HM Magazine, Issue #111 (Jan/Feb 2005)

Also featuring Showbread Symphony in Peril Anberlin Taking Back Sunday

THE HARD MUSIC MAGAZINE

January, February 2005 • Issue #111

$3.50 USA / 4.95 CDN

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Featuring the hit songs

“I’m So Sick” and “All Around Me” As seen with P.O.D., Staind, My Chemical Romance, Seether, and Shinedown

AVAILABLE WHEREVER FINE CHRISTIAN MUSIC IS SOLD

srerecordings.com octonerecords.com myspace.com/flyleaf

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3/31/2006 9:18:04 PM

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TA B L E O F C O N T EN T S

09

From an editor David M. Allen

REGULAR

I HAVE HAD THE PRIVILEGE OF CREATING AND EDITING THESE PAGES FOR THE PAST TWO YEARS. FOR THAT, I THANK YOU. It is now time for me to take what I have learned and jump all over the church. Being a Christian should not mean having to settle for mediocre art: meaning the fine arts, music & other forms of creativity.

From talking with Comeback Kid to my interview, a year ago, with Brandon Ebel, I have noticed the same lesson: pushing for excellence in our craft is an important way to give glory to God. Anyway, again I thank you for this opportunity and I’d like to quickly give love to those that have contributed to my efforts.

Ashlee Allen you are everything, my family, Jason Dodd, Quiggle, Gregory Tucker, Chris Wigs, Mr. Robinson and Mr. Keen!, John Sant, Mike Cina, Doug Van Pelt, Daniel Diaz, Sam Hiti, Lee Haley, Brad Spitzer, and Chuck Anderson. Noah Bernardo, Paul Sandoval, big Traa Daniels, Marcos Curiel and biggie:Tim Cook.

I’ll leave you with this, The echo of Francis Schaeffer: The arts do have a place in the Christian life - they are not peripheral.

As Christians, we tend to assign art to the very edge of life. The rest of human life we feel is more important. Evangelical or biblical Christianity has been weak at this point. Where reading the Bible and praying are seen as “spiritual,” the arts (as well as science) are viewed as “worldly.”

Despite the talk about the Lordship of Christ, we have narrowed its scope to a very small area of reality. We have misunderstood the concept and have not taken the riches the Bible gives us for our lives. You see, His Lordship also involves our total culture—including the area of creativity.

As long as the church continues to accept and package art into some “Christianized” category, art will remain shallow.

Change will take place when fullness of life is not categorized. And for us, as artists, our responsibility is to include truth, experience and effort into developing our works; be it appreciated or not.

All of life is given to us by God. If we, as man, are made in God’s image as a creative being, to admire and develop creativity in every area of life is to give glory to our Creator.

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Letters Hard news Live report Heaven’s metal

10 12 18 19

FEATURETTE The showdown Viva voce Chasing victory Wovenhand Pillar tour journal Staff pics

20 22 24 26 28 30

FEATURE Anberlin Symphony in peril Showbread Comeback kid Taking back sunday says

34 36 38 40 47

INTERMISSION Earn an audience Columns

51 60

REVIEW Music DVD, book, & gear Indie pick

53 58 62

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10 L E T T E R S T O T H E E D I T O R

EDITOR/PUBLISHER MANAGING EDITOR OFFICE MANAGER ADVERTISING SALES

SHAME ON ME

THE AWAKENING I just want to thank HM magazine for writing about Ashton Nyte & The Awakening (# 108).

This is an artist and a band that I have come to love deeply. The music is haunting and the lyrics pull you in even deeper. I went to catch a show of theirs in Mississippi and it was one of the most memorable moments of my life. I not only got to see someone perform that I respect as an artist, but I got to witness a band that is brilliant not only in ability but in spirit. There were only a handful of people at this show, but they performed as though there were hundreds there.

–Carolynn Larson [razercrystal@yahoo.com] Ed – Yeah, aren’t they great?

WHAT SO & SO SAYS I’ve complimented you before on the “So & So Says” portion of the magazine, but this recent issue tops them all. I think you really made a good decision to tackle so many musicians at once, and your choices were great. Some of the positive reactions surprised me. It takes a lot of guts to bring up Christ to guys who might respond negatively, so it’s really cool to see the Lord guiding you through this project. One of my past favorites was the interview with Evan Seinfeld of Biohazard, because he was really straightforward, with that hint of caution in his attitude. He was the epitome of a blue collar Brooklynite, and it gave me a good laugh. If you don’t mind a suggestion, maybe you should get in touch with Bobby Blitz from Overkill. I feel he would be a great choice for this type of interview. Keep up the good work.

–Kevin Greig, Queens, NY Ed –Thanks for the encouragement. I did interview Bobby from Overkill many years ago, in issue #35. It turned out good.

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I’ve been reading HM for sometime now with my first issue being #19. I really enjoy your magazine, but I can’t say that I’ve ever read it from cover to cover. I can’t say that I agree with every album review, but it is a good source to find out what is all out there.

The main reason for writing you is to ask you to please be more careful in the bands that you advertise for. In this issue (#110) I saw an ad for the band Bury Your Dead and went out and bought it. I knew that they were not on a Christian label and knew that Victory Records has carried Christian bands in the past, but since the ad was in your magazine, I bought it anyway. When I got to my truck I stuck it in my CD player and was really disappointed. The music was cool, but the lyrics were pretty bad (i.e. the song titled “Losin’ It” repeats “Bury your f***ing dead”). So I’ll be pitching this disc and count it as money lost. Burn me once – shame on you, Burn me twice – shame on me. Thanks for your time. God bless.

–Dale [roepackerfan@aol.com]

ART DIRECTOR CONTR EDITORS

David Allen Judah Siegal, Greg Tucker Chris Wighaman, Kemper Crabb

CONTRIBUTORS

Annie Esquibel, Chris Estey, Mark Fisher, Lee Haley, Amy E. Hall, Gary Hook, David Huff, Bethany Johnson, Dan MacIntosh, Aaron McKay, Matt Morrow, Len Nash, Brian Q. Newcomb, Chad Olson, Jamie L. Rake, David Reynolds, Bradley Spitzer, David Stagg, John J. Thompson, Christopher Wiitala

COVER PHOTO BACK PAGE PROOFREADERS

SCRIPTURE

MAILING ADDRESS

CUSTOMER SERVICE

Ed – More than a few people wrote in about that Bury Your Dead ad in the last issue. First: the apology. I compromised on the content for that ad, and I apologize. It shouldn’t happen again. Second: the excuse. This ad arrived late in our production deadline. I had already gone back and forth a few times about the size of the ad, as I was mistaken about that detail. Once I realized it was a full page, I called and asked if Bury Your Dead were a Christian band or had connections to that scene, as the whole “Christians in a band” or “Christian band” issue can be confusing. I made a statement that if there was not that connection, then it might confuse our audience. Third: the mistake. The label wasn’t sure what to do, and I made the mistake of not pressing the issue any further, but just getting on with the production of the magazine. I should have stuck to our unwritten policy, knowing that it would cause problems, but I did not.

Blame me. Please forgive us.

CHEVELLE & NAILS BQN hit the nail on the head in his review of their new album when he said it sounds more like a sophomore album, trying to recapture what worked so well the first time around rather than push themselves. I mean, the album is much better than I thought at first, but he’s so right. Nice summation.

–Chad Olson [chadolson777@hotmail.com] Ed – Your name sounds familiar, Chad. Do I know you?

Doug Van Pelt David Allen Charlotta Van Pelt Heather Reynolds

FAX ADVERTISING BOOKS & COLLEGES MUSIC GEAR EDITORIAL

© 2004 Kimberly Butts David Allen Ashlee Allen, Eric Alexy, Vicki Bobick, Valerie Maier, Heather Norman, Carolyn Van Pelt “Jesus answered her, ‘If you knew the gift of God and who it is that asks you for a drink, you would have asked him and he would have given you living water.’” (John 4:10) 6307 Cele Rd. #573 Pflugerville, Texas 78660-7543 877.897.0368 Service@HMmagazine.com 512.670.2764 Heather@HMmag.com 512.940.0744 Scott@AdolphAgency.com Bruce@AdolphAgency.com Dallen@HMmagazine.com DVanPelt@HMmag.com

SUBSCRIPTIONS

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IF YOU MOVE

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4/6/2006 12:52:35 PM

HARDNEWS Quick & concise

News bullets Good news from Word Records: they signed a rowdy pop punk band from Phoenix called Stellar Kart. Their debut, All Gas. No Brake. hits in February.

NO INNOCENT VICTIM

DIG HAY ZOOSE

SIGNS TO FACEDOWN RECORDS

REUNITED AND WRITING

You may have heard the reunion announcement and seen their small set at Cornerstone Festival this past summer, but Facedown Records is pleased to announce that they have signed hardcore legends No Innocent Victim. Look for a new album next Summer. The label describes the member’s “disappointment with the lack of integrity in today’s hardcore scene,” as fueling the reunion. Longtime guitarist Corey Edlemann has rejoined the band, alongside Tim Mason, making N.I.V. a 5-piece for the first time in their career. Former xDisciplex AD member Neil Hartman has also been added to play bass.

Rounding out the group is Facedown Records labelhead Jason Dunn on drums and original frontman Jason Moody on vocals.

Guitarist Dave Anderson informs us that the members of Dig Hay Zoose are officially back together. “We’re organizing and writing and getting ready to record a new demo. We originally got back together to re-record the album’s worth of material we demo-ed back in ’96 and never released. As we worked through the initial stages of development, it became clear that God had other plans for us. We’ve had a lot of time to get our respective spiritual lives back in order and God is definitely creating something new here. We all feel called to do worship in a different way. We all received a vision to provide worship to that group of folks like ourselves who are disenchanted with the flat worship scene happening right now.”

Hawaiian quartet Olivia The Band are bringing their pop punk to the States with their self-titled debut in midJanuary on Essential Records. The group’s members have known each other their whole life, and they named themselves Olivia in remembrance of the loss of guitarist Justin Abilla’s baby sister. “The namesake serves as a reminder of God’s provision and the hope of the life hereafter.”

In a smart move to capitalize on the platinum success of Switchfoot, re: think Records (an old label division of EMI CMG) has re-released the band’s first three albums (The Legend of Chin, New Way To Be Human, and Learning To Breathe) in a 3-CD set.

No sooner did The Awakening return from a 3-week tour of the USA (which picked up Nailed’s Scotty Hoaglan on guitar) did they immediately book a handful of shows in their South African homeland. Ashton Nyte’s second solo album, Dirt Sense, Version 2 has been completely remixed and remastered, The band plans on returning to the US in June.

HM Magazine parties like it’s 1989

The former Still Breathing bassist (Michael Rame) and vocalist (Dacey Rame), have joined forces with former The Agony Scene bassist (Garrett Grover) to form Hollywood Burning, attacking the Tulsa metal scene with more fast and furious intensity.

01. August 23: The beginnings of a new tradition for us. Just an excuse to get together with friends and hang out, we gave away copies of the latest issue to everyone that stepped in to The Capitol (a club, not the legislative building). Music accompaniment came from The Kirby, Fairfax, and slam poet Peter Nevland.

Fruhstuck was invited to play a few gigs in China over the holidays.

02. November 3: Thanks to Fairfax’s Brandon Jones picking some hot bands, we had a packed crowd digging the sounds of Minutes to Burn, Fairfax (acoustic set, joined later with the Hundred Year Storm guys plugged in), Hundred Year Storm (it was also their record release party), Drama Dust, and Bayta Darell.

The latest This Is Solid State compilation, Volume 5, features a brand new Norma Jean track, as well as songs from new signees Far-Less and As Cities Burn.

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HARD NEWS 13

Believe it or not, Zao has just now released its first official website (zaoonline.com). “The sites our fans have made over the years have been great,” explains guitarist Scott Mellinger, “and it’s nice to finally have something ‘official’ to put our name behind to complement them.” The band also debuted its new video on MTV2 recently, “The Rising End.” The band is wrapping up its tour with Dillinger Escape Plan, Every Time I Die, and Misery Signals and will spend the remainder of 2004 recording new material for the Japanese release of The Funeral of God and then they’ll head out on a headlining tour in January, with The Agony Scene and Twelve Tribes in support.

Bloodlined Calligraphy

BY AMY E. HALL She is woman -- hear her roar “Just about every show,” Ally hears the same lame question. “’Whose guest list are you on?’”

Some people mistake her for a groupie or a roadie. At times, she’s mistaken for the merchandise vendor. Still others, she’s mistaken for “the girlfriend.” She’s Ally French, lead vocalist for the metalcore band Bloodlined Calligraphy.

Evidently, some folks don’t equate girls with metalcore. And Ally’s out to prove them all wrong.

“When they automatically think I’m a girlfriend or a roadie or a merch girl, that makes me really mad,” she insists. “That heats me up pretty bad.”

But mic in hand, Ally demonstrates mad skills.

And she can scream with the best of them.

“Most people are shocked,” when they hear her live. “They usually come up to me later and say, ‘I had no idea that you were in the band.’”

Any uninformed listener would most likely be unaware of the female presence on the band’s sophomore project, The Beginning of the End, an EP on Strikefirst Records. Ally’s screaming is as brutal as any seasoned metal or hardcore male lead. Her bandmates, Eric Cargile, Matthew Todd Carter and Ryan Hampton, recognized Ally’s pow-

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erful lungs right away. She joined the Detroitbased band last winter after fronting another band. All it took was one audition and “pretty much on the spot, I got the job,” she remembers. Currently, plans are in place for a full length release on Facedown Records this spring.

Though female-fronted hardcore bands are few and far between, it’s a gig to which Ally gives 100 percent. A multi-instrumentalist, she’d pick screaming over playing any day. “I like doing vocals the best,” Ally affirms. But how does a former cheerleader get her voice to sound like that?

It all began during her stint with a former band, for which she originally played bass. Ally recalls “trying to be better than the vocalist in” the band.

“I’m very competitive,” she admits. “I would try to sound like Josh (from the band Ludicrous) ‘cause he’s my idol. I would just practice in the car all the time.”

Merch girl assumptions or not, Ally would encourage any girl who is committed to pursuing music in a male-dominated scene. “Go for it with everything you have.”

Former Zao drummer Jesse Smith’s new band, Gods, is working with Andreas Magnusson (Scarlet) on their debut full-length.

Prolific songwriters Starflyer 59 have finished another album, titled Talking Voice vs. Singing Voice and are on a mini-tour (11 dates) throughout the Midwest with Pedro the Lion.

Critics fav, Frank Lenz has released his second solo album, titled, Conquest Slaughter. “It’s a little less funk and a little more straight-up rock,” explains his wife, freelance publicist Lori Lenz.

Ronnie Martin is spearheading his own electronic pop festival next year – Autobahnfest.

Alove For Enemies are recording in the month of December for a new full-length due out on Facedown Records in April. Tentatively titled, The Harvest, it is being recorded at Trax East Studios with Eric Rachel (Hatebreed, Everytime I Die, God Forbid).

The Golden Sounds will have one of its songs, “Jaded Robots,” on the Shut Eye Records Buzzlighter compilation that goes out to college radio.

11/18/2004 2:16:11 PM

14 HARD NEWS

HARDNEWS Page fourteen News bullets

HMMAG.COM EXTRA CONTENT AREA FOR READERS Subscriber or not, with the login info below, you have access to the exclusive area during the months of the current issue.

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111TwgBB

About Dallas Taylor FORMER UNDEROATH VOCALIST SPEAKS WITH BETHAN Y JOHNSON

After parting ways with Underoath, ex-vocalist Dallas Taylor seems to have just disappeared. Walking down the hallway of the apartment he shares with roommates Jesse and Lee and wife Allison, it’s obvious that he’s done anything but “ disappear.” He sits down with a plate full of Hamburger Helper, pats his dog Harriet on the head, and we begin to talk about what he’s been doing since he left Underoath.

Dallas laughs and says, “I put up gutters!”

He also goes on to say that he’s a delivery boy for a florist on the weekends. Dallas also adds that he and Allison, who were married during the summer, recently bought a house and are currently working on moving in. And if that isn’t keeping him busy enough, he’s also the vocalist for Maylene and the Sons of Disaster, a Birmingham - based band.

Describing the band’s music as “redneck music,” Dallas also goes on to say that he’s “never had this much fun playing music.” Dallas says that the biggest difference between being in the new band and being in Underoath is his newfound freedom to express himself lyrically in a way that he’s always wanted to.

“No matter what you say, someone’s always going to get offended...I’m not afraid to speak out about Christianity anymore,” he says.

Dallas finds a great deal of fulfillment in being able to speak his mind through song writing, and he says that he doesn’t “try to offend people, but [he doesn’t] care if people take [his] songs the wrong way.”

When asked if he misses being in Underoath, Dallas pauses for a few seconds, then answers with an emphatic “Not at all.” He continues by explaining that he still loves all the members in

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Underoath, but they just hurt him by asking him to leave the band.

“I was going through a hard time with one area in my life...I wasn’t doing anything wrong, but I was just struggling with something, and they just didn’t want to wait for me,” he says.

Feeling as though he had to completely re-adjust his life settings after having been in Underoath for nearly eight years, Dallas doesn’t regret anything that’s happened.

“God used me for something. It’s cool that kids are still getting something out of the band, but God’s in control of my life, and I’m just the stepping stone.”

While some may consider the trade-off of leaving a band that’s growing in popularity for putting up gutters and sharing a three-bedroom apartment an act of humility, Dallas simply sees his new life as a blessing.

“I enjoy being able to come home after working at a normal job instead of being on the road touring all of the time,” he says.

And while he also admits to experiencing everyday struggles, such as reading his Bible, it’s clear that if Dallas has, in fact, “disappeared” from anything at all, he’s disappeared to a life that provides him with much more peace than he’s ever known before.

Combined sales of their first three releases total over a million units sold for Relient K. In addition to their latest album, mmhmm, the band has put finishing touches on a book called, The Complex Infrastructure Known as the Female Mind. It aims to be “the definitive guide for teenaged girls about the various other ‘girl types’ out there.” They give their take on the pop-culture stereotypes, like the Homecoming Queen, the Athlete, and the Overachiever, among others.

Tooth & Nail have released a collection of new and unreleased songs, remixes, acoustic and live recordings from Mae, titled Destination: B-Sides.

They will follow this release up with tour dates with Simple Plan.

Benjamin del Shreve, former vocalist for GS Megaphone, is recording a solo album for Ninth Hour Records.

