renaissance" helped make it clear any musical style was acceptable if true believers were using it to praise God. The changes resulted from the Cutting Edge recordings by the band Delirious?, the Passion Conferences and their music, the Exodus project of Michael W. Smith, and the band Sonicflood. Contemporary worship music became an integral part of Contemporary Christian music. More recently songs are displayed using projectors on screens at the front of the church, and this has enabled greater physical freedom, and a faster rate of turnover in the material being sung. Important propagators of CWM over the past 25 years include Vineyard Music, Hillsong Worship, Bethel Music, Elevation Worship, Jesus Culture and Soul Survivor. Theology and lyrics As CWM is closely related to the charismatic movement, the lyrics and even some musical features reflect its theology. In particular the charismatic movement is characterised by its emphasis on the Holy Spirit, through a personal encounter and relationship with God, that can be summed up in agape love. Lyrically, the informal, sometimes intimate, language of relationship is employed. The terms 'You' and 'I’ are used rather than 'God' and 'we', and lyrics such as, 'I, I'm desperate for You', and 'Hungry I come to You for I know You satisfy, I am empty but I know Your love does not run dry' both exemplify the similarity of the lyrics of some CWM to popular love songs. Slang is used on occasion (for example 'We wanna see Jesus lifted high') and imperatives ('Open the eyes of my heart, Lord, I want to see You'), demonstrating the friendly, informal terms charismatic theology encourages for relating to God personally. Often a physical response is included in the lyrics ('So we raise up holy hands'; 'I will dance, I will sing, to be mad for my king'). This couples with the use of drums and popular rhythm in the songs to encourage full body worship. The metaphorical language of the lyrics is subjective, and therefore does risk being misinterpreted; this emphasis on personal encounter with God does not always balance with intellectual understanding. Just as in secular, popular and rock music, relationships and feelings are central topics, so in CWM, association to a personal relationship with God and free expression are emphasised. As in traditional hymnody, some images, such as captivity and freedom, life and death, romance, power and sacrifice, are employed to facilitate relationship