Proxy Worship Band
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From Wikipedia, the free encyclopedia
For disambiguation and other uses, see Proxy .
This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Proxies" band – news · newspapers · books · scholar · JSTOR ( June 2020 ) ( Learn how and when to remove this template message )
Proxies at Reading Festival in August 2012.
^ Proxies announce new member Joshua Rumble , May 2011
^ "ROCKSOUND: Proxies release new video". {{ cite web }} : Missing or empty |url= ( help )
^ "BBC - BBC Introducing: Proxies". {{ cite web }} : Missing or empty |url= ( help )
^ "Fearne Cotton to debut Proxies first single on BBC Radio 1". {{ cite web }} : Missing or empty |url= ( help )
^ "Proxies Radio 1 debuted delayed by Katy Perry's tardy live lounge". {{ cite web }} : Missing or empty |url= ( help )
^ "Patrick Stump's debut UK show with support from Proxies" . Glasswerk.
^ "Hit The Floor Blog - Proxies Hadouken Tour News" . Hit The Floor Magazine.
^ "Proxies and Metronomy live at Thekla" . Retrieved 15 April 2011 .
^ "Proxies profiled with show listings at NME" . NME Magazine.
^ "HMV Official Updates: Next Big Thing with Hadouken & Proxies" . HMV.
^ "NME - Missing Andy & Proxies to play Club NME" . NME.
^ "NME - BBC Introducing line up for Reading & Leeds announced" . NME.
^ "Relentless Energy Sessions line up announced for Boardmasters" .
^ "Proxies to play Redfest 2012" . Redfest.
^ "BBC - Merthyr Rock stages announced" . BBC.
^ "Rock Industry News: Proxies" . Rock Industry.
Wikimedia Commons has media related to Proxies (musical group) .
Proxies were a British alternative rock band that combined many styles of rock and electronica , founded in Yorkshire , England in 2010.
Proxies was founded in the summer of 2010 by songwriters Jordan Fish and Joseph Todd, initially under the name Loki. When Loki began to gain attention quickly through the use of social media platforms such as Twitter , Tumblr and Facebook , Fish they announced that they had changed the name of the band to Proxies and simultaneously released all the demo tracks the band had previously recorded in the form of free downloads. Proxies collaborated with musician / hacker ytcracker for their first demo under the new alias, in which ytcracker references the name change.
In autumn 2010, it was revealed that Jordan's childhood friend, and drummer, Alex Binnington, had joined the band and Proxies performed their live debut as guests for select dates on English rock band Canterbury 's tour, followed up by acting as direct support for Hadouken! 's concerts scheduled between the band's dates on Pendulum 's Immersion Tour . The band have continued to use social media outlets to promote themselves, and have garnered a considerable following online, [ citation needed ] particularly through Fish's Twitter account, which was often used to make free downloads directly available, bypassing conventional methods.
On 2 May 2011, Proxies debuted their current line-up with a live bassist at London 's Monto Water Rats venue while performing as direct support for Patrick Stump . On 22 May, it was announced that Joshua Rumble had joined as a permanent member of the band. [1]
The band's first single, "If I Had A Penny To My Name", featuring vocals from friend of the band Sean Smith of The Blackout , was debuted on BBC Introducing Humberside on 13 November 2011. Shortly afterwards, a video compiled from footage videographer Jordan Green filmed while spending ten days with the band, including clips of the band playing live, behind-the-scenes studio footage of recording the track with Sean Smith and Gareth McGrillen , and also brief clips of Fish with British singer-songwriter Ed Sheeran , was released [2] as the official video for the single.
It was announced that "If I Had A Penny To My Name" would be playlisted on BBC Radio 1 as part of the BBC Introducing program. [3] It was to receive its debut national airplay on Fearne Cotton 's radio show on 19 March 2012, the same day that the track will be released for purchase; [4] however the same day's show included a special Live Lounge for pop singer Katy Perry which overran until the end of the show, [5] causing Proxies debut to be rescheduled. The track was finally debuted on Scott Mills ' Radio 1 show on 20 March 2012.
From 9 May 2013 the band appear to have split up. They shut down their various social media outlets and website and signed off cryptically via their Twitter. Jordan Fish posted the same image of Harry Houdini hanging upside down as Gerard Way had previously when My Chemical Romance announced their split.
