‘Spear in the City’ is the fourth album from Los Angeles’ Bodies of Water, and their first release since 2011. Since then, they’ve played with different friends in different guises (Music Go Music, Physical Jerks, The Confessions, The Coast), and recorded a trove of mostly unreleased music. “Before we dove into putting out another record,” says singer David Metcalf, “we wanted to make sure we had a set of songs that felt like they needed an audience, which took a while to happen.” ‘Spear in the City’ is an album of expansive and apocalyptic gospel music, pulsing baritone-led chansons a la Jacques Brel and Scott Walker, but with the rhythmic groove and vocal polyphony that’s been the group’s signature since its beginnings. Metcalf elaborates: “When I tell people that it’s a gospel record, what I mean is that the songs are about the world and work of the Spirit. It’s not worship music. Since I’ve never felt the need to connect with religious culture or institutions, songs are a way to keep my eyes trained on the world inside the world, and the movement of the supernatural dimension into ours. The songs on ‘Spear in the City’ are a continuation of a narrative that Bodies of Water began writing long ago. Songs of experience informed by lives entwined with faith. Songs that revel in the unknown, and the mysteries at the heart of that faith. ‘Spear in the City’ is not dogma, it is a reckoning.