
Edition #18
Florence, 2025

The very essence of Brazilian gospel music does not allow Dionysus to manifest himself - but he is essential to secular music, so the two styles will never mix.

The Brazilian evangelical music is sterilizing. Evangelicals suffocate and kill any manifestation of Dionysus, demonizing anything that isn’t “praise.” It stands as an enemy to secular music: there’s a clear separation between “God’s music” and “worldly music.”
In "worldly" music, there are always two elements that come from the Greek gods Apollo and Dionysus. Apollo represents structure and reason, while Dionysus embodies metaphor and chaos. Evangelicals see Dionysus as the devil; they will never accept his presence in their music. Only Apollo appears in worship. This is why it’s impossible to reconcile worship music with secular music—water and oil don’t mix!
It’s incredibly naive to believe that any Brazilian evangelical would consider secular music acceptable or from God. They don’t even have to be fundamentalist to adopt this attitude, because it’s the essence of evangelical worship. When pastors sing with "worldly" musicians, it’s pure demagoguery. They do it to appear modern and open-minded, but it’s a façade. They pretend to engage in this way only to “strike” at the end and try to convert us. It will ALWAYS be this way! The dream of every believer is to establish the Bible as the Constitution and turn the country into an Evangelical Brazilistan.
Syncretism is possible between Catholicism and Umbanda, but not with evangelical worship. In syncretism, both Catholics and Umbandists respect each other’s religion. Evangelicals, however, lack this humility. They are extremely arrogant because their very essence is to proclaim: “I’ve come to save you because I have the Truth, and you don’t.” They will always aim to convert us because they see themselves as the sole possessors of the Eternal and Unchanging Truth. 🙄
Secular artists who mix with evangelicals are trying too hard to make us think that this association with people who abhor us is normal. It's a mistake for them to try to naturalize this union with those who see us as dirty worldlings. Two worlds collide. According to these artists, singing gospel praise is a way of encouraging a respectful conversation between parties that are polarized. But why are they polarized? Are evangelicals respectful? No, and in a very blatant way! They themselves bring about this polarization - they demonize anything that goes against their moral compass: LGBTs, practitioners of African religions, etc. How can it be possible not to be polarized by people who think that our annihilation should be celebrated and desirable?
The fact that a fundamentalist religious group is growing should not be a reason to support it, because the result will be regression. Imagine a secular singer who started singing Muslim religious songs in Iran “because the number of Muslims has increased and I have to acknowledge that”. Then don't complain when some ayatollah stages a coup and institutes a theocracy in your country - you supported these people with a speech that they deserved visibility, remember?
The whole issue is that evangelical worship music considers itself “anointed music,” “God’s music.” They clearly think their music is on a higher level than secular music. Even if they try to portray themselves as modern and accepting of non-gospel music, at their core, they always intend to sterilize secular music. They’ll always aim to convert us to their music, where Dionysus is totally erased.
In summary: evangelical music carries a certain overbearing, thinking of itself as superior to secular music. Even if an evangelical singer projects an image of “look how modern I am, I even sing with worldly artists,” their only true intention will always be to convert us to evangelicalism. Worship music and secular music don’t mix—they’re fundamentally incompatible. It’s impossible to see as normal this association with people who disdain Dionysus in music.
“DKANDLE weaves swirling multi-colored vibrant unearthly soundscapes, blending fuzzy and reverberating Shoegaze textures, mesmerizing Dream Pop meditations, sludgy Grungey tones and moody Post-punk strains, heightened with soul-stirring lyricism and pensive emotive vocalizations”
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