However, another band page at stopdreaming.co.uk appeared soon after this, with the linked Stop Dreaming Facebook page indicating Jordan Fish, Alex Partington, and Joe Todd as band members. There have also been numerous tracks on SoundCloud that hint towards the bands, a track called "Chimera (Demo)" released in June 2014 by user joerobot tagged with "#proxies", whilst three new tracks with Stop Dreaming artwork have been posted under a collection titled "whatever, forever" in 2013 by user jmfish.
Proxies have toured and performed with the likes of Kids In Glass Houses , Patrick Stump , [6] Hadouken! , [7] The Blackout and Metronomy [8] as well as performing a series of headline shows in Summer 2012. [9] In February 2012 Proxies also performed as part of HMV 's Next Big Thing. [10]
In April 2012, NME Magazine announced that Proxies would play Club NME at London's Koko in June. [11]
Proxies joined the festival circuit in 2012, completing a series of festivals around the UK including Reading and Leeds Festival , [12] Boardmasters , [13] Redfest , [14] Y Not Festival, Merthyr Rock, [15] Underground Festival and Takedown Festival. [16]
Joseph Todd Jordan Fish Alex James Binnington Greg T Brown Alex James Partington
"If I Had A Penny To My Name (ft. Sean Smith )"
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Thom Schultz is an eclectic author and the founder of Group Publishing and Lifetree Café. Holy Soup offers innovative approaches to ministry, and challenges the status quo of today’s church.
© Group Publishing, Inc. All rights reserved. No unauthorized use or duplication permitted.
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Darwin and Christine reached their limit. Their church’s worship leader recently raised the band’s sound levels to the point that Darwin suffered ear pain and headaches.
The couple met with their pastors to request that volume levels be reduced to former levels. Instead of a lowering of decibels, the church offered the congregation free ear plugs to block the sound.
After 19 years of faithful membership in this church, Darwin and Christine reluctantly left. They’re looking for a new church where they feel they can participate in worship. It’s not the style of music that bothered them. They like contemporary worship music. It was the loudness that sent them out the door.
For this week’s Holy Soup podcast , I talked with Phil, the worship leader at that church. He defended the sound levels, which he said typically rise to 95 decibels (approximately the loudness of a jackhammer at 50 feet).
That’s loud. So loud that it hampers congregational singing. A new scientific study from Dr. David Gauger, music professor at Moody Bible Institute, found that such sound levels discourage congregational participation. “When you get above 90 decibels, it drops off dramatically,” Gauger said. “They do not feel they can worship. They cannot hear their own voice. They do not feel supported.”
Listen to my conversation with Gauger–and with Darwin and Christine and worship leader Phil– here on the Holy Soup podcast:
Gauger’s study determined that too-soft music also deterred congregational singing. When sound levels were kept below 70 decibels his subjects did not feel confident to sing along. The participants determined that the optimum sound level for singing was 81 decibels.
But many worship leaders today prefer to amplify the musicians much higher. I recently measured the levels at a large New York church. The sound regularly peaked above 100 decibels–in the middle of the room. I noticed few people were singing along. It was a loud concert atmosphere. What’s the goal here? Gauger said, “Concerts are great. But we can’t call it worship if we (the congregation) aren’t doing anything.”
So, why do musicians and sound technicians insist on elevating the sound levels beyond what many find bearable? They, like Phil, seem willing to lose people who can’t tolerate the noise. But, I’m curious, what are they afraid of if they’d reduce the volume just a bit? Do they fear that people would get up and bolt for the doors, screaming, “I can’t stand it in there! It’s not loud enough! Heck, my jackhammer is louder than that!”
When the surrounding sound is too loud–or too soft–worship participation suffers. “Singing in general is in decline,” Gauger said. “Nowadays we’ve relegated it to the professionals.”
If the goal is to put on a churchy spectator event, crank up the band–or the pipe organ–and don’t worry about the exodus of people like Darwin and Christine. But if the people’s participation is a priority, we now have some sound evidence to set reasonable audio levels.
When God’s people gather to worship, what should it sound like? Gauger concluded: “The real issue is, can the congregation hear itself?”
(Thom Schultz is the director of the film When God Left the Building .)
