would be using the foul word at all. Speculation has arisen that Webb's use of the "s-word" is to attract attention to the song's
lyrics, but the unnecessary use of foul language is what really takes center stage on "What Matters More." On the actual lyrics
of the song (because being controversial once in a lone song isn't enough) Webb tackles Christian 'hatred and mistreatment'
towards homosexuals. The really good thing about this song is that it points out hypocrisy, and it brings to mind our duty to the
lost (In Webb's words: 'Denyin' all the dyin' of the remedy') along with reminding all Christians not to get hung up
about the wrong things when '50,000 people who are dyin' today.' Fred Phelps, (who hated homosexuals among many other
people) is Webb's extreme example of Christian haters in the 1950s throwback "Freddie, Please."
Virtually every song on Derek Webb's album has something thoughtful to say, and it could be said that all of his tracks are
really angled at the Church. But the most disconcerting element on the Stockholm Syndrome is not the music or even so
much the profanity but Webb's disturbing theology which surfaces multiple times throughout the album (and not just on
"What Matters More"). The Stockholm Syndrome is a deeply creative and deeply troubled album which is likely not
worth what you give up to get out of it regardless of what version you pick up.
- PReview date: 7/15/09, written by Nathaniel Schexnayder of Jesusfreakhideout.com
From Caedmon's Call to numerous musical projects, Derek Webb has been around the music scene for quite
some time. That being said, I doubt that anything that he's been a part of will leave as much of an impression as
Stockholm Syndrome will. Throughout the fourteen track album, Derek keeps the beats slower than usual,
the elements unique as ever, and the lyrics as blunt as they can get. Being a Christian, I understand what his intended
message is, but I doubt that others will get it so easily. The lyrical content seems to be screaming at believers to stop
acting worldly, but there doesn't ever seem to be a resolution or an offering of help. Unfortunately, the message seems
hidden in negative lyrics that often say the opposite of what you would want to get stuck in your head. Lyrics such as
"Oh I have been to Heaven and I found no relief" just don't do much for me. The album is purely negative and I
doubt that much of the Christian music world (including myself) will accept Stockholm Syndrome as playable –
And that's before they get to hear the profanity.
- Kevin Hoskins