Advance tracks are fantastic – part neo-classic lounge/part folk rock/part really clean pop, with his voice taking center stage quite comfortably. This 15-song debut should hit in the Summer.

After finishing a tour with Caliban, Scars of Tomorrow, and Reflux, Nodes of Ranvier are writing songs for their next album, with a tentative release date of April. “Our new material is the heaviest we have put out yet,” promises Jake Steffek.

The new Comeback Kid album, titled Wake The Dead, was recorded with Bill Stevenson (Descendents, All, Black Flag) and should hit February 22.

Word has it that Sinai Beach might be finding a new mainstream home shortly…

LA’s The Last Dance has released an enhanced remix CD, Reflections of Rage, which the band hopes to follow-up with a new full-length early this year.

11/18/2004 2:16:37 PM

HARD NEWS 15

Morrow Metal What’s going on in the world of metal...

Bombworks Records and Ian Arkley are working together on a Seventh Angel live disc.

Necessary metal, the independent album list:

Consecrator are set to record new material.

Pale Horse – Until the Last Seal is Opened: Re-release of old material from this classic death/doom band. Very brutal sound for fans of early Mortification, Vengeance Rising, and Seventh Angel. www.bombworksrecords.com

Holy Blood’s terrific new album, Waves are Dancing, will include a second disc that has a concept video for their song, “The Spring.”

Encryptor’s two albums, Post Mortem Soul and Sermon Decay will be re-released by Bombworks Records.

Slechtvalk is recording a live DVD. Christian Rivel of Narnia will be releasing material from two new side bands this winter. Divinefire features players from Narnia, Veni Domine, Renascent, Saviour Machine, Candlemass, Crimson Moonlight and others.

Audiovision features players from Kiss, Narnia, Yngwie Malmsteen, Whitesnake, Europe, Stormwind, Candlemass, and many others.

Both bands have signed to King Records in Japan and Rivel Records in Europe.

Crimson Moonlight’s new album Veil of Remembrance will be out in very early 2005.

Absurd2, whose lineup includes members of Extol and Vardoger, has just released a new three-song EP on Endtime Productions.

Momentum Scandinavia has re-released a remastered version of Vaakevandring’s highly sought-after demo, including a bonus track.

Antestor’s highly anticipated new fulllength, The Forsaken, is now available on Endtime Productions and features the famous Hellhammer on drums.

Frost Like Ashes has signed to Psycho AcoustiX Records.

The Fear Dark Festival 2005 will showcase Slechtvalk, Eluveitie, Pantokrator, and Thy Majestie. Check out www.fear-dark.com.

Morphia has released its new album Fading Beauty.

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Dark Endless – Dark End Times: Once unavailable to anyone outside of this band’s close circle of friends, this grim, primitive, one-man black metal band will send chills up your spine. Cold, dark, and fast. Fans of Horde will salivate. Limited quantity, so act fast. www.bombworksrecords.com Destra – Joe’s Rhapsody: Progressive rock/metal from talented Brazilian band.

Sometimes inconsistent, but better than their first album. Very nice packaging! www.destraonline.com.br Dynasty – Motus Perpetuus: Brazilian prog/ power metal band. For fans of Eterna, Symphony X, Hammerfall, Angra, Sonata Arctica, and Stratovarius. Nothing too original, but solid and well executed. Vocals similar to Guardian, First Watch-era. www.dynasty.com.br Excurses – Devil’s Footprints: Killer Canadian death metal band. Aggressive, talented, and sure to please. Twenty-two minutes of gunsa-blazin.’ Excellent vocals. A must buy! www.excurses.com Venia – Genesis: Finnish melodic power metal band with a female singer. Vocals and production could stand some improvement, but band does show strong promise. www.veniaband.com Abolishment of Hate – S/T: Absolutely insane instrumental death metal from Jeff Lewis (ex-Mortification). If you love death metal but hate the vocals, this is right up your alley. www.jefflewis.ca

While on tour together, Cool Hand Luke and Forever Changed competed in their own staged events, including the “Highway to the Danger Zone” contest, to see which band could use the phrase “highway to the danger zone” in a sentence from the stage. This was followed by the “most parking tickets” round, which was won by CHL $90 to $60, thanks to the meter cop in Ybor City, FL. Extol plans on touring their new album in the US from April to July. The CBA market will get first distribution crack at the new album in late March, followed by the general market in early May. The band formerly known as Crutch, Aletheian has re-released the full concept album, Apolutrosis and …

Hope Prevails. They hope to follow these up with a live concert DVD and a new album sometime next year.

Robert Randolph and The Family Band were on Austin City Limits again this Fall, showcasing a brand new performance taped last June.

Kerry Livgren has been creating an epic cantata for the past few years now. “It’s coming along slowly but surely,” explains Livgren. “Kind of hung up on technical issues with it at the moment. No date announced yet.”

Brutal Fight and Once For All join the Strike First label family (a “farm league” style imprint of Facedown Records). Brutal Fight has toured its Meshuggah-influenced music along the West Coast numerous times, and Europe twice. Both debut releases should hit early 2005. mewithoutYou is going on tour with Owen, The Snake The Cross The Crown, and Despistado, sponsored

by Radiotakeover.

11/18/2004 2:17:12 PM

16 HARD NEWS

HARDNEWS Page sixteen News bullets

A FEW WORDS, SOME GOOD ADVICE & A LITTLE BIT OF HANDWRITING ANALYSIS Email your questions to P.O.D.’s roadie extraordinaire: Judah Siegel via Judah@hmmag.com

A new band called Rook consists of Eric Champion on vocals, Randy Shreve (GS Megaphone) on drums, Scott Dansby on bass, and Cory Callahan and Jeremy Dean on guitars.

Their sound is described as “very Brit pop influenced, with lush harmonies and driving guitars, inspired by Blur, OK Go, Self, Ima Robot, Queen, Jellyfish, and (of course) Radiohead.”

Alt rock legends The Choir are back in the studio, working on its 11th album.

How long did it take before you decided what you were going to do for a living. I’m still in high school, but am not sure what I want to do yet. There are so many options, but i’m not sure what God’s plan is. Maybe he just reveals something to us that we had no idea we were gonna do and then we just know it’s the right way to go. Anyways, I was just wondering.

Thanks for listening, Jordan I don’t think I have finally decided what I want to do for a living. What do you enjoy doing? What are you doing when you feel the most alive? Is there anyone who makes a living doing it? Never listen to anyone who tells you you can’t do something.

Anything is achievable. I don’t know if I believe that anyone can honestly say they know the entirety of God’s plan. I agree that there are times in life that opportunities present themselves that according to previous plans wouldn’t be a plausable choice, but when we arrive at the time the said options are presented they make perfect sense. I hope that makes sense. On a side note I think it is lame when people, not you, blame the consequence of their poor choices on, “the will of God”. So if you want to make a plan, that’s cool. But if you find yourself doing something that you hate, you might need to make revisions in your plan. This is just my perspective on this. Thanks for asking.

I have a problem, my handwriting is extremely horrific. Nobody, especially the teachers and including me, can read it. I always say its genetic, because both my dad and my grandpa have really bad writing as well. My friend said that I write as fast as I think, and that’s probably true. I’m too poor to buy a laptop, and I dont know what else to do. Whats your DL? Thanks, Rachel Stop writing. If you can’t even read your own writing what is the point? You learned how to write the way you do, and if you want you can relearn how to write so even you can read it. To place the blame with genetics might be very close to the truth. It probably isn’t that you got the bad-handwriting gene, but you, like your dad and his dad, might not think handwriting is an important form of communication. Wait, you don’t have a medical disorder do you? As far as writing as fast as you think, that is very unlikely as there is no known writing instrument that could write that fast and not start fires. I would practice making letters that you can distinguish. Don’t use cursive.

Print. Take your time. The written word has timeless potential, so maybe you should try to make it worthwhile.

End of Questions

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Underoath’s They’re Only Chasing Safety is now being released on vinyl (in four different colors), with the exclusive bonus track, “I’ve Got Ten Friends and a Crowbar that Says You Ain’t Gonna Do Jack.”

East West’s Bobby and JJ have apparently gotten a lot of “face time” as extras in the upcoming Adam Sandler remake of The Longest Yard, due out in May. “I enjoyed talking to Michael Irvin, Brian Bosworth and Bill Romanowski,” describes Bobby. “Nelly and Burt Reynolds were fairly personable as well.” East West is currently writing songs for their next album, where they’ll be working with Bob Burch, Dennis MacKay (David Bowie, Judas Priest), and Doug Michael (Green Day, Eric Clapton).

Tourniquet announces that Aaron Guerra is re-joining the band.

Speakers for the Dead is the name of a new band that features the former vocalist (Curtis Shamlin) and guitarist (Jason Garcia) from Gryp. Rounding out the lineup is Gary Shipman on drums (who played in Dirtnap) and Kevin Lynn on bass (Mindtrap and Billyclub). They are playing shows on the West Coast and hope to have a new release early this year.

Bradley Hathaway’s tour with Blindside went great. “It was nuts,” describes the ever-popular slam poet.

11/18/2004 2:17:38 PM

HARD NEWS 17

“I was so humbled. Sometimes you could just ‘feel’ God moving in the room on kids.” His self-released, All The Hits So Far But Don’t Expect Too Much CD is now in jewel-case format for your listening pleasure.

After almost seven years together, Caffiends have decided to call it a day. “It has been over two years since we’ve worked together creatively,” explains Jon Gollihugh. “We knew when we recorded Fission, Fusion and Things Made of Concrete (Indianola) that it would be the last great work we’d do as the Caffiends. I feel it would be like beating a dead horse to try and continue on as the Caffiends. We are proud of the music we wrote and the accomplishments over the past seven years, but it was time to move on.” Chris Nuccio and Ed Mosqueda have been playing in a new band called Colour the Sound.

Number One Fan

BY JAMIE LEE RAKE “We’ll play for something we believe in. It’s just a case by case basis,” says singer-rhythm guitarist Nicholas Zemann of Number One Fan, Appleton, Wisconsin’s juggernauts of heart-on-sleeve jangle.

NOF believes both in the good that can accrue from a mall-turned-Christian youth hangout in their hometown (this reporter saw them play a benefit for it) and rocking the Warped Tour to heighten their profile on the cusp of their nationally reissued debut longplayer, Compromises.

How does a band with no sizable original music scene attain those heights, anyway?

“We were invited to play a showcase in Chicago after building up a following in the state,” says Zemann. At the fete sponsored by performance rights organization BMI, the band met Pat Magnarella, former manager of Green Day and The Goo Goo Dolls, among others. “He really liked the record,” that Zemann, bassist brother Michael, lead guitarist Matthew Reetz and drummer Jonathan Fries had already recorded. By this past summer, Compromises became the first release on Magnarella’s Universal-distributed Pat’s Record Company, with an indieground buzz already growing to fever pitch.

Seemingly sooner into their career than the band for whom Number One Fan were opening for that youth center show – Skillet – they are proactive in courting an audience that need not seek pastoral imprinteur for music to embrace. That

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means a copasetic attitude about touring with everyone from Anberlin to Hawthorne Heights.

“I think it’s sad about the spiritual differences in the world, that everyone’s closed themselves.

We (bands) are people who have passions about music, so we should stick together,” Zemann philosophizes over their van following that of any other act with whom they’re compatible. Road warriors that they’ve become (“It’s something you can’t really prepare for,” says Zemann of being a band of constant touring), they still tout their local scene with the same kind of fervor of their Dairy State supporters. “They’ve been really good to us,” Zemann beams of the continued local enthusiasm for NOF, comparing it to how, “a lot of bands leave their local scene and fans want nothing to do with them because they feel betrayed.”

The brothers Zemann and their bandmates’ wishlist of acts with whom to tour extends beyond collegiate radio orthodoxy. A diverse breadth from Pedro The Lion and Jimmy Eat World (to whom NOF are often compared) to Third Eye Blind and Counting Crows, a tribute CD to which the ‘Fans have contributed,’ number among their faves.

As for fans who number Number One among their must-see concert attractions, Zemann offers, “Come hang out!” You might not want to wait too long to R.S.V.P. that invitation, in case they become popular as the wish fullfillment of their moniker.

Seven System are filming a video for the song “Me Again.”

Jeff Elbel + Ping have a new album, called The Eleventh Hour Songbook on Marathon Records.

The Virginia five-piece band Far-Less have been getting good response on the Solid State Young Bloods tour lately. Their debut EP, Turn To The Bright, was just released on Tooth & Nail.

Longtime bassist Tim Gaines has left Stryper. “On August 13, 21 years to the day I joined Stryper, I have given my resignation. Without going into detail, if I were to stay in Stryper I would not grow into the person that the Lord wants me to be. I wish the guys in Stryper the best. The new bass player will keep you well entertained, and he is spiritually in tune with the Lord.”

11/18/2004 8:49:57 PM

18 L I V E

LIVE REPORT Chasing Victory, The Showdown, Mortal Treason, Staple

BY DOUG VAN PELT After a late start in the small theater-style club, Chasing Victory came out with a screamo sound that f its right in the pack with dozens of current buzz bands. The infectious hooks of their songs were able to pull an unfamiliar crowd right up to the stage and keep the attention and energy going in an upwards direction for the duration of their over-too-fast 20minute set. A quality warm-up, for sure...

The Showdown came out with little to no fanfare and proceeded to rip the ears off everyone in the place. Their twin axe attack was as strong a wake-up call as a shot of espresso. While the rest of the touring bands on this Rise of the Robots tour already lined the stage, others in the club were quickly filling up the floor space to catch this. The two amazing guitar players look so young, yet sound so tight and professional. While they could’ve played in any number of metal bands back in the 80s (probably before they were born), the blood-curdling screams of their vocalist David Bunton place their sound squarely in 2004. Where their debut album lacks a little bit of “headroom” for the sonic spectrum to breathe, this was not the case at all live. The searing hot guitar leads (which come flying out at every available opportunity in each song) soared high in the mix. If those Jackson guitars had faces, they’d certainly be smiling or at least looking smug due to their dominance, accompanied nicely by lots of fast and steady drumming, including some killer double bass. This band is a complete package. While any show that features Mortal Treason on the bill is likely to be insane, these boys from the hills of Tennessee surprisingly stole the show, easily. Their breakdown during “Dagon Undone“ sounded eerily like Sabbath’s “Children of the Grave,” and it bottomed out enough to spotlight dueling guitar solos. Nice…

Mortal Treason sounded as heavy as ever, with two contrasting guitar styles filling the room. One played it high, close to the chest, while the other, sporting a big nose ring, played low and loose. The keyboards add a nice gothic overtone at times, while Seth’s shrill black metal vocals are just sick.

Staple introduced themselves by vocalist Darin Keim announcing, “We’re not used to being the pansies on tour,” which they kind of sounded like . . . until he screamed nice and loud. Overall, Staple is a decent melodic

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rock band – lots of raw, pounding drums, but with middle-of-the-road guitar sounds, kinda like Papa Roach. They perhaps left the biggest hooks in the audience, though, thanks to their song, “DVD,” and their fearless courage to lead the audience in big “whoo-hooo-ooooh, ooooh” sing-alongs. “Put your fist up and

assume you’re going to an 80s hair band show,” Keim shouted, and the thoroughly entertained audience complied.

This had to be the best non-Tooth and Nail tour package to go out in a long, long time.

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H E AV EN ’ S M E TA L 19

Metal tracks • The “debut” issue of Heaven’s Metal Fanzine came out without a hitch (a few typo’s in the news section, but all those will get fixed before the next press run – ahh, the joys of the underground press!). In talking amongst the underground Christian metal community, we have some fun things planned. One item for the next issue (#56) is a list of “All the metal albums you missed in the last 10 years,” covering those gems like Paramaecium, Virgin Black, Antestor (just in case you lost touch with the metal scene while the publication was “gone.”).

• Tourniquet has unveiled a line of fine coffees, available at its website [tourniquet.net]. Some of the coyly named International beans include: Healing Waters of Sumatra; New Guinea Phantom; Somnambular World; and Viento Decaf.

(We’re not making this stuff up!) Vanishing Lessons joins the list of the band’s astute re-release list, featuring tons of extra tracks, live material, and nice packaging.

• Rivera/Bomma has a new album in the technical/power metal realm, called I Am God. • Guardian has announced a comeback. No details at press

time, but David Bach tells us than an album and some live shows are part of the idea…

• Wind-Up is releasing a Creed Greatest Hits CD/DVD compilation. The DVD will include all of the band’s videos.

• British melodic metal band Stairway are recording material for a new album, tentatively scheduled for a late Spring release.

• Saint is “re-creating” its Warriors of the Son EP in the studio. Filling out the band are: Josh Kramer (vocals); Richard Lynch (bass); Dee Harrington (guitar); Jerry Johnson (guitar); and Tim Lamberson (drums). The band is also working on a new album, while Kramer is lending his vocals to one of those Liberty N’ Justice (Soundtrack of a Soul) songs.

• King’s X has (finally) released a double-live album, Live All Over The Place.

• Scottie Hoaglan of Nailed (and part-time Bride fill-in) covered the guitar position for The Awakening on their first-ever North American tour this Fall.

Album reviews FRANK MARINO & MAHOGANY RUSH – RealLIVE! This guitar virtuoso/legend has returned with a remarkable 2-disc set that was recorded in his hometown of Montreal on September 8, 2001. In perhaps a prophetic moment, Marino finished the show with an impromptu version of “The Star Spangled Banner,” which he purposefully threw off-kilter on a whim, followed by a guitar screaming version of “Taps.”

In hindsight this recording is surreal. Wide open versions of “Poppy” and “Strange Universe” are interjected with other tunes or interludes – a feat only a tight and confident band can pull off. Just imagine Jimi Hendrix surviving and coming to grips with an Orthodox Christian faith…

KING’S X – Live All Over The Place The greatest band of all time (?) has finally released two discs that chronicle their amazing catalog. Yes, “Over My Head” includes Pinnick’s “sermon” about Christianity and Buddhism not being worth (bleep) if you don’t show love; and yes, there are references to marijuana in “Dogman,” so this is definitely a snapshot of where the band is now, not then…

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TRANS-SIBERIAN ORCHESTRA – The Lost Christmas Eve What seems to some like a novelty certainly delivers for all the senses – great packaging, clean melodic playing, and thoughtful words. Heck, I bet their concerts even smell good!