This was the reason I stopped going to Harvest Bible Chapel in Naperville, IL. Even though they put the drummer in a hamster cage, he was so loud and out of control, he was overpowering the other real musicians. You couldn’t understand what they were singing if it wasn’t for words on the screen and, yes I could not even hear myself. I could have screamed bloody murder and no one would hear me. I liked the pastors exegetic messages. He was really good but the so called worship part of service was so ‘painfully’ loud, I gave up on that church.
What you’ve described is not worship, it is entertainment and off the charts loud. Contemporary churches especially the music is not biblical. The bands in a contemporary church are “rock bands” and have no place in a worshipful setting. Find a traditional local church with a piano, organ, the preserved KJV and never drums & where Jesus is glorified and truly worshipped. More attribution to God with less fleshly feeling. A general idea, feeling is the work of the flesh and not spiritual, feeling is like a train where the caboose is feeling. Eph. 5:18 is a worship standard saying proper hymns stir the soul moves and motivated the heart. Never allow your heart to motivate because the heart is deceitful above all things and desperately wicked who can know it? Jer. 17:9. Fall in love with the Lord by scriptural meditation, Deut. 6:5. This book of the law shall not depart from thy heart but shalt meditate therein day and night…
Very insightful article. I am a church musician who has for many years been trying to deliver professional sounding music to a reserved Catholic congregation. In doing this I always try to balance my music volume with the ability to also hear them singing. The music (including percussion) must be loud enough to feel. Yet I also want to hear them singing right along with us, or the worship music is not really reaching its ultimate purpose. Thanks for the info!
Let us build the “City of God” [online video]
Music loud enough to “feel” often means boosting bass. This means the thud overpowers the music, and then you find an congregation not involved and not singing.
I want to hear myself and others too. I am uplifted by the voice of the church. Thanks for a great article.
Don’t know about the lower end at 70 db. Something else is going on. But the upper end is NOT just about the perceived volume.
85 db is the level of truck traffic on a busy road. There is some research to suggest that acute expose at levels above 80 to 85 db can trigger both endocrine and autonomic nervous system responses.
Tolerance to this probably varies with the person, but the drop in participation at 90 db seems likely due to the worship band dumping stress hormones into the congregation.
Church is not a rock concert and not everybody thrives on adrenaline.
And as a I think about it, talking about some sweet spot between 70 db and 90 db smacks of bare physiological manipulation. If we have to be ABOVE a particular threshold, then Gregorian Chant and practices involving silence fail as worship.
It wasn’t addressed as a validity of worship just that congregational participation in the actual music part of worship declines when the sound is below 70 decibels or above 90 decibels. Chanting and silence are awesome worship also. And the Church of Christ doesn’t even use instruments so they’re decibel level will always be determined by how many people are present and how loud they are willing to sing.
And congregation don’t be loud or jump up
shouting while preacher is preaching cause other people might lose out from hearing the preaching
Thom, I read this article years ago and it came to mind as I read your blog today. The author uses the volume standards set by Disney in their parks and shows as a benchmark. We’ve been setting our decibels at about this level for a few years and I think it’s spot on. I’d love to hear what you and some of your readers think. http://thomrainer.com/2013/04/how-loud-should-our-church-music-be/
Ive experienced loud drumming and lots of pounding recently and it actually effected my anxiety and act of worship. I almost had to leave. All i can feel in my brain was chaos. It did not put me in the right spirit of worship. Its amazing how music has an effect on you.
This “excess decibels” practice has pretty much swept the nation! Does such practice constitute “conformity with the world”??
I HIGHLY recommend the book ‘A Royal “Waste” of Time’ by Marva J Dawn. A must read for anyone leading worship or part of a church with warship wars over music/sound levels/type of worship…etc.
Thank you for addressing this issue which is a huge one for me. It caused me to seek out another church to worship at, as well. Whether it’s to attract a certain age demographic or what have you, this elevated beyond reason sound level is not worship. Period. It’s entertainment. The worldliness in which we try to engage or entice “customers” to our churches is very, very sad.
So why do we need a ‘worship group’ anyway? It often results in worship by proxy, which is false really… Is it a bigger church or mega-church thing? We do sometimes complicate things for ourselves.
As ‘senior pastor’ for 30+ years, I experienced all the tensions (loud and soft, songs and hymns, etc), never mind the moral failures of the more ‘showy’ worship leaders and members which were devastating to church life.
So glad it’s over for many of us around the world who gather in smaller, simpler, organic fellowship groups.
Let’s turn up the volume on the Holy Spirit and turn down t
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