The soundtracks of Christendom…and post-Christendom.

This article is part of a series. Click here to read previous instalments.

Last week we saw that humans are designed to be musical creatures and that music is a powerful gift that can be used for good or ill. We saw that it is both an expression and a shaper of human culture – such that what is popular, musically speaking, will always reflect a society’s spiritual condition.

With this in mind, let’s step back in time and consider, in broad terms, how Western music has developed up to the present day.

The Sounds of Christendom

It is difficult to overstate the influence that Christianity has had on the development of Western music – and always in a way that has reflected the state of the Church. In medieval and Renaissance times, when the Bible was still in Latin and religion was largely the domain of priests and monks, a clear division existed between the [Catholic] Church and the people. Accordingly, music was also divided quite neatly into sacred (i.e. church) and secular (i.e. folk, entertainment) traditions, the latter of which varied in its reverence for God and often referenced pre-Christian, pagan themes.

With the Reformation, all of this changed: faith suddenly became available to the masses – a matter for communal discussion, meeting, sharing and singing. Europe’s culture was fundamentally reshaped by Protestantism – and committed Lutherans like JS Bach and George Frideric Handel carried this into their music, devoting their lives to composing expressly for God’s glory.

It is difficult to overstate the influence that Christianity has wielded on the development of Western music.

This meant that through the 17^th and 18^th Centuries, Europe’s musical landscape (just as with its art and architecture) benefited from a broad cultural backdrop of biblical belief. As such, both Baroque and Classical music¹ developed an appreciation for order and the beauty of form.

Music of those centuries reflected Enlightenment ideals, yes, but also the assumption that the universe was divinely ordered and designed to be both functional and beautiful, to the glory of God. Right up until the 20^th Century, the devil remained a macabre figure, referenced in jest or as a nemesis.

20^th Century: Post-Christendom

But as Europe abandoned its Judeo-Christian moorings particularly after World War II, so trends in art, philosophy, architecture and music all tended to reject the former beauty of classical order, in favour of the ‘postmodern’ and ‘avant-garde’.

In music, orderly and even phrases were rejected in favour of abstract forms. Harmonious chords were replaced with dissonance. Just like society, music became disillusioned and cynical.² Instead of music proudly composed to the glory of God, postmodern composers like Alexander Skriabin declared themselves god and dabbled freely in the occult.³

Meanwhile, as ‘popular’ music and culture departed from broadly ‘classical’ music into jazz, rock and pop, and from there exploded into innumerable sub-genres, so these too have become expressions of their background culture: a society embracing anything but Christianity.

Whatever the genre, as people have forsaken a biblical worldview, and as the mass media has exported music to millions in a very short space of time, so the enemy has moved in to fill the spiritual vacuum and wield music’s power to influence the lives of people all over the world.

1960s-1980s: The Popularisation of satanic Music

There has been much debate about how first blues and jazz, and then rock and roll, formed part of a wider rebellion against Christianity and its moral moorings. However, I will jump on here to the deliberate infusion of occult themes into popular music from the 1960s onwards, in tandem with post-war ‘liberation’ movements (political, sexual, drug-related, etc).

Through the 1960s, thanks to celebrity interest in occultists such as Anton LaVey and Aleister Crowley, the idea of paying homage to satan through popular music really took off.

Through the 1970s and 80s, in a drug-fuelled haze and helped along by the new age influence of Brian Eno (a self-confessed ‘evangelical atheist’ with a hatred for Israel but a big influence in the music industry), occult imagery and new age/satanic references in pop and rock music became quite fashionable.

As Europe abandoned its Judeo-Christian moorings particularly after World War II, so trends in art, philosophy, architecture and music all tended to reject the former beauty of classical order.

Whether or not artists really believed in what they were referencing (I think both God and satan have taken it very seriously, even if they didn’t!), there is plentiful evidence to suggest satanic influence on many high-profile bands and artists, ranging from 60s rock-and-rollers like Jerry Lee Lewis and Little Richard to iconic groups like The Beatles, The Rolling Stones and Led Zeppelin; from rock bands like The Eagles, U2 and AC/DC (of Highway to Hell fame) to megastars like Jimi Hendrix and David Bowie.

Led Zeppelin logo, making use of occult imagery. See Photo Credits.Alongside this rose heavy metal and ‘death metal’ music, with bands such as Iron Maiden, Judas Priest and Black Sabbath, and later Metallica and Megadeth, all professing occult allegiances. By the late 1980s, this part of the music world had grown so dark that it involved on-stage rituals and the glorification of satanic violence, including rape and murder.