The theme for this 23-track epic is a beautiful story of an angel sent to the earth to find one that is best continuing the work of God’s Son here. The touching story is so enchanting and edifying as if to deserve a traditional telling each year during this season. Musically, it’s a prog-rock concept album by some of the same guys that bring us Savatage. Enough said, eh?

KANSAS – Sail On : The 30th Anniversary Collection Unlike their previous boxset, this beautifully packaged collection does include music from the “John Elefante era” (like “Play The Game Tonight” and “Fight Fire With Fire”). All the biggest hits are here, but what sets this release apart is the classic live and conceptual footage on the third (DVD) disc.

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20 F E AT U R E T T E

THE SHOWDOWN

BY DAVID STAGG It’s Metal. ‘Metal.’ with a capital ‘M’ and a period after it, for emphasis. That’s the way The Showdown would have it. Listen to their debut record: The harmonized guitars and a double bass that could shred bodies like a machine gun are pervasive. It’s a scream that moves from crushing to pounding. It’s The Showdown.

It’s five guys (vocalist David Bunton, guitarists Josh Childers and Travis Bailey, bassist Eric Koruschak and Andrew Hall on drums) who listen to metal as much as they play it, keeping it in their CD players in their spare time. They don’t want to get away from it. This, my friends, is the love they have for their genre—and they want to share it with you at a show. “We’re just trying to do our thing, you know,” Bunton says, “We just want to be on tour and have a good time and make friends with tons of kids and be positive.”

But when you’re called The Showdown,

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you can’t expect every show to go off without a hitch. There’s a rumor going around that kids who listen to heavy music are devil worshippers; when you play that music incorrectly labeled as a negative religion (read: The Showdown) and you used to get gigs at churches, there’s the occasional confrontation.

“We’re a Christian band and we played on a Christian campus somewhere in London, Kentucky in 2002,” Bunton starts out, “and we honest-to-goodness, we were totally almost fist-fought by a minister who thought we were possessed by Satan because we had screaming in our songs and head-banging. He just asked all kinds of outlandish stuff, asking if we beat our wives. It was wild. It was not cool at all.”

“I guess you guys didn’t get asked to come back and play that place anymore,” I respond.

“Actually, the guy was fired because of that.”

When I talk to The Showdown, they’re

relaxing in Camilla, Georgia at the home of label mates Chasing Victory the day of their first show of their first tour, dubbed Rise of the Robots. I like to call this “the calm before the storm.” Right now, the dudes are pulling grassroots duty, hand-rolling t-shirts for their merch table, but give them a few hours, and—if these God-fearing rockers had any amount of hell in them—it would break loose on stage.

Tonight’s the night for the beginning of their tour, but it took years to get this far. The Showdown has been together for about six years, but give or take a few band members, the current line-up can only really be considered together for about one.

They used to be a punk band called Twentyfive Forty, but when drummer Andrew Hall joined, the direction changed. Now, as a full-on metal assault, they can relax in their groove and take their metal to the streets after releasing A Chorus of Obliteration, a 10-track barrage of precise sound produced

by Bruce Fitzhugh, a name not to be taken lightly in metal music.

“The songs are all fairly recent because most of them were written—we just got Andrew, our new drummer, probably like a year ago—over the course of the last year,” Childers explains. As far as getting Fitzhugh on board, it kind of fell into place.

Mono Vs. Stereo label representative Brad Moist was originally interested in getting him to manage the band, but “(Fitzhugh) offered to produce the record,” Childers says. “He knows what he’s doing. Bruce is a different dude. He’s real quiet, but he’s a real good guy. Once you figure out that, he’s pretty easy to get along with. Because of that, the whole atmosphere in the studio was really chill and fun.”

Chill. Fun. Positive. Fist-fights. I guess the last one is the only thing somewhat expected of metal music. But, as I’ve come to find out, don’t expect anything from The Showdown. They’ll bring it to you, fun and all.

11/18/2004 5:04:50 PM

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11/18/2004 6:09:18 PM

22 F E AT U R E T T E

VIVA VOCE

BY DAN MACINTOSH PHOTO BY JACQUES

Couples that play together, stay together. At least that’s the inference drawn from the example of Kevin and Anita Robinson, professionally known as Viva Voce.

The pair’s new album is called The Heat Can Melt Your Brain, and this is clearly one husband/wife team that can stand the heat and still remain in the kitchen together (or any other room of the house, for that matter, where they just happen to be recording tracks). In fact, these musicians probably set up recording equipment inside their new homestead before they even picked out color schemes or furniture, after relocating

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to Portland, OR from Nashville, TN. Kevin has been quoted as saying that the house has amps lined down the hallways and in the bathroom. So if any couple is a candidate for an extreme home makeover – at least in the aesthetic sense – it’s the Robinsons.

But nearly miraculously, this messy house has also been utilized to create well-ordered and beautiful music. The combination of Anita’s feather-light vocals, over Kevin’s mind-expanding sound sculptures, is oftentimes intoxicating. The new album is also quite psychedelic in places, as with “The Center of the Universe,” where Kevin sounds like Neil Young fronting Grandaddy, however, it is equally R&B soulful on “High Highs,” which finds Kevin doing his best Al Green impression. Each vocalist fulfills different roles, as Anita’s forlorn singing

is perfectly suited for the longing expressed with “The Lucky Ones.” And while trippy alternative rock is the best broad generalization to describe what Viva Voce does, it should also be added that there is a strong progressive rock influence running through these tracks.

The group members have pointed to both ELO and Pink Floyd as essential inspirations, and the moody, extended groove of “They Never Really Wake Up” certainly points back to the darker side of Floyd’s mood.

Although Kevin and Anita are Christians, their prior time spent in the gospel capital of Nashville never turned them into any kind of musical evangelists. Rather, Kevin sounds closer to a pseudo-scientific-psychologist on “The Center of the Universe,” which also happens to be the song where the title of this album is derived. With its lyric, Kevin describes how the frail heart of his mate is the center of his universe, rather than any kind of astronomical planetary alignment. And if this heady little brainteaser weren’t enough to make generic CCM fans scratch permanent grooves into their noggins, song titles like “Free Nude Celebs” might also upset the apple cart of many Christian bookstores.

Kevin is quite the little nerdy and scientific lyricist at times, but he also comes off as a mad scientist of sound, as well. For instance, there is a section within the group’s web site that goes into great detail about the instrumentation employed on every track from the The Heat Can Melt Your Brain album.

Additionally, one can also learn about all the various amps that were used – if you’re into that kind of thing. Obsessive fans can even read that “Alive With Pleasure” incorporated both kazoo and saw in its mix. Kevin doesn’t just toy with musical/scientific experiments; he also creates accompanying textbooks for them, to boot.

What’s especially great about Viva Voce is that it’s not just about merely creating sound for sound’s sake. Instead, Kevin and Anita Robinson throw in everything (probably even including the kitchen sink), all for the sake of the song. Intelligent lyrics matched with unpredictable musical tones are simply an unbeatable combination. And while it’s true that too much heat will melt your brain – as well as the rest of your body, for that matter – the ultra cool vibe of Viva Voce may well offer the only true auditory cure for such a drastic psycho/physical situation.

11/18/2004 2:38:42 PM

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24 F E AT U R E T T E

CHASING VICTORY

family and friends. He was saved from death

by God, whom he had not known before. I guess you could say that God became his “not so tragic cover up.”

The song however did not make the cut for the album, but we felt the title was still necessary. The songs on the EP tie into this title because they are about how we hide things, such as our problems and sin. The songs also talk about the consequences we face from keeping these things undercover.

How are things working out on tour?

So far the tour has been GREAT! Right now we’re enjoying a day off in El Paso, TX. We were a little scared at first because we’re playing in new areas - playing in a lot of states we’ve never visited, so we were nervous at first. We kinda had the feeling that “nobody will watch us because a lot of these kids don’t know us,” but it has totally blown us away so far. Plus the bands we’re getting to tour with RULE, so that has made things even better.

How well received is Chasing Victory’s style infused with the hardcore/ punkish “edge” found on the EP?

BY AARON MCKAY Chiming in from the road on The Rise of the Robots Tour, the southern Georgia-based five piece maelstrom better known as Chasing Victory took a breather for a lively Q & A with HM Magazine. Up and coming on the scene, this group of guys is energetic and fueled to redefine the recording biz with their EP A Not So Tragic Cover-Up. Here’s what they had to say…

Please fill the readers of HM Magazine in on the development of Chasing Victory and how the group came together.

The band began in 2002 under the name Bailey Drive. The band was formed in Camilla, GA by 5 teenagers ranging from ages 14-16.

After recording demos and going through a few lineup changes, demos were sent to labels in hopes of getting signed. The current lineup is Adam Harrell, Jason Lowery, Michael

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Lamb, Jeremy Lowery, and Matt Grogan.

The sound of the band had evolved over the years, therefore, the band felt that a name change was necessary. After a couple of months of brainstorming with the label, we finally settled on Chasing Victory. The name doesn’t really have any significant meaning, we just thought it sounded cool. (laughs) Staying with that subject a minute, what is the inspiration behind A Not So Tragic Cover-Up? What’s being “covered up?”

The name comes from an old song we wrote about suicide, which was a subject I was dealing with at the time. The subject of suicide was not personal or anything I had attempted myself, but something that was a sort of a “generational curse” in my family.

In our case, we all listen to different styles of music, and what we write ends up having an emo/punk/hardcore feel to it. Since we have elements from several styles, we feel that allows to us mesh well with hardcore bands, punk bands, emo bands, etc. We can play to different audiences instead of being stuck in just a hardcore scene or punk scene.

Lastly, thank you again for your time in doing this interview and please end with any parting words you might have.

We all grew up reading HM, so THANKS for doing a story on us! Seriously, right now we feel bigger than Petra. Thanks again, we love HM!

The song was written about a guy who unsuccessfully attempted to kill himself and in embarrassment kept it “covered up” from his

11/18/2004 2:44:18 PM

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11/18/2004 6:11:25 PM

26 F E AT U R E T T E

WOVENHAND

BY DAVID HUFF There’s something dark and brooding about David Eugene Edwards, but you’d never know it by talking to him. The father of two has been happily married for 19 years, yet at times he finds himself struggling with the fire and brimstone passions that drive his music.

“The truth is going to insult people no matter what,” declared the Denver based singer/ songwriter, “and it doesn’t matter whether you’re a Christian or not. Certainly I feel a sense of responsibility when I write music, but you can’t control how people are going to react when they hear it ” Provoking people to think, or at least have an open mind, is the one thing that has been fueling Edwards’ musical intensity the past ten years. When his band, 16 Horsepower, entered the mainstream with their A&M Records debut, Sackcloth N’ Ashes, in 1996, the haunting melodies combined with a hillbilly, gothic-gospel sound was an immediate sensation. Delivered with frightening intensity, the songs dealt with religious conviction, temptation, wrestling with one’s dark side, hope, and basically the torments of a man

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looking towards heaven but trapped in an earthly body. 16 Horsepower’s music sent shockwaves throughout the secular and non-secular communities. Edwards took the reaction in stride.

“Believe it or not,” remarked Edwards, “when I write lyrics, I’m not directing them toward anyone but myself. This may sound a little strange, but if there’s any lesson to be learned from my music, I’m the one who’s getting the education. I don’t need to go outside of myself to find something to sing about it, especially when it comes to the struggles and problems of every day life. By keeping the focus within me, I believe that people listening to my music know I’m not preaching to them.

They understand I’m talking to myself about the things that have been bothering me.”

Exploring the delicate, yet explosive relationship between religion and real life, has at times taken its toll on Edwards musical odyssey. In fact, his spiritual beliefs inadvertently led to the creation of a side project, Woven Hand.

“My religious convictions did cause some problems in 16 Horsepower,” admitted Edwards, “but not for reasons you may think.

The difficulties with the band came about from the interviews I gave. People would start questioning me about the spiritual aspects of my lyrics, and I’d give them my opinions. After awhile, when other guys in the band would do an interview, journalists automatically assumed their religious beliefs echoed mine, and well, it just wasn’t the case.

“Lyrically, there’s never been a problem, no question, no arguments and no concerns over what I was writing about. Musically, we were all equals when it came to creating the sound.

When the media began to automatically assume the other guys believed the same way I do, well, that was irritating for them. There were conflicts here and there about it, but fortunately, it didn’t spill over into the music.”

To ease the tension, and pick up the slack for the downtime between 16 Horsepower projects, Edwards created Woven Hand in 2002. The side project helped quench Edwards’ thirst for the never-ending soul searching daily life brought to his doorstep. To separate the two entities, the Denver native used a different set of musicians to record the music.

“Woven Hand allows me to continue to create without interruption,” explained Edwards. “The main difference between the two bands is the music, not the lyrics. With 16 Horsepower, the sound we create comes from the group itself. When it comes to Woven Hand, I play most of the instruments. Basically, this band is all me, taken completely from my own perspective.

“The way I see it, the mixing of religion and music goes hand in hand. There’s no separation of religion from anything in life. God is God, and he’s in every aspect of my life and yours.

Music is something that He has created, and it’s by Him I perform, through Him I create, and for Him that I do this. I am fortunate to have been blessed with this gift.”

The highly anticipated third installment of Woven Hand, Consider The Birds, will be released the first week of November. He sees the album as a further exploration of who he is as a person.

“I consider myself more of a sound and texture guy,” stated Edwards, “Lyrically this record is smarter than work I’ve created in the past. Then again, I never put much thought into what I’m writing, so we’ll just have to see how it’s received.”

11/18/2004 2:46:30 PM

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Pillar Tour Journal 28 F E AT U R E T T E

Pillar has literally grown up before our eyes (at least the old set of eyes that edits this magazine). They’ve graduated from “yah-boy” rap-rock to a solid hard rock band with the ability to write good songs (always a recipe for success). As they embarked on their WHERE DO WE GO FROM HERE tour (which they asked us to cosponsor), we thought it’d be a good idea to get a peek at their road life. Bassist Kalel agreed to offer some exclusive content in addition to his online journal. Read on.

Journal entries

Images

WHERE DO WE GO FROM HERE September 20, 2004 - Big Springs, TX (Tour starts) The tour has officially begun! The people putting on the show were very nice. Noah, Lester, and I worked out while the promoter took Rob out to play a few rounds of golf. He is getting pretty serious about it. I’m expecting him to get a pro card sometime in his life. When we got back from the gym all the other bands had shown up. We ran into the guys from Project 86 first. They were really cool. They have a fill-in drummer, because Alex, their normal drummer, just got married and didn’t want to be away from home so long. We have a few guests traveling with us on this tour – Khalid (aka Steve) who is acting as a road pastor, and Kevin our lighting guy. Falling Up opened the tour tonight since Subseven is still out of action due to their blown transmission. Falling Up’s live show is amazing. I’m talking double guitar spins, back flips, and jumping guitar spins.

September, 21, 2004 - Albuquerque, NM When we woke up the bus was parked in downtown Albuquerque right next to the venue. Lester, Noah, and I pulled our weight gear right out in the sidewalk and worked out. The first thing we noticed was that they didn’t mention the tour on the marquee. Then we noticed that the club right next door was having a show tonight with Anberlin, Mourning September, and Noise Rachet. We know most of those bands and are friends, but it’s never good to have a show the same night (and right next door). Back behind the venue it was like a big party. All the bands from both tours were just hanging out and talking. We made arrangements so bands from both tours could get backstage so we could all watch each other.

September 23, 2004 - Phoenix, AZ The show tonight set the standard for the tour. Before they opened the doors the line wrapped all the way around the building. Over 1,000 people showed up to sweat and rock hard. All the other shows on this tour will have to live up to tonight. They had a Chiropractor on duty tonight adjusting band members and crew backstage. I’m too ticklish for that.

September 24, 2004 - Valencia, CA During one of our songs near the end of our set a older lady jumped up on stage and ran around. Security dragged her off. It was pretty funny and yet scary at the same time. Tonight they played our song, “Rewind,” on the season premier of Joan of Arcadia. My wife watched the show and taped it for me. She said it was pretty cool.

September 25, 2004 - Fresno, CA We’ve really been getting along with the guys in Project 86. Honestly, we didn’t know what to expect from them, but they are really cool. Andrew and Randy were up in our bus playing cards for a while today. Andrew also gave me his new book to check out. So far it’s pretty darn good.

September 30, 2004 - San Diego, CA Lester, Noah, and I found this Chiropractic place in the strip mall that also had a mini gym. When we approach gyms we always bring a CD and picture hoping to strike a deal. Normally we can get free guest passes. Being in a band has its advantages.

October 5, 2004 - Cheyenne, WY I had a good chance to explain our hearts with this tour to the promoters and I wanted to share it with you all. As most of you know we don’t do any actual “preaching” from stage. That is not what we have been called to do. The gift God has given us to do His work is music. So with this tour we wanted to play neutral venues (clubs, civic centers, colleges, etc) so Christians feel really comfortable inviting their non-Christian friends out to a show and getting them to come. Then these people can come to a show at a venue they feel comfortable and hear Christian music. They may not even know right away that they are seeing and hearing Christian bands, but God’s Spirit will be there. People will buy CDs, talk to us after the show, get on our website, and maybe even email us. We know this method has been working because we get emails from people our music has touched and I have personally been able to pray with several people in the last few months at shows.

October 6, 2004 - Colorado Springs, CO Ugh! I’m getting sick. Everyone on our bus has a head cold. That’s the last thing my wife needs is for me to be gone for three weeks then come home sick. She has tons of work planned for me and she needs me well. Even some of the other bands are getting sick. It’s just an annoying sick though, nothing that will stop shows.

October 9, 2004 - Holdrege, NE Tonight we were on MTV2’s Headbanger’s Ball, but we were on stage playing while it was on. We missed it! Some of the other people on our tour were in our bus while it was on. They said we did great. Hopefully someone taped it so we can watch it. The show went great tonight. At some point during the show our merch guy Matt climbed up on the bleachers way above our backdrop and was throwing stuff down at Lester while he was playing. There is so much that goes on between Bo, Matt (our techs), and us while we are playing. They write us goofy notes, throw stuff at us, or we are making faces at them while we are playing. The audience never knows.

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30 A N N UA L

Staff picks

DOUG VAN PELT 1. Demon Hunter – Summer of Darkness 2. P.O.D. – Payable On Death 3. Underoath – They’re Only Chasing Safety 4. Pillar – Where Do We Go From Here 5. Zao – The Funeral of God INDIE: University LIVE : The Alarm

DAVID ALLEN 1. Tom Waits – Real Gone 2. Sufjan Stevens – Seven Swans 3. Nick Cave & the Bad Seeds – Abattoir Blues...

