Resources

Sounds of Global Worship II
from Heart Sounds International
reviewed by Greg Scheer

When you think of heaven’s music, do you imagine an angelic choir of millions singing a song that no human has ever imagined? I’m more inclined to think that in heaven, Jesus, our eternal High Priest,
will gather and combine every song that God’s people have ever sung into one perfected, unending hymn.

You can get a taste of this heavenly song when you listen to Sounds of Global Worship II. The CD’s liner notes speak of the recording as a musical banquet. Indeed. Listening to the smorgasbord of songs on the CD brings to mind the words of the Psalmist: “My soul is satisfied as with a rich feast, and my mouth praises you with joyful lips.”

The musical feast begins with a Punjabi language version of Psalm 8 from Pakistan. This song is one of many on the CD that document local churches around the globe finding their own voice in worship. Unlike previous missionary initiatives that attempted to win converts to Christianity and Western culture, Heart Sounds International (a ministry of Operation Mobilization) encourages non-Western churches to find their own unique way of singing God’s praise using indigenous music genres. Among the music styles that we encounter are throat-singing from Mongolia, ululation from South Africa, call and response from Ethiopia, and polyrhythms from the Congo. Each of these is a unique gift that is laid at the feet of Jesus.

Many of the songs on the CD have grown from evangelistic efforts. For example, in “He Took Our Burdens,” Millet believers from Bulgaria use a distinctive mix of a Turkish vocal style with a modern rhythm section and synthesizers to convey the life-giving message that “He took our burdens, He took our sins, He left endless peace, God's Son.” Similarly, “If You Want It” from Senegal uses the indigenous kora (African 21-string lute) and an Afro-pop groove to preach a message of faith, and the Arabic “I Turn” from Sudan speaks of seeing the world in a whole new way after trusting in Jesus. Then comes the danceable testimony song from Brazil called “Transformation”: “I'll tell you how my life was—all I thought about was beer, girls and samba. One day in my way I met Jesus. Now I don't drink, smoke or womanize. I belong to Jesus.”

One of the most interesting things about the recording is the way many of the songs combine indigenous and Western music styles. Most striking are two songs from Mongolia. The first, “He Who Sits on the Throne” could easily pass as a rock anthem by Scorpion until the singer enters in the Mongolian language and vocal style. One of my favorite tracks on the CD is the Mongolian “Sacrifice of Love.” In this stunningly beautiful pop ballad, the horse-head fiddle provides a haunting counter-melody to a female vocalist who makes pop princesses like Celine Dion sound pallid. Other songs show the influence the Western hymn has had on Christians throughout the world. Though songs like “We Were in Darkness” from Senegal and “Holy Is the Lord” from Guatemala have clearly been influenced by Western harmonies, this is hardly a mindless rehashing of Western ideals. Instead, these worshiping communities have matured to a point where they have synthesized their musical influences into entirely new musical genres.

There is so much more to commend this CD: children leading worship, generations singing together, and music growing from deep community. The kind people at Heart Sounds have also made lyrics and translations available at their website.

If you want a taste of heaven, listen to Sounds of Global Worship II. Hear how believers from every tribe and nation are praising God. Then join in the song.