We can't put a year on this, but it was recent--in the aughts, and after Mark wrote Heavenly Kingdom.  The worship band Tyler and Mark had created had become 7dB, and Mark brought the beginnings of the chorus to practice in Tyler's

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basement one day.  He liked the concept that we heard God speaking to us, and had used the drama of Elijah not hearing God's voice in the storm but quietly after the storm for the imagery of lightning and thunder, added the pyre and the fire (Janet objected that a pyre is a fire, but Mark argued that the pyre is the prepared arranged fuel that is going to burn and the fire is the flame itself, although both words are used with reference to the whole), and then added the sermon and the choir, on some level thinking this would go in something of the same direction as Walking in the Woods, about getting past the confusing voices of churches into what God is saying--but it did not go that way.

  Mark wrote most of it, but Tyler's contributions were invaluable.  He wanted us to slide the C major seventh into the D six/nine add four on the verse because he liked that combination since he saw it in Holocaust; Mark wanted to have it slide the other way, and so did so on the bridge to give the feeling of sinking to support the words about the sinking feeling.  He also wanted to end the chorus, and the song, with "not in the choir", but Tyler insisted that another round of "There's a still small voice" was the right way to complete it.

  At the time Mark had a full house of guests, people who had nowhere else to live and so were dependent for food and shelter and sometimes transportation.  The song that emerged was a contrast between pressures, temptations, problems on the one side, and God and his encouragement on the other.

  We did it with 7dB because we had three vocals (Mark, Tyler, and Jessica), but when we lost everyone we continued to do it as a vocal solo, and did it when Collision was just Kyle and Mark with two acoustic guitars opening for Tal & Acacia at the Lift-FM concert.  When we added Brittany, she was going to sing the vocal cadenza at the end, but when she left it returned to Mark.

  We were looking for songs Jonathan could sing, and this one seemed to fit his range well.  Mark kept the cadenza, largely because Jonathan didn't want to sing it, but also because by then Mark had formed a clear idea of what he was going to sing.  We recorded it with two vocals on the EP, but added Sara to it as the second song we taught her when she joined early in 2013.

  If you ask what is the typical Collision sound, this is one of the two songs that come to mind--and interestingly, the other, Heavenly Kingdom, is also one that Jonathan sings.