4. xLookingForwardx – What This Means to Me 5. Underoath – They’re Only Chasing Safety INDIE: University, universitymusic.net LIVE : MxPx

While we tally up your votes, we always like to fluff our feathers as writers and let everyone know what we thought was cool in 2004. Lots of good music this year.

Due to the flack that we got last year from some of our staff writers picking albums that weren’t representative of, shall we say, “sacred” music, we kindly asked a bunch of our staff writers to pick and choose from artists that fall into our media coverage (i.e.

“Christian bands” or “Christians in a band,” you know the drill…).

As you can see, some complied, some didn’t, and some had a reason to choose none…

ERIC W. ALEXY 1. Dearly Departed – Believing In Ghosts 2. Moments In Grace – Moonlight Survived 3. Scatter The Ashes – Devout/The Modern Hymn 4. Further Seems Forever – Hide Nothing 5. The Kinison – What Are You Listening to?

INDIE: Fine White China LIVE: A Perfect Circle – April 16 – Chicago, IL

BRADLEY SPITZER 1. Brandtson – Send Us A Signal 2. Underoath – They’re Only Chasing Safety 3. Dillinger Escape Plan – Miss Machine 4. Interpol – Antics 5. Lovedrug – Pretend You’re Alive INDIE: Selection undecided LIVE: Dillinger Escape Plan, Cincinnati, Ohio

DAN MACINTOSH 1. Five Iron Frenzy – The End Is Here 2. Sufjan Stevens – Seven Swans 3. All Things Bright and Beautiful – Love & Affection 4. Buddy Miller – Universal United House of Prayer 5. Bill Mallonee – Dear Life INDIE: Sufjan Stevens LIVE: Switchfoot

DAVID STAGG 1. The Chariot – Everything is Alive…

2. Emery – The Weak’s End 3. Project 86 – Songs to Burn Your Bridges By 4. Blindside – About A Burning Fire 5. Underoath – They’re Only Chasing SAFety INDIE: Brevada LIVE: The Bled – Warped Tour – Dallas TX

MATT MORROW 1. Antestor – The Forsaken 2. Sanctum – Let’s Eat 3. Sympathy – Arcane Path 4. Frosthardr – Maktelxs 5. Veni Domine – IIII: The Album of Labour INDIE: Renascent LIVE: Opeth

JOHN J. THOMPSON 1. Johnny Cash – My Mother’s Hymnbook 2. Buddy Miller – Universal United House of Prayer 3. Michael Pritzl – Hollow Songs 4. Toby Mac – DiverseCity 5. U2 – How To Dismantle An Atomic Bomb INDIE: Michael Pritzl (Violet Burning) LIVE: Buddy Miller/Emmylou Harris, Chicago

CHAD OLSON 1. The Accident Experiment – Arena 2. Zao – The Funeral of God 3. Demon Hunter – Summer of Darkness 4. Project 86 – Songs To Burn Your Bridges By 5. Blindside – About A Burning Fire INDIE: The Accident Experiment LIVE: Zao at Cornerstone Florida

CHRIS WIGHAMAN 1. Emery – The Weak’s End 2. Bro Danielson – Brother : Son 3. FSF – The End Is Here 4. Underoath – They’re Only Chasing Safety 5. Starfl yer 59 – I am the Portuguese Blues INDIE: Selection undecided LIVE: FIF

JAMIE LEE RAKE 1. Buddy Miller – Universal United House of Prayer 2. Mavis Staple – Have A Little Faith 3. Mindy Smith – One Moment More 4. Rebirth – Episode 5 5. Matt Kearny – Horse Of A Different Color INDIE: Apologetix LIVE: Cool Hand Luke – LiFest

CHRISTOPHER WIITALA 1. U2 – How To Dismantle An Atomic Bomb 2. mewithoutYou – Catch For Us The Foxes 3. Sufjan Stevens – Seven Swans 4. Pedro The Lion – Achilles Heel 5. Mindy Smith – One Moment More INDIE: Bradley Hathaway LIVE mewithoutYou – 28,Feb - Chicago

ADAM ROBINSON 1. Sufjan Stevens – Seven Swans 2. Joy Electric – Hello, Mannequin 3. mewithoutYou – Catch . . .

4. Mission of Burma – ONoffON 5. Deerhoof – Bibidi Babidi Boo INDIE: Best Friends Forever LIVE: Trachtenburg Family Slideshow Players

JUDAH SIEGAL None of the music I purchased or listened to this year falls within the required guidelines.

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11/18/2004 2:52:33 PM

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11/18/2004 6:23:19 PM

34 F E AT U R E

It’s Saturday night, so this must be St. Louis. Anberlin is playing their last night as the opening slot on the Nintendo Fusion Tour, as the guest of headliner Story of the Year. I’m sitting in the sound booth of The Pageant, St. Louis’ premier live music venue, when Randy, the local sound tech leans over and yells over the music, “At least they’ve got good posture.”

And, sure enough, they do; this is a band that tends to stand up straight.

But I figure he was making fun of them, the way sound-guys are likely to do. Perhaps he’d seen enough Christian bands come through his club to have heard the bartenders complain about sales and tips when Switchfoot and others have played there. Maybe the Tooth & Nail label on Anberlin’s large backdrop gave

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him a clue. Maybe he was once beat badly in a poker game by guys with good posture, or maybe it was just a personal problem: his.

As for Anberlin, they did a fine job in the opening slot, playing for a crowd largely unfamiliar with their music, there to see local boys done good, Story of the Year. In fact they were joined on stage by Story guitarist Phil Sneed on vocals for “Glass to the Arson,” and did high energy takes on “Change the World (Lost Ones)” and “Naïve Orleans”—from their strong debut, Blueprints for the Black Market—to a rousing response from this first-time audience.

Singer Stephen Christian had worked the crowd well, while the band’s bouncy twin-guitar pop/punk rock had

heads bouncing, fists raised, and the occasional hint of a mosh pit opening up on the floor. New songs from the soon-to-be released sophomore effort, Never Take Friendship Personal, were as well received as older ones, and on the whole Anberlin did as well as most bands in this kind of no-win situation.

Later, behind the stage, I sat down with the youngest member of Anberlin, drummer Nathan Young to discuss their music and aspirations. What is it with these guys’ names—Stephen Christian, Nathan Young—anyway? It would have been like I’d introduced myself as Quincy Old—Mainstream—Liberal—Guy. As it was, the Young one called me “sir” several times, while I pretended not to notice and to prove I was down with the kids’ music.

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A N B E R L I N 35

Young assured me that I had just seen an exemplary Anberlin show, as we huddled around my old tape recorder as Adair launched their set on the club’s stage. I was trying to get at that ministry question that everyone asks about bands on Christian labels: do Anberlin hold back on faith issues in settings like the one we were in, a major nightclub? And do they share more, do more of a ministry thing in concert settings where they are the headliner, and the promoter is a Christian, possibly a church youth leader?

“We’re all Christians, like totally, all the guys in the band, we’re all Christians,” Young states, with matter of fact determination, while trying to soften the blow of that inevitable “but,” which comes in the form of “Anberlin is more like a full time job to us. It started out as a hobby, and now it’s more of a job, you know?” In the Reformed tradition under Calvin, Young is speaking of a sense of vocation. Or to borrow Terry Taylor’s wisdom, about not being a Christian songwriter the way you wouldn’t call yourself a Christian plumber, Young speaks of being a good band, making good music.

And, yes, I do… like most Christian music journalists I feel like I’ve had this conversation about a hundred times.

Of course, you’re all Christians, but no, no of course you’re not a Christian band, you know? Yep, got it.

But master Young, is adamant: “Whether it’s a crowd like this or a crowd that comes just to see us, who’s heard the record, they get into the music just the same. They just want to hear us play good music and

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get into it. You know what I’m saying?

So, as far as Anberlin being on a Christian label, we just try to write good music. We don’t set our faith on the side, but we see that as what’s going on in our personal lives. If someone wants to talk to us about our faith, we’re cool with that, and that’s how we feel we can make a difference, off stage talking one on one. When we’re onstage, we just want to rock the crowd as hard as we can.”

And Anberlin’s live set bore that out.

While they are positive, devoid of swearing and references to partying or getting drunk, Christian and his cohorts hyped the crowd, but offered little of substance apart from introducing their songs and promoting their CD. And, a quick analysis of the lyrics of the songs they played, would tell you that the one song that had a strong reference to Christian salvation and transformation was not original to Anberlin.

In “Love Song,” they sing of how when I’m alone with some mysterious you, I feel that I am home/whole/free/clean again. The song in question, familiar to fans of 80’s alternative rock radio, is a classic, written by Robert Smith of the Cure. One can safely say, that it was not intended as an expression of a Christian message, although what it becomes on the lips of Anberlin is another question altogether.

So, exactly how does an indie rock band on a modest Christian label land on a major promotional tour for Nintendo, with Story of the Year, one of 04’s more successful breakout bands? Is this some kind of pay to play deal? “No,” says Young, admitting

there’s no money for that. “They’re friends of ours. We met them out on the road, and from playing with them we’ve become friends. Philip, especially, loves our music, so when they were putting this together with Nintendo, they hooked us up.”

As for Anberlin’s aspirations, Young sees that the sky is the limit. They’ve had a pretty successful debut, selling over 40,000 copies of Blueprints for the Black Market. It’s no surprise that he takes the success of MxPx and Juliana Theory, who have moved on to bigger and better things, as a sign of what is possible, with Tooth & Nail as a stepping stone.

And, the next phase has already been recorded, again with producer Aaron Sprinkle. Young is confident about the new disc, titled Never Take Friendship Personal. He’s convinced it will reveal a band, matured by playing gigs in the last year and a half, that has a stronger sense of its own unique sound. And, “you know, even though it’s titled Never Take Friendship Personal, it’s about friendships, you know?”

Yes, yes we do.

Next the band, which has been living out of cheap motels and a cramped van for the last two and a half months, heads home to Central Florida. There they’ll recoup, have some much anticipated time with family and friends around the holidays, and then prepare to tour again in support of the new album, come Spring. As we wrap up, I think, that drummer was a nice young man, and great posture.

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38 F E AT U R E

Written by Annie Esquibel Layout concept from Arnulf Rainer, Overdrawing a landscape, 1962 Solid State Records embark on a new road down the genre of raw rock. Very few bands would fit in this particular genre. Raw rock is a new and improved label to fit the tastes of punk, rock, classical, metal, hardcore, grunge, and just about any style of music you can think of will be found in raw rock. Showbread are the creators and inhabitants of raw rock and break this sound into the scene, in the midst of their jumpy beats and coordinating, dress alike uniform. Like any other band they pride themselves on having a newer, fresh and chaotic sound.

We take a look into the world of Josh, Ivory, Mike, Matt, Patrick, John and Marvin. The band hail from sunny Savannah, Georgia.

Members of the band, Patrick (bass) and Josh (vocals) started as a small praise band. They played in a church they grew up in.

Little did they know such a spark would ignite into a flame of marvel in music. Their musical drive and influences led them to take on a bigger project and a larger scene to form a rock band and writing their own music. They wanted to play in as many places as possible. Like most bands starting out they have went through their fair share of member changes, musical flaws, and genre jumps to become what they are now. “In the time I’ve

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been in the band, God has opened a lot of big doors” says Matt, “I’m surprised at what God has done through the band—but as individuals—do I think that we are better or deserve it more?

Not necessarily, but we’re all definitely excited God’s using us to create raw rock and change the music world.”

Showbread describe what they have created as, “Crazy, dance orientated, catchy, electronic meets classic rock, Refused meets AC/DC and Nine Inch Nails. The foundation is a standard almost vintage type of hard rock, filled with hip-shaking hooks and beats, layered with synthesizers, drum machines and samplers.” Such a description might make you think of some bizarre mental theory of dysfunctional music that doesn’t run smoothly; however, this is not the case with the band. The sound may be understood more as a range of music that satisfies the tastes of many people, styles and genres. They are a very diverse group of individuals and it shows in their style and music. They are a band you can say, “You sound like…” but that is not their only sound, there are tons of bands you could say they sound like and it just would not be the same. Showbread

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S H O W B R E A D 39

try to do the job different but they say it’s just a progression of raw rock.

With this progression the band strip away the stereotypical labels of music to reveal this new age of rock and roll. Their earlier work, “Life, Kisses and Other Wasted Efforts” reflect a standard of punk and rock, guitar damage with choppy, appealing choruses and stale, hardcore vocal input. They go aboard on a less sophisticated, more progressive and less familiar route with Solid State Records. They have kicked off with the Youngbloods Tour. This will be the biggest tour they have been on and they are very excited, “We have a lot planned for it—kids will just have to come and watch—then go home amazed with a Showbread cd” proclaims Matt. They will be hitting over 30 locations, all over the US and most likely a joint near you so keep a look out for them! They will be touring with The Chariot, He is Legend, Far-Less and As Cities Burn. “I like the cast of bands because it’s a Solid State tour, but it’s not a “hardcore” tour or whatever else it could have been in the past.” These bands differ a lot so you’re bound to get a taste

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of each style and keep entertained. Whether you like punk or rock, metal or grunge, emo or hardcore you are bound to find something you like.

On a deeper note the band have a positive message to portrait to the world and youth of today. They carry a name and the claim to Jesus Christ. The band claim they are all Christians and definitely want to send that message out to ‘the kids’ that Jesus loves everyone and doesn’t judge on how we look or the way we are. They want to proclaim what Christ’s love really is and say, “He was about love and edifying the church and that is the message we try to bring to the kids. Christ loves you. We aren’t a preachy band or whatever, but if kids want to know, we will talk to them, if not, a seed is planted.”

Their new album release with Solid State, No Sir, Nihilism is Not Practical was on October 19th and it is available in most music stores, online, on their site (http://www.showbread.net) and the Solid State Records site (http://www.solidstate.com).

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bacAk Comeback kid story ScoJeremy, tt, Scott, & KAndrew yle & Kyle by enDavid Allen 111_ComebackKid.indd 1

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C O M EB A C K K I D 41

Photography by Kimberly Butts

While on the road with the hardcore band Figure Four, vocalist Andrew Neufeld had an idea. As much as he enjoyed screaming his heart out, he wanted to play guitar in a band.

You see, Andrew had written some of the Figure Four songs on guitar and thought the idea of playing would ďŹ t him well.

At one of the Figure Four shows, he decided to talk to Figure Four guitarist Jeremy Hiebert and their friend Kyle Profetta.

The idea was to start a different band. There was no concrete direction, at the time, but they all enjoyed fast hardcore and wouldnâ&#x20AC;&#x2122;t mind spitting it out a bit more melodic.

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Eventually the guys got together, with Kyle on drums and jammed a couple of times. In need of a vocalist, they got another close friend, Scott Wade, to give it a try. Scott had never sung in a band before, but the guys immediately saw potential in him and hoped he would be able to do it. They began writing songs with him as lead man and were pleased with the outcome.

Already a tight knit group of friends, the newly formed band began to play live...

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42 C O V E R S T O R Y

“I remember our first show,” says Andrew, “it was new for Scott so he was facing the drummer and shaking his butt towards the crowd - we have a video of it and I’d love to get it out somehow. I remember playing some of our first shows without lyrics. Scott didn’t really have words to some of the songs, so he would go out there and just scream stuff.”

And the local Winnipeg response was good. So the band hooked up with another friend to record a quick demo under the name Comeback Kid. (The name was from reading a newspaper clipping about a hockey player making a comeback: they liked the idea of getting back up after a fall.) As exciting as the new band was, the already established group, Figure Four, continued to keep busy. So for awhile there, balancing between the two bands was a juggling act. Figure Four had to keep on and they didn’t want Comeback Kid to linger as some Canadian local band. So Scott uploaded a few tracks to some key internet sites and the positive responses immediately grew.

They followed the next logical progression and sent the demo to a few labels. The expressed interest from Facedown Records owner Jason Dunn proved to be just what the band was looking for to sign a deal. The label put them in the studio to record a few songs from the demo and some new material to be compiled for the Comeback Kid’s full length debut, Turn it Around.

With the extra push from Facedown and an evolving live show behind the new album, the band quickly caught on. Like the initial response, viewers and listeners alike began flocking to the new, great hardcore hope. Many bands build up a fan base, but the amount of interaction and intensity Comeback Kid pulls from a crowd is not too easily matched.

The reaction has been overwhelming. From album listeners to fans going crazy at venues, people have latched on to Comeback Kid’s fast paced, melodic brand of hardcore. What is it about the style of music that seems to leave the listener wanting more?

“At that time there were a lot of low tuned, chuggy metalcore bands,” responded Jeremy. “It seems to take a lot of older people back to the sounds when they got into hardcore. And the newer generation that are just as into it as well. It’s cool that it can span across a wide range. People older than me tell me it’s the kind of music they listened to when they were younger” “We want to play the style of hardcore we enjoy,” says Scott. “We grew up on SoCal skate punk… between that

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and hardcore, those are two biggest influence. I don’t know about the crowd reaction Maybe they just connect with it and have wanted something similar to what we are doing.

We’re certainly not reinventing the wheel, but it seems to be what people want to hear.”

“Maybe by fluke we wrote some songs people happened to respond to… or are catchy.” Andrew wasn’t sure but his hope is that people are actually into the songs. “We feel it all so much, both the music and lyrics.”

“People just enjoy singing along and having a good time,” mentions Kyle. “I also think that as musicians we bring extra energy. Many bands that play this style of music have an energy, but for some reason I feel we have a one up on the energy and heart that goes into it. It’s about coming off stage completely exhausted; just a mess. I also notice a lot of spirit. With these guys … you know, over the last two years I feel we’ve grown really close to each other. We’re like best of friends and the better chemistry we have, the better the show. Once you know each other, you start pulling off of visual cues. You begin to know what the other person is going to do the second before a person is going to do it… you can put an accent on it.”

Andrew: “We have been really honest and real with everything. We put our hearts into this… into everything we do.

Especially on stage, we give 100% no matter how many people are there. I hope that has something to do with it. Maybe they can sense our passion for the music.”

Scott: “If we’re not playing I’m that kid jumping on the crowd and singing along… dancing. I think it helps to realize the position we are in. I know if I jump, they’ll catch me. It sounds silly, but I just know I have an opportunity to be involved and a part of the crowd. I don’t really see myself being unconnected because I can relate. I want to be in the crowd as well.”

