HM Magazine, Issue #115 (Sept/Oct 2005)

Mortal Treason John Davis Stryper Project 86 Stretch Arm Strong The Locust Black Metal Primer Return of Hip-Hop

THE HARD MUSIC MAGAZINE

BLINDSIDE

September, October 2005 • Issue #115

$3.50 USA / 4.95 CDN

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? ËÔååy jÜ ?Þ±W ÁÍ jÁ ÁjW ÁaıW Ë

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HM HARD WEAR We have new HM shirts. Of course, we also have the Rock Stars on God book, the HM Stage DVD, stickers, and we’re even selling subscriptions to Heaven’s Metal Fanzine (1-yr for $7.77, naturally).

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

From the editor

REGULAR

Doug Van Pelt

Letters Hard news Live report Heaven’s metal

09

10 12 19 21

FEATURETTE

I’M NOT A FAN OF PETA In fact, I disagree with the logical conclusions of most of their premises.

But, I think it’s a good way to practice what I preach as we unveil a new feature in HM Magazine – Causes. If I’m going to suggest that someone put aside their differences, find something good in a cause and support it for 60 days (until our Nov/Dec issue highlights another cause), then I should be willing to do the same. I lose any “heavenly reward points” for bringing this up, but we put our money where our mouth was, too, and gave them a free ad. I like animals.

Stretch arm strong Discover america Inked in blood Dark new day

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FEATURE

It’s great being an editor. I’ll be honest, when I saw those amazing color shots of Slechtvalk last month when I was laying out a Heaven’s Metal fanzine, I said to myself, ‘Oh, I am SO doing a big spread on black metal in HM...just so I can run these photos – large and in color.’ So we commissioned one of our talented (knows what he’s talking about) Heaven’s Metal writers, Ed Hellig, to draft a “black metal primer” of sorts. I hope you enjoy it. And before any of you metalheads scream “sell out” (or worse) about seeing a new hip-hop feature in HM, let me say three things: 1, Where is your gratitude? ‘Hello! 4-page spread on black metal?

Puh-leeze’; 2, HM is not going to “pull an MTV” and start off with something like Yo, MTV Raps! and then turn the whole network over (practically) to hip-hop; 3, Like I’ve said before, hip-hop is a legitimate music “of the streets,” and only appropriate in a magazine that covers rock and roll.

The choir Mortal treason Black metal Stryper Blindside Project 86 The ambassador John davis The locust says

We’ve had some great interns here this Summer; and, unlike that All Else Failed van I see way too often, I won’t be happy to see Tim and Frances disappear. They’ve been great to have around and contributed heavily.

INTERMISSION

If you didn’t get a copy of our 20th Anniversary (Jul/Aug) issue, order it as a back issue. It was cool. Take care.

22

Kp westmoreland Columns

30 32 34 38 40 44 46 48 57

61 70

REVIEW SPINNING AT HM NOW THE LEE BOYS HOMELESS J BILLY CORGAN B. HATHAWAY BROTHER RUSSELL THE MYRIAD PILLAR

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Say Yes! “B-Fly” single The Future Embrace All The Hits So Far...

Radio Jihad You Can’t Trust A...

Where Do We... Ltd Ed.

Sacred Steel rules!

I actually want to hear this over and over.

Says he’s not a Christian, but writes like 1.

Hilarious, poignant, and pointing up.

This “recreational Christian” is funny.

Noticing new aural tapestry all the time.

It’s great seeing a vocalist sport an HM t.

Music DVD, book, & gear Indie pick

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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 OFFICE MANAGER MKTG & ADS

music could not be from God and brought thousands of people to Christ. It seems a huge oversight for a hard-music compendium to ignore the band that played one of the biggest roles in advancing the genre to where it is today. Petra deserved much better than they got in this issue. