Sinead O'Connor: Theology

Label: Koch
Sound/Style: Idiosyncratic mix of meditative, religious-themed folk and alternative pop

By Steve Morley

On her latest recording, Theology, the controversial Irish singer Sinead O’Connor sets out to make a full-length spiritual statement. She’s notorious for the ones she’s already made, including tearing up a picture of Pope John Paul II on live television and being ordained by an independent offshoot of the Catholic Church. Her new music draws heavily from the Old Testament, yet O’Connor impulsively veers into territory that, while not heretical, is at the very least extra-biblical. And, speaking of extra, almost every selection appears in two versions. The alternate takes feature added instrumentation, though not always to improved effect. Musically, disc one is mostly subdued and entirely acoustic, with an ancient English folk flavor that ranges from pleasantly meditative to droning and discordant.

The intimate acoustic setting inspires several warm, flowing vocal performances from O’Connor, who waxes reverently on tracks like "Whomsoever Dwells." In typical Sinead style, though, she mars the otherwise devotional song with the use of mildly crude language, assuring the listener that "He will save you from the fowler’s trap, and He will save you from any Babylon crap."

The testament to God’s power to deliver contained in that lyric contradicts her claim in "Out of the Depths" that the Creator has been taken captive by man-made religion, a theme that underlies key tracks. She attempts to debunk the notion of a fearsome God, presumably to liberate those who interpret God's holiness as too intimidating for personal relationship. O’Connor’s apparently cushy comfort level with her Maker leads to some questionable theology at times, some based on the 2005 statement that her mission is "to rescue God from religion." ("And it seems to me you’re hostage to those rules/ That were made by religion and not by you/ And I wonder will you ever get yourself free?/ Is it bad to think you might like help from me?")

The singer’s recent flirtation with the Rastafarian faith—best known for its association with reggae music and artists like Bob Marley—appears in her reference to the Almighty as "Jah," a choice that can make otherwise traditional Scripture sound slightly alien. ("May the glory of Jah endure forever/ The boughs of the mighty are broken and the weak are clothed with strength.")

The drum-and-bass-dominated version of "33" has a tribal, semi-reggae feel better suited to her Rastafarian slant, but the singer goes off the rails in ways that are almost comic alongside the Old Testament language. While in mid-worship, O’Connor suddenly exhorts a fellow musician to "turn up your bass amp, whack it up all the way to save him." It’s as though O’Connor can’t resist taking the wind out of the fleshly pomp that has been connected to formal religion since the first Pharisee began washing only the outside of his cup. From that angle, she does succeed in making God more accessible to those who are put off by tradition, even if it means positioning herself as a free-styled spiritual consultant. O’Connor’s attempts to break down ritualistic barriers result in some worthwhile and even devotional moments, yet her personalized path on Theology affords a restricted view of the God she seeks to reveal.

Audio Clips

"Something Beautiful"

"We People Who Are Darker Than Blue"

"Out of the Depths"

"Dark I Am Yet Lovely"