So how does a band transfer such a tremendous intensity into an album?

Andrew: “We just do it. We don’t try to let ourselves get too technical. In the studio, we may not necessarily punch in every note. It’s doing the same thing you do on the stage - just give what you have. For instance, we were really meticulous about Scott’s vocals on the first album. If we didn’t feel enough power on a certain line, we’d go back over and over.

It’s a matter of being happy about what we hear and making sure it’ll transfer to the listener.”

With the fan base attracted to the live element, do they keep

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C O M EB A C K K I D 43

the shows in mind when writing new songs?

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Andrew: “Totally. I’ll hear a song, or certain line that I just know it would be amazing to hear a crowd sing along to.

Our lyrics are written open ended. A song may be about a particular situation faced in life. We set it up then let the listener finish. Be it breaking up with girls, having a fall out with a friend, being excited about something… it’s things in life people want to get off their chests. When everyone relates, that has to transfer over.”

Lyrically, Comeback Kid stays the path of situational topics and sing alongs.

“But it is a little different,” says Scott. “The lyrics have matured some. On the first record Andrew and I did lyrics together and he did some on his own. This one I took a bigger role. Being involved with Comeback Kid over two years, I now feel more comfortable and confident with my ability to write. I go with my gut now where as before I didn’t. I know my phrasing now. Andrew and I still go back and forth sometimes, but we trust each other a lot more and that has passed into our lyrics.”

In October the band went into the studio with producers Jason Livermore and Bill Stevenson. The creation process of writing, practicing and honing their skills had come to a head and Comeback Kid was ready to write a new record. After touring for most of the past year, it was time to face those sophomore album jitters.

“Now that we’re finished recording, we’re more comfortable,” says Scott. “With the second album you’ve got this little space. If you go a little past it then you’re doing something too different. And if you don’t move ahead a bit, you’re doing the same thing. It’s this little niche you have to jump in. We all worry at times. But then we realized that when we did the first record it was simply because we loved it. So we figured it would be good to do the same on this one.”

Addendum: During the interviewing process for this story, Comeback Kid was in negotiations with Victory Records. Victory bought the rest of the band’s contract from Facedown Records and were proud to announce the signing immediately. After recording the new album, the band headed to Europe, Japan and are currently finishing up in Australia. February has them back on the road in the states in support of this new release, Wake the Dead.

Jeremy talk about producers Jason and Bill.

There were some late night sessions for the heck of it. They haven’t been pushy, but they will go out on a limb and ask us to try stuff. There were a few things I know I personally added to the record that wouldn’t have been pulled out of me if it weren’t for those guys and that kind of atmosphere. We have great things to say about recording here.

And we’re working with people who have been doing it a long time and are very experienced. When you walk into the room you carry a respect in with you. You just know that, regardless of whether everything is going to come out perfectly according to what you are hearing, in the grand scheme of things they have a good idea of what you’re looking for and what they know.

Scott discussing his voice: I guess the wear and tear on my voice… it took me lower, on the deeper end from doing it live so many times. When we demo-ed for the record it was obvious. I expressed the concerns to Bill, and he figured out the same key (for) my voice on the same record and we tried to aim for that. It pushed me right back up there.

Kyle on his drumming I came into the studio with ideas. The last time I was pretty much a rookie and stuff I wanted to do got dropped. I could do it in practice, but once I was behind the mic you can hear every little missed hit. But this time I’m working with some amazing drummers. I’ll get frustrated and they’ll push me and give me examples. I’m coming out a way better musician; much tighter.

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11/18/2004 3:33:09 PM

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11/18/2004 6:25:38 PM

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11/29/2004 4:28:46 PM

FEATURE 47

What Taking Back Sunday Says TAKING BACK SUNDAY SEEM TO BE GROWING IN POPULARITY BY THE DAY. THEIR SHOWS ARE PACKING OUT AND SHARING A BILL WITH FALL OUT BOY IS PUTTING TWO BREAK-OUT BANDS IN THE SPOTLIGHT. IN AN EFFORT TO ONE DAY POSSIBLY RELEASE A DVD OF HM MAGAZINE INTERVIEWS, WE HAD A SMALL FILM CREW IN THE DRESSING ROOM AT STUBB’S IN AUSTIN, TEXAS FOR THE FOLLOWING INTERVIEW WITH BASSIST MATT RUBANO AND GUITARIST EDDIE REYES.

Photo by Justin Borucki

Tell me how the tour is going so far. Tell me about the bands you’re playing with and what’s the coolest prank that’s been pulled so far?

Matt: The tour’s been going great. Most of the shows have sold out. We’ve been having a lot of fun. We’re out with Matchbook Romance and Fall Out Boy and we’ve been having a rotating first band every 7 to 10 days or so. Right now we’ve got a band called The Quick Fix Kills with us. The cruelest prank played so far was played on all of us yesterday and the day before when there was… I know this sounds like whining and complaining, but there was no fans or air conditioning of any sort in the venue in Houston. It was pretty hot in there; like condensation everywhere and just real uncomfortable playing conditions, but we still do what we do anyway. Everybody just gets covered, soaking wet. But other than that, it’s been pretty good. Everyone’s getting along and hanging out and stuff, so the pranking has been minimal.

Eddie: Oh, there was the gay porn prank yesterday.

M: Basically, Matchbook Romance and Fall Out Boy covered our stage, after they were through and right before we were about to go on – they covered the monitors and the stage and the drum riser – basically anywhere we were gonna have to look at while we were performing, like my pedal boards, with lots of gay pornography.

E: Apparently the best picture was on my monitor – a guy named Javier with a big penis.

M: It was pretty amazing, but it got taken down because apparently it’s a federal offense if any of the young kids watch it or see it. That’s not the kind of thing we want to get caught up in.

E: The club was right next door to an adult porn shop, too.

M: Yeah, that’s probably where they got it. All’s fair in gay porn and punk rock shows.

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You played some cool festivals in the UK, like Reading Festival and Leeds… Tell me about those experiences.

E: It was awesome.

M: It was probably the biggest crowd I’ve played in front of in my life. A low estimate would be 40,000. I think in attendance was sixty-some-odd-thousand that day.

E: It was strange, because the barricade felt like it was a mile away, but when we started playing it just felt like everyone was there (motions right in front of him).

It was so good.

M: Yeah, we played early, too. It was like waking up. You know? We’re in rainy England and stepping off the bus into mud and sort of creeping up this hill and seeing the stage set up from behind – you can’t really see the audience – and then you climb up the flight of steps up to the stage and sort of peek around the curtain and you see this unbelievable multitude of people. And they’re all… It’s not like there’s 40,000 people on the grounds; there’s 40,000 people right there. It was a pretty cool sight. It was a great show. It was a great audience. I think people really go to something like that to party. At 11 o’clock in the morning they’re already ready to go and we’re sort of stammering around, ‘What?’

E: Although a big major band or bigger bands got booed off.

M: Did you guys hear about that? Fifty Cent had a rough time. He got pee bottled off the stage. He lasted about 20 minutes. I think some other band got booed off also.

E: We didn’t get booed off stage, so it was good.

M: Yeah, we didn’t get booed off.

E: That was a good sign.

11/18/2004 3:56:13 PM

48 FEATURE Talk about a tough audience. Wow. (pauses) What do you do to enter that “still small center,” that you reference in your lyrics? And how important is that?

M: We start every time before we play a show. It’s not like we sacrifice a goat or anything, but we definitely – no matter what kind of chaos is happening backstage or what anybody’s preparing to do. I think we each have our own routine, and then we definitely, right before we go on stage, we

who will never be saved; or go on,” and I was like, “Peace out!”

M: I’m probably too cynical to talk about this on camera, without offending a lot of people.

E: And there’s a bit of… I have faith and hope, but I’m not so into, like… I don’t belong to any one religion.

M: Music is god. Music is religion. Nothing’s had a more profound effect, I don’t think… I’m not speaking for ev-

“I don’t know. Jesus is cool. It’s a good story.

I’ve read the Bible. It’s a good read.”

-Matt Rubano

just come together for a minute and just sort of set our…

E: Give thanks.

M: Yeah, give thanks and center our energy and just sort of chill out for a second together and then hit it. No matter what – even if it’s just for one second. If we just… If we…

It’s always just gotta be the five of us for a minute and we start from there.

E: I usually take a 15 to 20-minute nap and then I get up and go, “Ah, yeah.”

M: He’s like the B.A. Baracus from the A-Team.

E: I’m the oldest member. I’m allowed to fall asleep before I play.

M: We each have our own, I think, pre-show sort of thing.

I like to stretch and make sure I’m comfortable, like, physically to play. I know people find Fred, like, kissing the kids goodnight on the phone – stuff like that – and everybody’s doing their own thing. But yeah, we definitely come together.

E: He’s stretching, Adam’s working his head. Fred’s like, “Mum-mum-mum-mum.” (vocal exercising) Mark shows up right before we go on stage.

M: Mark’s watching MTV or something.

E: I’m sitting down, wondering what I’m going to eat afterword! (laughs) M: It all works out at the end. If we were the same five dudes doing the same thing, I don’t think it’d work out.

What do you guys think of Jesus Christ?

(Eddie chuckles) M: Good story! That’s from the Bible, right?

(Eddie chuckles again)

I think so.

M: Who wrote that?

A lot... How many authors? 40 authors?

E: I was raised a hardline Christian. I’m not. My parents were Jehovah’s Witnesses.

Really?

E: So, when you’re 16 you have the… You have to choose “your path,” as they say. “Go the way of the normal people

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erybody in our band – but nothing’s had a more profound effect on me as an individual in my life than music.

E: I think music and food are like the two most important things in anyone’s life. (laughs) What’s the first thing you do? You make breakfast and you throw on the radio.

M: You throw on the CD, yeah. That’s every morning, pretty much. I don’t know. Jesus is cool. It’s a good story.

I’ve read the Bible. It’s a good read.

Yeah.

M: I just can’t shake this one. Not to introduce comedy into it, but I just can’t shake this one sort of… Regardless of what you believe spiritually, 2,000 years ago, I don’t know… But I’m inclined to believe that people weren’t as smart as they are today. After 2,000 years of de-evolution going backwards and hocus-pocus. I just can’t seem to shake that thought – not that we’re better off. We’re destroying the planet and there’s more disease and there’s poverty and madness everywhere, but like, as far as just general intellect, it’s kinda hard to think that 2,000 years ago people were more on top of it. Maybe they were. Maybe they were more “pure times,” but I don’t know…

E: My spirituality? I think there’s a superior being out there.

In my own opinion, I can’t believe that… I don’t think that we need to live our life by a book, having someone tell you how you should… I just think religion puts fear into people, and it’s not supposed to be about that.

M: Exactly.

E: Pretty much all the wars in the world are because of religion. I don’t know where God is behind that.

Does it feel like a personal war? Did you get ostracized by your family when you made that choice at 16? What was that like?

E: No, man. My parents were cool. I was a punk rock kid – a hardcore kid. I was into sneaking out and going to shows at CB’s. My mom just gave up. She was like, “You want to be a part of music. Go ahead.” She was supportive.

They were supposed to disown me. That’s how it is in this religion, but my mom doesn’t really follow the rules.

M: She’s punk rock.

E: She is! She doesn’t follow the rules. She’s always getting yelled at by her “elder.”

11/18/2004 3:56:28 PM

WHAT TAKING BACK SUNDAY SAYS 49 Really?

E: We have elders. We don’t have normal priests. She was, “Screw you. He’s my son. Let him have fun.”

Good mom. What do you think about the claim of Christ to be, “the Way, the Truth and the Life, no one comes to the Father but by Me?” M: I think 90% of your life depends on what you believe, right? I mean, if you believe… I mean that in the most broad sense. If you believe something is so, then that’s how your life goes. If you believe that isn’t… It’s like… There’s no way to… Like I said before, “Religion – all religion – most religion is based on . . . sort of, when you break it down, you boil it down, it’s based on the principles of faith and fear. Have faith or be afraid of what will happen if you don’t. And faith is a beautiful thing. The idea of faith is a very beautiful thing to have in your life and to have faith in things and people and ideals, but… I mean, I’ve always thought in small ways, but as I sort of grew older I always thought it was more important to base your life and your feelings and your thoughts on those huge metaphysical things on your experiences rather than a teaching that starts before you’re old enough to even really know about these things. Like, I was raised in a Reformed Jewish family until I was, you know… I was probably at the age of the 13 and then… I never really enjoyed it. I never really got any sort of spiritual feelings or substance out of religion. I never was really, like, “Yeah. This is fun. I love going to Sunday School!” I hated it. I didn’t understand it. It was boring. It was taught to you the same way everything else was taught to you in school. It’s just like teachers that were not real interested in teaching you and you have to go. And then when I was old enough to sort of, I guess, make a little bit more of my own decisions or whatever, and read a little bit more, I just decided that it was more important to sort of figure things like that out on your own and then nobody really had the answer. You know, like a Rabbi doesn’t know any better than I do. He’s just… It’s ridiculous, because in all of organized religion they have things in the church that are horrible whether they’re in the church or not. You know, children getting molested. The Rabbi in my temple – they got rid of him, because he was laundering money from the temple or something. Men of God or men of clergy aren’t exempt. They’re still just men. Just because that’s the way you sort of follow your life, it doesn’t put you above anyone else. Nobody knows. No one knows.

E: I was raised a hardline Catholic when I was a kid. My priest in my church molested two boys, so my mom flipped out and was like, “This is a false religion. This is crap!” Then she changed everyone over into Christianity, you know – Jehovah’s Witnesses. That’s basically why we changed religions. I had Christmas taken away from me.

Wow. E: That’s pretty much why I always had girlfriends. That was always a reason to go celebrate some holiday somewhere else. But… Yeah, so… It’s kinda like, you know…

I don’t know, man. I don’t think you need a religion or a church or someone to tell you how to live your life. I think if you have faith it’s good enough.

M: At the same time I would never judge anyone if they were. And I really mean that. It’s hard. Some people say, “If you believe that, then you really believe it and you don’t think that it’s the right thing to do,” but I know people that get a lot of enjoyment from their participation in their religion and in their beliefs. And I think that’s just as beautiful as what I think or don’t think. You know what I mean? I wouldn’t judge anybody.

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E: I do believe in miracles. Sometimes you come across a miracle. Again, I don’t think I’m ever gonna grow up…

I don’t think my kids are going to have to worry about being Catholics or Protestant. I’ll stay out of it. I’m just not really into that. If you believe and have faith, that’s good enough.

How was working with Lou as a producer?

M: It was awesome. I think Lou – more than being a great producer and real talented at what he does – I think for us, at the juncture that we were at, to making this record with the change of band members and stuff like that and the big touring schedule that we keep – I think Lou was the perfect producer for this record. And he approached it perfectly. And he and Todd Parker, who engineered, they really handled it the right way; which was like with respect to the songwriting and stuff, a very hands-off approach, where they just let us really put the tunes together and they lended their input sort of at crucial points and the sounds that Lou comes up with are great. And, as far as his vibe in the studio, it’s just like fun and positivity every day, just coming in ready to work.

E: Your dad.

M: Yeah, he’s like your dad that never gets tired of your class project that you’re working on. He was great. I’d recommend him to anybody. He really brings great things to whatever he works with.

Describe the typical Taking Back Sunday fan – the male and the female counterpart as well.

E: The female fans are nurturers. They always take care of us. They want to. They want to bake us things. I always get cookies, food, and clothes. The guys are like, just dudes.

M: Dudes that we’d hang with – that are nice and they really get it. They’re just down to hang out. It’s hard to say the “typical fan,” because things have improved so fast for us in the last year that, like. It’s radio kids and it’s kids that have listened to us from the beginning before I was even around, so it’s kind of hard to make it a typical person.

E: It’s got to the point where I really know a lot of their names. Like, over the years, we’ve never lost any core base.

The kids that came to our shows when we played to five people – they still come to our shows. We haven’t lost any of them. A lot of them now are just old friends. When I go into a city, it’s like, “Hey, what’s up?” I’ll throw ‘em on the list or whatever and hang out. I remember most of their names. And then there’s the new kids that are getting it.

It’s cool.

Obviously you don’t have to choose, but if you did have to choose, what would you choose between rocking out and getting everybody to sing along?

E: Both. We rock out and everyone sings along.

M: Those are both, like, core elements of what we do. It’s hard to say what it would be like if we took one of them away. I think it’d be a pretty different band. That singing along stuff is like, it’s what it’s made of. How do you know you wrote a song that people like?

E: I play shows and I look down at the crowd in front of the barricade and these kids are singing along with such emotion that you actually see some of them cry sometimes. It’s just so weird. It’s amazing, like, “Wow.” I don’t think I’ve ever been to that point in music where I went to see a band live and cried. Okay, maybe once. Actually, yes. One band did almost make me cry, and they’re from Austin. They used to be a band called Mineral.

Oh yeah.

E: I saw them play at Coney Island High in New York. I was going through some rough times and they have those really deep lyrics. (looks at Matt. “You must think I’m a wimp!”)

M: No, no. I’m trying to think of when I cried. I think I almost cried at a Bjork show once. I was feeling really soft that day.

Eddie, you mentioned miracles earlier. Are there any miracles in your life that you want to talk about?

E: Miracles in my life? Uh, my miracles… My brother surviving two wars is a miracle. My mom surviving cancer’s a miracle.

Wow. E: My friend crashing my car on my wedding night…

M: A couple of days before his wife drove the other car into the house. Both in, like, a week.

E: My friend borrowed my car. He was driving a girl that was involved in the wedding party. He drove her home and he fell asleep at the wheel and he hit a traffic sign doing, like, 60 miles an hour. It totaled the car and he walked away barely unscratched. Thank God. He’s one of my best friends. The same time, at the same moment, another kid in the same exact car had the same exact accident – hit a traffic sign. Decapitated. Same age, same car, same time, same neighborhood. How odd is that? To me that’s a miracle. It’s terrible for the other kid, but my friend walked away from that. Things like that... This band (laughs)...

The things this band has been through. As far as the band, when things happen I don’t get worried. It’ll fall into place.

I’m so used to this. It’s like the old machine that the old guy says, “Don’t worry about it. It’ll work. You guys are losing your hair for no reason.” So many times it just falls into place.

What’s a question you’ve always wanted a journalist to ask you in an interview?

M: I think we have more questions we don’t want to be asked than asked. I think there is probably a secret about something that a journalist could ask any one of us that, if the question came out, there would be this uncomfortable hush that would fall over the room. And then we would go into total fear and everybody else would total be, like, no communication for the answer, and it would just be this, like, standoff.

E: If I was a journalist, I would ask someone, “Why do you play music?” Why do I play music?

M: Girls, man.

E: Cred!

M: I play music because it’s the best thing in the world. It makes people happy.

E: I’m either going to play music or I’m going to be a chef.

M: Working a deli.

E: Because my life is two…

M: If I wasn’t playing music, I’d be working for dad, working for my brothers.

E: How many musicians used to work with food? Ask any musician what they used to do. “Ahh, I worked at a restaurant.” It goes back to what I said earlier: “What do you do in the morning? You make breakfast and you turn on the radio.”

11/18/2004 3:56:49 PM

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11/18/2004 6:34:57 PM

I N T E R M I S S I O N 51

One thing that hit me like a freight train was the importance of earning an audience. I struggle with certain terms and symbols just like the next guy, and a couple years ago I realized that the term Missionary was one of them. Maybe due to cultural conditioning at school, maybe because of films, or maybe that catchy Eurythmics song, but somewhere along the way I developed less than an exuberant attitude towards missionary work.

I thought of men in white shirts with ties and women in long dresses teaching little native babies their ABCs. I pictured white people from the USA imposing their culture, rules, and dogma on native people. I bristled a bit at the thought, and that was it.

That’s the problem with words, though. The word “missionary” for instance, struck me as a Christianese term and a borderline irrelevant comment. It shouldn’t surprise me any more how wrong I can be when I put my mind to it, but it does. Having devoted my teen and adult life to finding ways to be “relevant to the world around me” and “speaking the language of my neighbors,” I was humbled at the true meaning of those ideas. God has blessed me with opportunities to see real live servants in action. These are people who have laid down their “private lives” in the service of a greater call; to love their neighbor. Not a one of them was preaching irrelevance or cultural stereotypes, and not a one of them had to jump through any kind of hoops to get people to listen to them. They, it turned out, had earned an audience.

There’s Steve in La Paz Mexico. Down at the tip of the Baja Peninsula Steve is spending his life in the service of his neighbors. Steve isn’t from La Paz, he’s from the USA. He didn’t grow up planning to be a missionary.

He’s a master Scuba diver, an avid environmentalist and a rabid kayaker.

He’s lived in Venezuela and made a living diving in crystal clear Caribbean seas. He followed his dreams until he realized that no dream on earth is as satisfying as laying down your life for your Lord. Now, years later, Steve is ministering to scores of people in La Paz Mexico. In a city wracked with drug abuse, alcoholism, violence and hopelessness, Steve and his family and co-workers are making a real difference. They have opened a shelter for battered wives. They work with a local treatment center to offer hope

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and help to crystal addicts. They even have a daughter church deep in the wilderness of the desert in a “town” of squatters called San Hillario. I stood with Steve at the back of the open air sanctuary they use for Sunday services and watched his face as he rattled off short versions of the stories represented by the people packed in for the service. Former addicts, a professional wrestler, prostitutes, prisoners, they were all so precious to Steve. He was glowing.

As I talked to various members of the church the reality struck me. Steve didn’t have to wear any particular clothes to earn their attention. He didn’t have to be really funny or really cool, or really wealthy or poor to earn their respect. He didn’t have to holler to bend their ear. He was just himself, right down to the kayaking ministry he started (with amazing results.)

These people saw a life laid down for them. In Steve and his wife and kids they saw real sacrifice, real love. When Steve spoke, they listened, and they acted. He earned his audience by placing his own plans, desires, hopes and dreams below theirs. The idea that the last will be made first, and the least the greatest is living and breathing in La Paz. As is often the case in the economy of the Kingdom, God placed Steve in one of the most beautiful diving areas in the world. In the midst of horrible poverty, despair and physical discomfort, Steve is in heaven. God has given him the desires of his heart, and then some.

I thought of so many American pastors, musicians and lay people trying in vain to trick people into hearing their message, or trying to earn their audience by proving how right they were, and it saddened me. How many times had I thought I was earning my audience because I had cool hair, the right threads, or some kind of talent that I was so eager to foist upon them? I was humbled, and convicted to the core. Steve didn’t invent this.

He was just copying the master. The King of the Universe humbled himself and took the role of the servant. He earned his audience by His grace, His wisdom, His love and His sacrifice. Steve is doing the same. I want a piece of that action.

11/18/2004 3:40:45 PM

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5/22/2006 3:10:56 PM

ALBUM REVIEWS

53

Album reviews

53 ALBUMS 58 ENTERTAINMENT 59 BOOKS & GEAR

MEWITHOUTYOU CATCH FOR US THE FOXES Synopsis Catch For Us The Foxes combines eloquent words (most times delivered in a spoken word fashion, although at times tastefully and quite melodically sung) with layers of atmospheric guitars rich in melody (awash in delays, distortions and reverbs), over a strong foundation of bass guitar and drums to create some very moving and refreshing music.

Showing a strong growth and maturity overall, mewithoutYou’s sophomore record shines with great production and sounds (thanks to brilliant producer/engineer Brad Wood), and the intelligent arrangements and dynamics we’ve come to expect from them. But where the growth and maturity is most evident is in the chances they took while making the record.

Chances that have been taken Most noticeable are singer Aaron Weiss’ very successful attempts at actually singing, listen to: “Disaster Tourism” and “Son Of A Widow.” Humble and subdued, his choice of phrasing is simple and reserved (almost shy, maybe?), but it is executed perfectly and it opens a new world of possibilities for their music.

Also of note is the “Cry Of The Exodus,” performed

by Scotty Kruger of The Psalters on the song “Four Word Letter (Pt. Two).” His mid-eastern vocal styling is a beautiful addition to the musical breakdown.

Why you should own this

Rating system 05 04 03 02 01

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CLASSIC FABULOUS SOLID SUSPECT AMISS

When you can find a group whose songs inspire the need to dance or to be still; the desire to cry or express joy; the urge to sing along or to be silent, then you know for sure that you’ve found something special. [TOOTH & NAIL] CHRISTOPHER WIITALA

11/18/2004 4:02:38 PM

54 A L B U M R E V I E W S

SIXPENCE NONE THE RICHER THE BEST OF Sixpence None The Richer’s demise means the loss of effective Christian-made music ambassadors to the world at large. Even if that meant only one mega-hit in “Kiss Me,” that wasn’t the end of the band’s worth to that world. Numerous cover versions point to their ability to find the salvific and hopeful in the superficially decadent, wryly nostalgic, bittersweet and acerbic. Check what they did with Abba, Crowded House, The La’s, The Beach Boys and Sam Phillips. Their originals maintained a balance of lullabye and rage that made them an invaluable liaison for believers fearing alt rock. The three new songs of 18 don’t sound like also-rans, either. Shoulda’ been a double-CD: not enough b-sides, Leigh Nash solo cuts and songs from the R.E.X. years (no “Meaningless?”). On the upside, the Japanese version – as in “sung in...” – makes its domestic debut. You’re missed already, Sixpence.

SQUINT/CURB/REPRISE JAMIE LEE RAKE

VIVA VOCE THE HEAT CAN MELT YOUR BRAIN Don’t Viva Voce’s Kevin and Anita Robinson look so indie-slacker cute in the Digipak of their first CD in a while, The Heat Can Melt Your Brain? Trust me, they do. The sound of this literally homemade album follows suit. New wavy clicktrack and handclap percussion (drums, too) grounds fuzzed-out guitars, kazoo, celeste and whatever else they had lying around. The one-note piano line from The Stooges’ “I Wanna Be Your Dog,” reprised in the opening “Alive With Pleasure,” can’t help but stoke me, too. Elsewhere, songs with genius titles such as “Business Casual,” “Free Nude Celebs” and “Mixtape=Love” build a kind of jerryrigged psychedelic soul music on the seesaw fulcrum of sincerity and irony. The Lord’s in the details for those with ears to hear, but like most everything else here, the Robinsons aren’t going for the obvious here. Except for the hooks.

MINTY FRESH JAMIE LEE RAKE

ROCK & ROLL WORSHIP CIRCUS THE LISTENING (EP) Covering the RNRWC story has been fun. Taking their glammed-out cues from the NY Dolls, Bowie, T-Rex, etc, and worshiping the Lord with intensity and passion worked like a charm. Business suits saw something and quickly snatched them up.

Seeing them play for 80,000 at Creation Festival with the jumbo-tron behind them, leading the crowd in worship call & response to “The Party Song,” and it was easy to consider the meaning of co-option in the context of music and art. However, as cheesy as the band may have purposefully stooped to in order to engage its audience in authentic and fun worship, they have never lost the talent and songwriting abilities to rock. Case in point: “I Love The Rain” locks in that David Gilmour (Pink Floyd) guitar tone so well that you might think you’re listening to

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a Dark Side of the Moon outtake. This 6-song gem shows a band that hasn’t abandoned their rock and roll aesthetic. In fact, they’ve embraced it full on, tapping into that Abby Road vibe during “Like I Do” or the romping “The Way That Love Is Made.” Rufus Wainwright and Coldplay fans would no doubt pay respect to these guys for nailing that feel so well.

Thanks for coming back down to earth, guys. Your cred account is loaded again for your spending…

[FIERCE] DOUG VAN PELT

ACROSS FIVE APRILS LIVING IN THE MOMENT There’s hard-core, there’s acoustic pop, there’s emo or screamo or whatever other crappy name you can come up with to describe a genre. There are a million sub-genres to indie music, and then you have Across Five Aprils, a Chattanooga, TN quintet that spans quite a few of them in their second release, an EP called Living in the Moment. But don’t mistake me here—this is not to say that the band can’t fit into one of these genres; they fit in all of them.

Their staccato guitar riffs give way to melodic lines that bleed into an acoustic track and so on down the line. Anyway you look at it, the band is good at most of what they do; the heavier breakdowns go hard, the lighter sing-a-longs tear at your heart.

A whole track is dedicated to the softer side, not just a part in a song as most underground bands.

I have to confess that some of the songs sound very similar to a world of others in separate genres, but AFA has made their melting pot the best possible. The more you listen, the more addicted you become—you just have to get past that initial hill. For fans of the new Underoath, Beloved or Thursday. [INDIANOLA] DAVID STAGG

HE IS LEGEND I AM HOLLYWOOD To the best of my knowledge this CD may have even more clean vocals then Underoath’s latest effort. I Am Hollywood brings up a semi-poppy hard rock with a darker atmosphere or feel to it. To showcase a “hollywood” feel. He Is Legend progress forward with four “acts” and a “finale”. Each “act” starts out with a more edgier song, then progresses out of each one to bring some sort of closure in a more emotic song. I Am Hollywood starts with “The Seduction” that invites the listener in with heavier qualities, yet keeps them at bay with an emotic toss of the coin. After starting, the CD ventures through tests of emotion on tracks two through nine. Musing up different acts of feelings and performances of a journey. A journey that builds up to the title track “I Am Hollywood,” which finishes up with a more dancy example of a biting, snappy, hardcore-esque song. Throughout the CD Schuylar Croom’s vocals can fall out with emotic trips, higher pitched clean, or a deeper growl that is not completely guttural. Marilyn Monroe once said something like this, “Hollywood will buy your kiss for $50,000, yet it will offer you 50 cents

for your soul.” I Am Hollywood is more then likely He Is Legend’s effort to portray “hollywood’s true message.” [SOLID STATE] LEN NASH

WOVENHAND CONSIDER THE BIRDS Wovenhand is presumably what David Eugene Edwards does with his time when he’s not making 16 Horsepower music.

Nevertheless, Consider The Birds by no means offers any kind of a striking musical departure for the artist. Instead, Edwards, whose singing style is heavily indebted to the morbidly dire work of Nick Cave, has given us yet another collection of Gothic gospel music with this latest release. The antiquated language of the traditional “Down in Yon Forest,” which Wovenhand covers here, offers a necessary key to appreciating Edwards’ work. It begins with the words, “Down in yon forest there stands a hall.”

And much like that overly formal line, Edwards takes a strictly literary lyrical stance overall. You may want to call this approach Amish rock. With no mentions of the modern world or any modern devices, these

Editor’s Ratings

mewithoutYou Catch For Us The Foxes

DV

DA

04

04

Sixpence None The Richer 03* The Best Of

03

Viva Voce

04

The Heat Can Melt Your Brain

03

Rock&Roll Worship Circus 03* The Listening

03

Across Five Aprils Living In The Moment

02*

02

Wovenhand Consider The Birds

02*

04

Roper

Brace Yourself For The Mediocre

03

02*

Denison Marrs S/T

03

03*

Thousand Foot Krutch Set It Off

02*

02

Chasing Victory A Not So Tragic Coverup

03

02*

The Out_Circuit Burn Your Scripts Boys

03

02

The Showdown

03

03

A Chorus Of Obliteration

11/18/2004 4:02:56 PM

ALBUM REVIEWS

songs could just have easily been written two hundred or more years ago. Musically, only “Tin Finger” even hints at cathartic contemporary rock with its clipped electric guitar section. More often, though, one hears plenty of faraway sounding piano and strummed acoustic guitars underpinning Edwards’ minor key melodies and bellowing vocals. God, or God’s shadow at least, is omnipresent throughout.

God is even overtly worshipped on “In The Piano.”

Sample lyric: “Glory be to the Father/To the Son and the Holy Ghost.” But be forewarned, brothers and sisters, this is by no means feel-good praise music.

With Consider The Birds, one must first consider its source. [SOUNDS FAMILYRE] DAN MACINTOSH

ROPER BRACE YOURSELF FOR THE MEDIOCRE Roper is the new project from Five Iron Frenzy / Brave Saint Saturn vocalist Reese Roper and former members of Denver’s Black Black Ocean and Nitro Records artists Divit. That knowledge alone should brace you for far above the mediocre, despite the album’s title.

Brace Yourself for the Mediocre is everything fans of Brave Saint Saturn and Five Iron Frenzy could possibly hope for. This album blends the more aggressive side of BSS with the tongue in cheek humor and all around fun nature that made FIF household names. The parts that truly impress me here though are the things that I did not expect.

Although billed as “Pop Punk,” much of this CD has more in common with the raw side of pop punk than it does with the Simple Plan’s and Relient K’s of the world. Songs like “You’re With Stupid” and “Red Eye to Miami” are pure passionate punk rock and are more edgy than many fans will probably expect to hear. Don’t fret though, because the trademark passionate pop punk sound that Mr. Roper is associated with is evident as well. Songs like “Hello Lamewads,” “Vendetta,” the cover of Shania Twain’s megahit “You’re Still the One”, and “How Your Halo Fell” will undoubtedly have FIF fans drooling all over themselves from the first note.

Brace Yourself for the Mediocre is a spectacular debut from Roper. Fans of any of the band member’s former projects as well as bands like Less Than Jake and Relient K will find a lot to love in this band. It’s fun, upbeat, serious, aggressive, and will undoubtedly make you smile. Who could ask for more? [5 MINUTE WALK] MARK FISHER

DENISON MARRS S/T This is Denison Marrs. Settling back and just playing music. Produced by the Marrs guys themselves, this is alt-rock at its best! To the untrained ear this may sound like basic old alternatively influenced rock that is just guys playing in a band. If anyone gets this impression, do not listen too hard to popular opinion and shed the first impressions. Now sit back and listen. Is there build up to the songs? Yes there is, the songs

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may start out slow, yet they soon climb and build to a very desirable echelon of well thought out rock music.

Then is the New Now had emotion, it had its place, and it had its hits. Some big differences between Then is the New Now and this self-titled disc revolve around musicianship. Denison Marrs states this, “we know how to play music.” How exactly do they state this? They state it by fusing this CD together to show a strong and steady flow, unlike Then is the New Now, which had substance, but did not have a fusion that was as strong as this.

While TITNN was slightly based off of a more poppier feel. Denison Marrs is based off of driving the rock home, with a blend of intensity, honesty, and well thought-out song structures. Past all of this, the lyrical structuring shows a searching for God. This ties into the music to round out a feeling of slight desperation and hope mixed in with determination and grittiness. [FLOODGATE] LEN NASH

THOUSAND FOOT KRUTCH SET IT OFF Tooth & Nail re-released the “Remixed, Remastered, & Repackaged” for Canadian rockers TFK of their 2000 CD Set it Off. This disc features 6 unreleased tracks, including a brand new song, “Everyone Like Me,” which has the feel of more modern day styled music, but still misses the mark. Infusing a stale mixture of fusion, pop punk, hip-hop, funk, coupled with blatant 1980’s style guitar riffs, confirms that this disc is quite dated. Add to that sappy hip-hop chants, freestyle and rhymes that would surely make Tupac roll over in his grave. The dichotomy is that, truthfully, TFK is a good live band.

They have a large following of fans and devotees, some of which I have really ticked off with this review. It would serve them well on their next T&N release to capture their live feel and essence because that is where their energy and heart is.

[TOOTH & NAIL] LEE HALEY

question where the band stands with their faith, showing us that everyone struggles with life on “Violent and Armed: ”God, oh God, bring us back to life and save us from this death / On this lonely night we’re writing letters to God and we’re asking him to please bring back my sun or just send me a sign.” While Chasing Victory isn’t an exact replica by any means, similarities to Letter Kills, Dead Poetic (particularly the track “Come Between Everything,” found here), and Thursday are apparent. They’ve got some growing to do, for sure, but give them some time and I think they could shine. For now, this is for all the Hot Topic shopping emo kids. Whether that’s a bad thing or not depends on your disposition.

[MONO VS STEREO] CHAD OLSON

THE OUT_CIRCUIT BURN YOUR SCRIPTS BOYS Nathan Burke had some available options after the collapse of influential D.C. spazz-rock band Frodus. Fortunately for us, he decided to stay in the game of music and began The Out_Circuit with a group of other local musicians.

The Out_Circuit’s debut release Burn Your Scripts Boys is a decidedly different tone than a majority of the music recorded under the Frodus name. While Frodus employed the screamo-rock style quite well, the Out_Circuit crafts their music on lush, simple melodies that lull the listener to drop their guard.