As part of this, there are many stories of musicians genuinely selling their souls to the devil to ensure success, ‘channelling’ demons whilst onstage and ‘receiving’ songs whilst on drugs. Just a few examples:

• "Someone else is steering me. I'm just along for the ride. I become possessed when I'm on stage." (Angus Young, AC/DC)⁴
  
• “I was directed and commanded by another power, the power of darkness, the power of the devil, satan.” (Little Richard)⁵
  
• “I can explain everything better through music. You hypnotise people and when you get people at their weakest point you can preach into their subconscious what we want to say.” (Jimi Hendrix)
  
• “I wanted to marry Lucifer. I don’t consider Lucifer an evil force. I feel his presence in the music. I feel he comes and sits on my piano.” (Tori Amos)
  
• “I’ve sold my soul to the devil. But my joy is when you’re like possessed, like a medium…I’ll be sitting around and it’ll come in the middle of the night or at a time when you don’t want to do it – that’s the exciting part. I don’t know who the *** wrote it, I’m just sitting here and the whole *** song comes out. So you’re like driven and you find yourself over on a piano or a guitar and you put it down because it’s been given to you...” (John Lennon)
  

How far we have fallen since Handel’s Messiah!

There is plentiful evidence to suggest satanic influence on many high-profile bands and artists.

Millennial Pop

Through the 1990s and 2000s, heavy occult rock grew less fashionable as an expression of youthful rebellion against the status quo (though it has never lost its cult following). It was replaced by narcissistic pop, hip-hop and R&B club tunes, pushing messages about personal indulgence, sexual consumerism and, latterly, aggressive feminism – again, reflecting the spirit of the age.

However, through the superficial glitz of 21^st Century me-centred, licentious pop, occult overtones have not been absent. Mega-stars like Lady Gaga, Katy Perry, Nikki Minaj and Iggy Azalea are just a few household names, followed avidly by millions of teenage girls, who have carried occult or pagan themes into their music and videos. And who can forget Beyonce’s pregnant performance at last year’s Grammy Awards, when she ‘channelled’ a variety of African and Indian fertility goddesses onstage.⁶

Alongside this, electronic dance music (EDM) genres such as house, drum-and-bass and trance have continued the satanic themes of earlier heavy metal, including intense volume (said to induce depression, rebellion and aggression), repetitive rhythms designed to empty the mind, and builds and releases intended to mimic sexual activity.⁷ These kinds of music have carried late-20^th Century rave and drug culture into the millennium and beyond.

Whether we are considering the satanic rock music played at the Bataclan Concert Hall in Paris in 2015 (and, according to Pastor JD Farag,⁸ a recurring influence in the lives of American teen shooters), or the disgracefully immoral lyrics of pop stars like Ariana Grande (who performed at Manchester Arena before the attack last May), we begin to see just how extensive the satanic foothold on the music industry is – and how intently focused it is on shaping the minds of children and teenagers.

Whilst not all music written and performed by non-Christians is necessarily evil, it is certain that the enemy has been given plenty of room within the industry at large. This is simply a result and reflection of the spiritual state of wider society.

There are many stories of musicians genuinely selling their souls to the devil to ensure success, ‘channelling’ demons whilst onstage and ‘receiving’ songs whilst on drugs.

Discernment Needed

This has been a very sweeping analysis and I am aware that there are plenty of anomalies that don’t fit with the broader trends outlined here. That’s why there is great need for discernment in these days, for ourselves and for our loved ones.

The average Briton listens to 3,500 songs per year and spends more than 1/10 of their waking hours listening to music, according to a recent study.⁹ For 18-24 year olds this rises to a whopping 3½ hours of music per day. Christians need to wake up to the music we are allowing to become the backdrop of our lives.

We know that how we use our bodies is important (1 Cor 6:19-20). With our bodies we can glorify God, or we can rebel and be defiled. Just as it matters what we let pass in front of our eyes (Ps 101:3) and what we let come out of our mouths (Matt 15:11), so it matters what we allow to go into our ears (and the ears of our children and grandchildren), how we dance and, if we are musical, what we play. God calls us to focus on “whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable…excellent or praiseworthy” (Phil 4:8).

With this in mind, next week we will consider how the spirit of the age has infiltrated modern worship music.

References

1 Generally accepted dates for the Baroque period in music are 1600-1750, and for the Classical period 1750-c.1810.

2 E.g. see here.

3 See here.

4 Hit Parade, July 1985. Quoted here.

5 Taken from JD Farag’s update of 18 February, Youtube. All subsequent quotes likewise.

6 For a detailed analysis of the symbolism employed in Beyonce's performance, click here.

7 I am indebted to this article for the details about rock music's components.

8 See note 5.

9 See here.