As Nathan’s vocals float across the tracks, layers of keyboards provide light ambient noise that continues the trance. But the Out_Circuit can still play the rock game, as evidenced when they unleash their fury in the middle of “We Will End” and “Cut From Our Own Dust.” Standout tracks include: “The Boy with the Durutti Column” and “Glasgow.” Great production and packaging. All the way around a solid release; be sure to pick this up if you can’t pull Frodus out of your vocabulary or if your ears appreciate forty-five minutes of lush melodic arrangements. [LUJO] BRADLEY SPITZER

CHASING VICTORY

THE SHOWDOWN

A NOT SO TRAGIC COVER-UP

A CHORUS OF OBLITERATION

The youngsters in Chasing Victory hail from Camilla, Georgia. With high school football being one of the community’s primary highlights, you’d hardly expect to hear this type of emo/screamo bellowing from within. But it does, and a football injury is actually to thank for the inclusion of vocalist Adam Harrell, who broke his neck last fall due to the sport. Guitarists Michael Lamb and Jason Lowery, bassist Matt Grogan, and drummer Jeremy Lowery round out the band. Opening with “Is This What You Want?” they waste no time in letting you know just what you’re in for: driving songs that are guitar heavy with some screams, nice melodies, and off-key croons. With topnotch production thanks to Lee Dyess (Evergreen Terrace, From First To Last, Wisenbaker), you can’t complain about the quality of the sounds or their execution.

The poetic lyrics are a standout, and there’s no

55

It is good to hear metal again. Not metal mixed with hardcore, not emotional rock with a tendency to scream... just epic songs filled with guitar solos, death growls and a touch of southern energy. Think Swedish, melodic death metal (less emphasis on brutality) mixed with early 90’s Florida death (superior fretwork). It’s a good release with just a few shortcomings: It becomes easy to overlook some of the clean, wonderful guitar solos because the breaks happen so often. In the same way, a few of the “epic” tracks begin to lose luster after they continue a few measures too long. Last, the singing vocal tone almost segregates itself against the actual music. It feels odd, but after awhile the listener gets used to it rather quickly – especially when coupled with the amazing growls. But overall this is a solid debut, certainly preparing us for a fabulous release in the future. [MONO VS. STEREO] DAVID ALLEN

11/18/2004 4:04:13 PM

56 A L B U M R E V I E W S

BUDDY MILLER UNIVERSAL UNITED HOUSE OF PRAYER About time Buddy Miller lent his fine guitar, vocals and songwriting to a gospel project. That Universal United House Of Prayer would be the album to take him decisively beyond the Americana/alt country pigeonhole can be attributed in good part to the emotional range and subtext he brings to the songs he co-wrote with wife Julie, Jim Lauderdale and Victoria Williams, as well as insightful cover choices. If starting with a fittingly nervous rendition of Mark Heard’s “Worry Too Much” sounds unorthodox, tackling Bob Dylan’s “God On Our Side” for nine minutes with more hearty anguish than Zimmy or Billy Bragg has managed bristles with melancholy subversion. Thankfully, Miller’s tone doesn’t stay that unrelentingly heavy. The Louvin Brothers’ “There’s A Higher Power” makes a skittering shuffle out of Judgment Day, and Julie’s “Fall On The Rock” kicks out jams fiercely. Speaking again of Dylan, the soulful ladies who accompanied him on Slow Train Comin’ sing background here, too. Deeply human and spiritually fulsome, this House Of Prayer. NEW WEST JAMIE LEE RAKE

NEAL MORSE ONE Neal Morse is best known for his involvement in the bands Spock’s Beard and Transatlantic. Now, I won’t try to put on an act and pretend like I have much knowledge of either of those bands, but I do know that what I have heard didn’t really make me get too excited.

However, this new album, One, is actually a pretty good listen. To my ears, Morse’s music is sorta like a mixture of the above-mentioned bands, Shadow Gallery, and Let it Go-era Galactic Cowboys (minus most of the heaviness). The band consists of Neal Morse, Mike Portnoy, Randy George, and many other guests. They utilize all types of instruments in addition to the guitars, bass, and drums. You’ll find violins, violas, french horns, cellos, saxophones, trumpets, and even trombones. The entire album will keep you on your toes, as Morse never sticks to one sound. From aggressive, to mellow, from nice guy, to forceful and powerful vocals, to even an appearance by the amazing Phil Keaggy, Morse seems to know how to deliver quality material. One is a solid release by a very talented group of musicians. There were some parts that didn’t quite grab me, but there were other parts of this album that I enjoyed a great deal. I’m sure that fans of Neal Morse’s previous material will probably be all over this. [RADIANT/METAL BLADE] MATT MORROW

EIGHT DAYS GONE SILENCE TO THE NAYSAYERS There’s a lot to be said for restraint.

The graphic designer who learns a cool new filter in PhotoShop, but doesn’t use it...

The drummer who resists the youthful temptation of adding fills at every opportune moment… Eight

111_reviews.indd 4

Days Gone are a real breath of fresh air, crafting smart pop songs that never try to do too much.

Think Collective Soul. I’ve been “living with” this CD for about four months now, and I’m pleased to report that it still satisfies that melodic rock guitar fix like a good Snickers candy bar. You know you’re getting peanuts and chocolate with your sugar, and every bite tastes exactly like you’d hope it would.

[RAGIN’ GRACE/TITAN] DOUG VAN PELT

in a studio setting. Replacing blistering guitar bits and improvised prayers are bigger dancefloor volume and a semblance of track separation. Ross doesn’t get overly melodically nor texturally dark, but there’s plenteous edge for lovers of such grooves. Only the lyrics, tending toward an anthrocentrism over theocentrism and agape/eros blurring (Davidic influence taken over the top?) popular in some p&w circles may rankle some. Ross otherwise shakes soul and body with holy ferocity.

[SURVIVOR U.K.] JAMIE LEE RAKE

FEARSCAPE SLEEPING IN LIGHT With influences ranging from Metallica, to Zao, Fearscape romps through a long album of hard-hitting metal tunes. This band is one of the closest bands I’ve heard in style when compared to Opeth. While being nowhere near the caliber of that Swedish heavyweight, they do strike some amazing similarities. Fearscape makes a habit of switching back and forth between crushing metal with death/black vocals and mellow parts with clean vocals. However, the big difference here is the huge superiority of Mikael Akerfeldt’s clean vocals.

Fearscape’s Matt Brown has an excellent extreme metal voice, but I think he may want to consider ditching the clean vocals. On the other hand, the brutal side of the band will knock you on your backside. The band packs a powerful punch with an incredible wall of sound. The band’s downtuned, death/thrash/groove metal combination will have even the most stubborn of listeners banging their heads. [ROWE PRODUCTIONS] MATT MORROW

JAGGED DOCTRINE THE CIRCLE TRILOGY SOUNDTRACK Okay, so the name Jagged Doctrine doesn’t win them points in the great big world of rock and roll.

What their music does, though, is represent industrial metal quite well. This release is also a very unique and special adaptation of a Ted Dekker novel trilogy. It certainly works as a stand-alone listen, though, traversing territory akin to Evanescence or even Klank/Circle of Dust. Much dynamics are woven throughout, like a good musical story. A humorous moment comes in “A New War,” where images from ...Holy Grail and the coconut trotting horse bit come up. Soon the ominous keys and serious guitars take over, though. Over the longhaul (62 minutes), this is not as commercial as NIN, but a pleasant and rocking journey done well.

[BLOWN SPEAKER] DOUG VAN PELT

DOUG ROSS THE MORE DJ Doug Ross does Andy Hunter one better by conducting praise & worship to trance and progressive house twice ways. First disc of two’fer The More finds Ross and assistant spinner Jim Rivers working turntables, etc. with live band and vocalists who sing, quote The Message and cry out unto Christ. Second half works the same set

DEREK WEBB I SEE THINGS UPSIDE DOWN Derek Webb’s music is very far from either that of a suburban basement hardcore show or a situationist-Neoist apartment scene noise fest like those from the mid-70s to the early 90s, but he has developed it with a similar artistic strategy, since recording his 2003 solo debut after leaving Caedmon’s Call (She Must and Shall Go Free). By playing out in small-scale “living room shows” for around a year and a half, mixing

Editor’s Ratings DV

DA

Buddy Miller

Universal United House Of Prayer

03* 02

Neal Morse One

03

02*

Eight Days Gone Silence To The Naysayers

03

02

Fearscape

Sleeping In Light

02* 01

Jagged Doctrine

The Circle Trilogy Soundtrack

03

02

Doug Ross The More

03

03

Derek Webb

I See Things Upside Down

03* 04

The Redemption Song Victims

04

04*

Michael Pritzl Hollow Songs

03

03

They Sang As They Slew Get Well

03* 04

The Sungazers

Not This Window of Time

02

U2

How To Dismantle An Atomic Bomb

03* 03*

Relient K

03

Mmhmm

02

02*

11/18/2004 4:07:05 PM

ALBUM REVIEWS

U2 HOW TO DISMANTLE AN ATOMIC BOMB 24 years in, it’s no longer a great surprise that the best, most inventive music from U2, the transcendent Irish rock superstars that have evolved, survived and prospered where others have faltered, comes steeped in spirituality. This year’s model, How to Dismantle an Atomic Bomb, is no exception, standing alongside their best: War, Joshua Tree, and the vastly misunderstood, but remarkable nonetheless, Achtung, Baby.

Like the Mark Heard song “Stuck in the Middle,” U2 walk a fine line between rock star excess and the language of faith and grace. For skeptics their faith is naïve, they are “too sacred for the sinners,” while believers think they’re “just too strange to believe.” Like the bad boys who giggle in church when everyone sings “O Come, All ye Faithful,” Bono’s lyrics have toyed with the language of ecstasy from both sex and religion. Here, on Atomic Bomb, he continues to bundle sensual love and spiritual knowledge, the mind, body and soul twined so tightly that the concepts seem harmonious and inseparable.

So starting at the end, “Yahweh” is the Hebrew name for God. It’s a song of anticipation, advent, and praise amid uncertainty. The song asks to be made clean, for the soul to sing, and then acknowledges the reality of pain before birth, dark before the dawn. Which is to say, it would fit nicely in our Psalms. Seen through this window, “All Because of You” is no longer merely a song to a lover, because the “I Am” response is also the name of God in Hebrew. In “Vertigo,” the disc’s opening chimes of freedom, speaks of the disequilibrium of modern life, so much so that it brings us to our knees. “Sometimes You Can’t Make It On Your Own” is a confession and a prayer, “Love and Peace or Else” and “Crumbs From Your Table” recall the prophets’ demands for justice and righteousness.

And so it goes. U2 maintains past musical connections, but doesn’t fall into the pale shadow of the past that marked much of the second half of All That You Can’t Leave Behind. Edge manages to find scintillating guitar tones that resonate and astound, yet somehow comfort, Bono sings with dexterity unexpected at this age, and the band rocks with unwavering confidence.

To speak of faith, to take all of life’s challenges as seriously as we must, to risk love and step up to the challenges of art and commerce, one must thrust one’s self quixotically into the abyss and trust that you’ll land safely on the ground.

Once again, U2 risks it all, only to discover a home for us all, where—yes, you see where this is headed—the streets still have no name.

[Interscope] Brian Quincy Newcomb

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topical and confessional music with communal theological study, Webb was able to work on figuring out what his calling as an artist and minister was, away from concerns of chart expectations -- perhaps escaping the sort of vile self-censorship that would prevent him from railing in songs here like “T-Shirts” (“they’ll know us by the t-shirts we wear/they’ll know us by the way we point and stare/ at anyone whose sin looks worse than ours”).

While there’s nothing particularly gut-punching about the very melodic and often sweetly melancholy acoustic-based music on I See Things Upside Down, there is a strength of worldview in the content of each track, such as “Medication,” where in a slow burning folk-blues Webb expresses a need to feel the extent of life’s suffering to ‘keep it real’ as the kids say.

I do admit that I want to scoff a little at the “honesty” here, because I’ve heard statements about artists craving “a broken heart” many times before -- come on, are you that so totally comfortable right now in your life you actually want pain, is that the only barometer of your faith, is desiring pain? (I so desperately want to be in your position, then.)

BUT that POV is INFINITELY superior to the smug “I am completely healed and happy and righteous and must save you from yourselves” approach of other Nashville song-sludge, which is the dominant viewpoint of this kind of music. [INO] CHRIS ESTEY

THE REDEMPTION SONG VICTIMS

THEY SANG AS THEY SLEW GET WELL A melodic wall of guitars, bass guitar and drums, and atmospheric keyboards (that add subtle yet beautiful textures)... The production is really what makes it shine, especially on the title track, with a distorted backwards loop that slowly builds louder and louder until the song kicks in with a simple strumming of an acoustic guitar, delicate glockenspiel and cymbal swells that tastefully accompany the repeating words, “Come on get well.” This is everything a rock record should be.

[NORTHERN] CHRISTOPHER WIITALA

RELIENT K? MMHMM When punk became pop a few leftist Brits rolled over in their collective graves. A decade or so later there’s chart action, fashion, and a formula for success. Don’t hate Relient K because they’ve learned the formula. A good vocalist (Matt Thiessen), good songs (if you can’t sing along to “Maintain Consciousness” or “Be My Escape,” there’s something wrong). When it comes to wit, these guys have always majored in that category, but they’ve gotten better with their lines. The story in “My Girls Ex-Boyfriend” is an awesome take on boy/girl songs. This material on this album could take this already successful band to the next level – easy. [GOTEE] DOUG VAN PELT

Frenetic guitar scales and gang choruses usher in the controlled chaos that is The Redemption Song. Hollow snare sounds and the occasional familiar ingredients for melodic hardcore can easily be forgiven when coupled with the cut-loose passion and energy these guys deliver. The only drawback to this aural feast is the length – the listener is taken to ecstasy and then let go after only five songs. This little EP is one of the few good reasons for that tiny button called “repeat” on the CD player.

VARIOUS ARTISTS

[FUTURE DESTINATION] DOUG VAN PELT

[MEAUX/EMICMG] DOUG VAN PELT

!HERO: THE ROCK OPERA (DVD) If you’ve ever seen Jesus Christ Superstar (or any musical, for that matter), you know the difficulty in translating a concept or story over to music. Very rarely, if ever, does the music stand on its own.

Pink Floyd’s The Wall comes to mind, but even that double-length album gets tiring in places.

Alas, this !HERO project was doomed from the start just by its definition as a “rock opera,” but judged by its peers, it actually does quite well.

MICHAEL PRITZL?

SWITCHFOOT

HOLLOW SONGS

LIVE IN SAN DIEGO (DVD)

With Hollow Songs The Violet Burning’s Michael Pritzl delivers eight songs that are built on basic instrumentation and delicate melodies. With just guitars and piano – save a drum machine on one song – as his musical backing, he creates songs that are simple and elegant. The record opens with a cover of Bob Dylan’s “Ring Them Bells” and unfortunately Pritzl doesn’t pull it off. Other than that, the songs are pleasing to listen to for the most part, especially the song “Assassin Boy,” which sounds like something from the Lost In Translation soundtrack. Rich in atmosphere, the song stays subdued throughout and is a perfect ending to the record. [NORTHERN] CHRISTOPHER WIITALA

57

Like a relative accomplishing a great feat, seeing Switchfoot blow up in the mainstream is a fun moment. One song can change your life, and that song, “Meant to Live,” shows up here late in the set of an energetic show, as well as a promo video and a brief “behind the scenes” documentary in the extras. As a live band, Switchfoot engages its audience, and is fairly faithful at reproducing its platinum sound. Thankfully, they don’t employ tapes of stacked vocals, but simply give the audience what’s inside. While not one-better than the studio output, the rawness and edge is endearing to an extent.

They’re probably not going to win new fans with their show, but with quality songs on the radio they don’t have to. [SPARROW/COLUMBIA] DOUG VAN PELT

11/18/2004 4:08:29 PM

Entertainment reviews DVDS, BOOKS & GEAR 02 MAN ON FIRE

FOX VIDEO

John Creasy (Denzel Washington) reads his Bible a lot. “I am the sheep God lost, Madre,” he tells a nun. His fellow ex-special forces friend Paul Rayburn (Christopher Walkins) says, “He’ll bring more justice in one weekend than 10 years of your courts and tribunals.” A top 20 vengeance flick.

03 COFFEE & CIGARETTES 01 SAVED! MGM Whether or not this movie takes potshots at Christianity is not really the most relevant question here. While it may be hard to separate the two, what it really does is skewer the “Christian subculture” that exists in the USA. It’s healthy to laugh at ourselves, and criticism is a good way to force us to examine our priorities and actions. For example, here are some valid questions brought up in Saved!: Should we really try to make Jesus look cool? Are the superficial games of popularity in high school something followers of Christ should be playing? Are non-believers “projects” that we convert to make ourselves feel better?

Do parents and leaders have an obligation to live by higher standards because they are being watched by youngsters? How valid are outward appearances in judging our walks with God? How should confessed sin be treated in a community setting? Applying biblical perspective to these questions can be helpful in examining the “kingdom” we are creating and fostering here.

Perhaps the outrageous caricatures and spoofing can actually be used constructively. For example, the next time you attempt to exorcise demons from one of your friends, maybe you can skip the step of making them listen to the entire Elms album on your iPod and converse with them instead. DOUG VAN PELT

SPIRITUAL RELEVANCY % OBSCENITIES

04 THE DAY AFTER TOMORROW

NUDITY / SEXUALITY

FOX VIDEO

Propaganda piece for global warming or good adventure movie? As the former, it’ll frighten the uneducated. As for the latter, it works, but just barely.

The script calls for some unbelievable special effects, that’s what we get. The characters, however, provide some human drama. A great rental.

05 WALKING TALL

MGM

Another good vengeance story. This remake lives in the Northwest instead of the deep South, but the polarities between corrupt villains and the goodhearted beats the same. The Rock does a great job with that face of simmering anger.

06 SOUL PLANE

MGM

Cheap and vulgar laughs galore, this picture takes Airplane and culturizes it Snoop Doggy style. Sex, drugs, and hip-hop dominate the dialogue, making it hard to “feel clean” after viewing.

07 UNSPEAKABLE

MGM

This one is really spooky. Creepier than The Others, Diana Purlow (Dina Meyer) tries to get inside the mind of a serial killer that’s as wretched as that killer from The Green Mile. Purlow holds herself well, in spite of the reckless way she puts herself in danger.

08 13 GOING ON 30

COLUMBIA TRISTAR

Yes, the syrup drips thick off this romantic comedy tree, but it’s a fun climb nonetheless, as Jennifer Garner takes us on a nostalgic journey that preaches giving, dreaming, and going for it in the context of pettiness, competition, and all the challenges of growing up.

01

02

03

04

05

06

07

08

100 19

90 21 5 1

19 39

70 5

60 0 10 131 1 1

70 63 11

30 13

SCENES OF GORE

111_play.indd 1

MGM

This is a collection of bizarre vignettes that share the common addiction of either nicotine or caffeine. The “cast” is stellar: Jack & Meg White, Tom Waits, Iggy Pop. Steve Buscemi, Bill Murray. While as disjointed as a caffeine buzz, it comes off as charming and eccentric.

2

11/18/2004 4:18:16 PM

EN T E R TA I N M EN T

Faith, God and Rock and Roll

The Language of Music

Mark Joseph - Baker Books

Neville L’Green - Independent

This book says some very significant things.

Its format, which consists largely of feature articles from many believing artists in the mainstream music world, would benefit from stronger transitions, but remains a fascinating read.

Because each chapter focuses on a separate artist, they don’t flow together well and the transitions are awkward. The greatest statements – some of which should be nailed to the doors of record company and media business offices – come from the author himself in his introduction (“You Say You Want A Revolution”), appendix chapters, and occasional commentary amidst the artist chapters. The quotes from the artists themselves reinforce the important premises, but often feel forced into discussion rather than the author following their lead. Mark Joseph is one of the first – if not the first – to call discrimination against Christian music for what it is: religious bigotry. Good call. Bottom-line: This book could have easily been summarized into an essay – but it’s one of the most important essays of our time. Doug Van Pelt

59

An enjoyable read presented in an easyto-reference format, which is refreshing when delving into the topic of music theory.

L’Green says that “You understand music with your ears. The study of music theory is simply an attempt to explain to the mind what the ear already understands.” Like all languages, music is one that communicates. Lyrics aside, music itself expresses emotions like happiness, sadness, joy, anger, love, hate, fun, melancholy, etc. L’Green takes you step-by-step through the vocabulary and grammar rules of the language, and effectively explains music theory in simple terms. So, whether you’re a drummer or guitarist, bass player or horn player, violinist or vocalist, this book has something for anyone who wants to grow in their musical understanding and better communicate in the language of music. David Reynolds

STORM MUSIC STUDIO 3.0 Arturia, SMS 3.0 Budding emo artist? Techno wannabe? If you’ve got something to say and are looking for tools, Arturia’s Storm Music Studio 3.0 might be for you. Storm is a pattern-based tool for creating music. As an experienced musician, I enjoy new angles that spark creativity, and Storm is a fun, easy tool. Starting with a blank grid, you add sound generating modules to your project, and assign and change patterns to construct your tracks. Storm comes with a set of effects (reverb, delay, etc.) and sound can be routed from any module or effect to any effect. Everything can be customized, and one module allows recording from an external source. Lay down basic drum and bass tracks, mic your amp and shred, and sing your heart out. You don’t need an expensive sound card to explore song ideas. The sound?

Solid. Many of the modules provide synth textures, but others give you electric bass and acoustic drums. The possibilities of Storm go farther than the demos; it’s a cool, fun tool that’s easy to use. The street price of Storm 3.0 is about $99. The price of the competition (Project 5) turns Storm 3.0 into an incredible value. [arturia.com] Gary Hook

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Beat Blenders Wild Planet These portable beat-makers are easy to use, each one allowing 4 different loops with the options of drums, rhythm, and lead. The amateur rap artist can quickly give him or herself a backbeat with one of these. The daisy chain connector allows extended loops of various styles (rock, techno, etc). A headphone jack permits an external source, but this is totally a toy that only the uber-experimental artist would employ in a live music setting. (DV)

11/18/2004 4:19:08 PM

60 C O LU M N S

WITH KEMPER CRABB

A few observations on worship and the arts Part 1 Any Christian who has read the accounts of the Exodus of the Israelites from slavery in Egypt should be able to tell you why God acted as He did to free His People (the reader will no doubt remember that God visited 10 Plagues on the Egyptians in the face of Pharaoh’s continued refusal to let God’s people go, the last Plague resulting in the death of the Egyptian firstborn children as the Death-Angel visited them). God was so determined to make sure Israel would be allowed to leave that He Caused wide scale misery and death to come upon the pagan inhabitants of Egypt.

But what was it God wanted His freed people to do? He wanted them to go into the desert, to sacrifice and hold a festival to Him (Exodus 5:1-3). In other words, He wanted them to worship Him. As the subsequent Judgments show, God deemed this so important that He was willing to afflict and kill large numbers of people to enable the worship He had commanded to take place.

Why couldn’t the Israelites simply have gathered after work to sing songs and pray? Because God had commanded a worship for them that involved complicated actions: like sacrificing animals in certain ways and places that He had chosen, worship that became, after the Exodus, increasingly complex and detailed (read Exodus through Deuteronomy for details).

God wanted the Israelites to worship Him in ways God had chosen rather than in ways the Israelites invented. Why? Well, there are a number of subsidiary reasons, but behind them all is the fact that it pleased God to do so, the fact that worship was to be primarily for God’s Pleasure, and only secondarily for the pleasure of the worshippers.

In the New Covenant, things have become somewhat simpler for the worshipper.

Since Christ the Lamb of God Has been sacri-

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ficed once-for-all for His People, the ceremonial aspects of the Law which pointed to His Coming and Dying are no longer to be observed in the same way by God’s People, since we live in the Reality they only pointed to. Christians now, by virtue of the fact that we are positionally seated in Christ in the Heavenly Places (Eph. 2:4-6; Col. 2:11; 3:1-3) have access through the Sacrificed and Ascended Humanity of Jesus (Heb. 10:1920) to the True Tabernacle and Heavenly Liturgy which Old Covenant worship only prefigured (Heb. 9:11, 23-24; 12:22-24). We further see in chapters 4 and 5 of the Revelation a clear picture of what the worship in the Heavenly Liturgy is like. One thing that becomes immediately apparent is that, although the New Covenant worshipper is no longer to practice the bloody rituals of the Old Covenant, the worship engaged in by the Church of Jesus Christ in its involvement in the Heavenly Worship is still detailed and complicated, and is still to be conducted primarily for God’s Pleasure rather than primarily for the worshipper’s pleasure. This shouldn’t surprise us overmuch, since both Old and New Testaments teach us that God never changes, and is the same forever (Malachi 3:6; Heb. 13:8). If God is the same forever, then it is unlikely that what pleases Him will change.

“OK, Kemper,” you say, “Why are you making these points in a column on the Arts?”

So glad you asked. Many Evangelicals have lost sight of the fact that worship is not primarily for the pleasure of the worshipper, rather than being primarily for God. We seem to have forgotten that worship means to ascribe worth and honor to that which is the object of our regard. We have began to think that worship is primarily for us, rather than for the Lord, and we subsequently have began to focus on ourselves: our feelings, our benefits, our gifts, our healing, our blessing, our needs, rather than God’s Pleasure.

Nowhere is this more evident than in the artistic expressions we bring to our worship (especially in our music). It is to this subject that we will turn in the next column.

11/18/2004 4:22:19 PM

C O LU M N S 61

The way I see it Chris Wighaman

Devotions with Greg Tucker I have stood backstage at dozens of major concerts – everything from Beastie Boys to Van Halen to Paul McCartney (the guy from Wings) – and something that’s grabbed my attention is how frequently big-name artists huddle their team before taking the stage …for prayer.

Beyonce? Yup. Cher? Religiously.

Madonna? Like a virgin.

I’m watching TV right now and there’s an ad for a thing called “the weed thrasher.” If that’s not the best named yard tool, then I don’t know what is.

It must strike fear in the heart of every weed. A close runner up would have to be “the garden weasel,” but more for its comedic value than its ability to strike fear into weeds. Let’s do a little experiment. Pretend right now that you’re a weed and read these two sentences: “Watch out! Here comes the garden weasel” “Watch out! Here comes the WEED THRASHER!” See what I’m getting at?

In 2 Samuel 23 you can read about King David (yes, you can read, so check it out) and find he had a band of guys known as “David’s Mighty Men.” They were David’s personal band of tough guys. How cool is that; it’s like the Biblical version of the Dirty Dozen, or the XMen, or even the Olsen Twins. These guys could get the job done, and the mention of their name struck fear into the hearts of anyone who stood in opposition to their king. They were passionate about serving their king and would risk anything, even death, to do so!

You know, we have been given a name: Christian. It means: follower of Christ, but I wonder about the impression it leaves. Is it more weed thrasher or garden weasel? My fear is that it has become more of the latter. What is it that defines us? Some crazy politicians who rant and rave about family values? A TV evangelist who begs for our money? A cartoon that says “Oakaly Doakly, neighbor”? What happened? How did we lose our “Mighty Men” label? Maybe it’s because there is very little about us that is different from those around us. If “Christian” doesn’t mean anything more than “I go to church,” then it’s a joke. That’s not what it took to be one of David’s Mighty Men and that’s not what should define followers of Christ. They were wild eyed radicals who followed Jesus at all costs and showed love to friends, strangers, and even enemies. When we start to behave like Weed Thrashers, well then, WATCH OUT! Here come the CHRISTIANS!

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Well, I don’t know about the virgin part, but that time I was close enough to be mistaken as one of the band, and what I heard when Madonna prayed was a woman sincerely talking to God, thanking him for their talents and asking for a good and safe show.

I wasn’t close enough to Ozzy Osbourne to catch his pre-concert ritual, but from the wings I heard him say “God bless you” to the crowd often enough to make me double check the name on the ticket. It seems everyone is tapping into “the God thing.”

Maybe you’re not at the superstar level yet, but one thing you can learn from some of the big boys is it never hurts to pray before a gig. Of course, if you want that prayer to make a serious difference, you need to be connected with the One to whom you are praying. James 5:16 says any turkey can pray, but when a Believer prays, the Big Man Upstairs leans forward to listen, then he acts.

Watch out.

If you are an artist, musician, or show technician at any level, and you’re sincerely trying to be God’s man, let me suggest a simple pre-concert prayer you can use backstage that I know will touch His heart.

“Dear God, thank you for giving us the talents we enjoy, and thanks for this show tonight. But we know that as much as we’ve practiced, and as many times as we’ve played these songs, we still need you. Help us sing and play with excellence tonight. Help the sound and light people do their jobs with excellence. Lay your hand on our equipment, so it won’t be a distraction in any way.

“God, this show is our offering to you. So more than anything else, we ask that you’d let people see …and hear …and know full well that Jesus Christ is alive inside of us. And we’ll give you the glory. Amen.”

On this rock, God will build his church.

11/30/2004 12:48:22 PM

62 I N D I E R E V I E W S

PICK OF THE LITTER The Mint Knowing how to craft a song is a skill these guys know well. Weaving sound textures around sweet melodies and word pictures mean this band’s a keeper that’ll (hopefully) continue creating music for us. There’s enough hooks to make it immediately appealing, and thoughtful instrumentation offers more complexity to dig into later. themintonline.com

Andrewesley

The Promise Book

Cool and fresh alt rock. Utters a metaphor other than “poop” in the song “Never Again,” but this project from the former Aunt Bettys’ guitarist is smart, dreamy, and oh so catchy. Alert enough for college rock, yet melodic enough for the radio. Outstanding. andrewesley.com

If you thought only Joy Electric could get away with aural majesty using synthesizers, you were wrong. The Promise Book has made some magic music here that latches onto your brain like a kidnapping. Infectious and whistle-able. thepromisebook.com

Seventh Seal

The BlackTie Suicides

Nu metal and rap rock are so out of fashion now, but these guys do it so well we had to give ‘em some props. Great chunky guitar tones, and flat-out powerful rock. Produced by Travis Wyrick, no wonder they sound hot. seventhseal.com

Aggression, drums, metal guitars, love it! Deathly growls almost chant, which are accented by shouts from the sides. The band’s musical identity is the only thing that’s unsure here. Egads, they even use a cowbell in one sassy Detroit/NY Dolls rocker. God bless ‘em.

Schizophrenia aside, they’re fun. blacktiesuicides.com

ForThe Moment I love good music! Give me a good vocalist, some good songs, solid instrumentation (like a drummer that can resist the urge to play fills), and plenty of breathing room to let the sounds fall around you. Confident and comfortable... ftmrock.com

ChooseYour Own Adventure Speaking of psychotic, this strange space rock epic features some chant, static, vinyl pops, lo-fi strumming, and lots of ambient space.

A group aptly named, for sure. boatwavewalker@hotmail.com

The Remnant

The Kirby Ex-HM intern Colin Hobbs plays guitar for this fine band (who played our first ever “New Issue Release Party” last summer. Energetic screamo type stuff with plenty of passion and spot-on emphatic statements a la a tight rhythm section. dollhouseinc.com

Fell Desire Fans who still remember Four Living Creatures and Elder will recognize the names Joe and Cat Albanese. Fell Desire still finds its music left of center, part psychotic old school punk, part garage rock. Think Mike Knott recording in mono in preparation for a college café / art house tour. felldesire.com

Metallic energy, baby! This Dacula, Georgia outfit delivers intense hardcore metal (a la Nodes, Sinai Bch). remnantmetal@hotmail.com

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11/18/2004 4:31:42 PM

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11/19/2004 12:22:39 PM

64 HARD MUSIC HISTORY

No one was ready for what hit ‘em when King’s X arrived on the scene way back in 1988. Melding the beautiful, swirling harmonies of the 60s (Beatles) with the hard rock and hipshaking histronics of the 70s (Zeppelin, Grand Funk, and Sly Stone) and the anthemic idealism of the early 80s (U2, The Alarm, Simple Minds) King’s X actually did something that people only dream about – they invented a new sound. What made things so exciting for a lot of us was that these sounds were coming from a mindset that was molded by Christian thought. Their debut album was even named after the infamous space novel by C.S. Lewis, Out Of The Silent Planet (on Megaforce Records). It seemed that part of the church was tapping into that historic and biblical call for creativity.

The words “innovative” and “Christianity” weren’t used to being so close to each other after centuries of neglect and false teaching (that art was “secular,” bad, or unimportant).

With a debut album that’s still in print 16 years later and an excellent live show that dropped the jaws of musicians every time, King’s X changed the face of music.

Kerrang! Magazine boasted that listening to their debut album “might be as special as the first time you heard Metallica or U2…”

While each of the three band members have changed over the years, one thing remains the same – they are ever approachable and real. I remember interviewing the band for the first time. I dialed the Houston area code +411 and asked for Doug Pinnick.

And seconds later I was on the phone with the enthusiastic bass player / vocalist. While it wasn’t guaranteed that a friendship that’s lasted to this day would ensue, his friendly response definitely hinted at it. The other band members, drummer Jerry Gaskill and guitarist Ty Tabor (both of which you could also accurately label “vocalist”) were as friendly and amicable as well. Between Silent Planet and the brilliantly enigmatic Gretchen Goes to Nebraska each of the members openly shared their testimonies in these pages. The trio consistently positioned itself as a band, period.

Even the conspicuously titled third release, Faith Hope Love, did not bring them the kind of divisive labeling that befell Stryper, for instance. Believers and non-believers alike had a band they could appreciate together – one that consistently created excellent art.

Faith Hope Love produced the band’s first (and only) legitimate radio and video hit – the Beatlesque “It’s Love.” Everything looked to be going their way and every musician’s favorite band seemed poised for the big-time. A second hit failed to materialize, though.

The subsequent self-titled album had another beautiful piece of

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KING’S X

BY DOUG VAN PELT artwork on the cover – a child picking up bread crumbs from a banquet table with wine spilling over the edge. Soon after this album’s release the band parted ways with its manager and producer, Sam Taylor. And just like that, the band changed its sound with the Brendan O’Brien produced Dogman album. Raw and powerful, the band ditched some of its polished art-rock sound in favor of groove.

Self-produced albums have followed since: Ear Candy (the band’s last on Atlantic); Tape Head (its first on Metal Blade); Please Come Home …Mr. Bulbous; Manic Moonlight; and Black Like Sunday (an experimental re-recording of its pre-King’s X 80s rock/new wave incarnations as Sneak Preview and The Edge).

A best-of (following their departure from Atlantic) and a brand new double live album bring the total discography to 12 albums.

Their departure from the heavy-handed management approach of Taylor also opened the gates to solo and side projects. Ty Tabor has officially released two solo albums (Moonflower Lane and Safety), two albums with Platypus (When Pus Comes To Shove

11/18/2004 4:24:32 PM

HARD MUSIC HISTORY 65

and Ice Cycles), two with The Jelly Jam (s/t and 2), and one with Jughead. Doug Pinnick has guest appeared on numerous albums (from Dream Theater to various tribute albums, like Aerosmith, Van Halen, Mr. Big, and a U2 cover on HM Records’ own The Mother Of All Tribute Albums) and his own solo project, called Poundhound (Massive Grooves… and Pineapple Skunk, with a third on the way), and a side project with Trouble’s Bruce Franklin (Supershine). Drummer Jerry Gaskill finally got his shot at solo-dom this past year with Come Somewhere on Inside Out Music.

What is unique to the King’s X story is that, while the “Christian rock” tag is something that was only pursued by some wellmeaning fans, it doesn’t fit nearly as well these days. While swearing in interviews ruffled a few feathers a decade ago, it was the revelation that Pinnick was openly homosexual and the

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interviews surrounding that news (in 1999) that “ruined it” for some Bible-believing fans, who found it hard to defend both an anti-biblical lifestyle and an artist that openly explained that he didn’t know if he believed in the existence of God anymore.

Distribution into the Christian bookseller’s (CBA) market, which might’ve made sense with the first four albums but didn’t begin until the spiritually neutral lyrics of Ear Candy, was revoked overnight. If Tape Head’s “Higher Than God” or “World” didn’t hint around enough, then …Mr. Bulbous’ “Marsh Mellow Field” was like an open (but metaphorical) goodbye letter to the old, unwanted faith label. The band’s art, however, is still appreciated – maybe at a slightly greater distance like, U2, for example – by believers and unbelievers alike. Like Bono has been quoted as saying, “I’m only interested in music that’s written by someone either running to or running away from God.” Sometimes with King’s X, perhaps one can perceive both.

11/18/2004 4:32:42 PM

Over 45 million babies have been surgically aborted since Jan. 22, 1973. Millions of women have been traumatized because of this.

Come take a stand with Rock for Life at this year’s March for Life.

Register for RFL’s Training & Activism Weekend, Jan. 22–25. www.rockforlife.org

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TTHE TIME HAS COME COOME

11/19/2004 12:10:10 PM

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A wise man fights to win, but he is twice a fool who has no plan for possible defeat. –Louis L’Amour

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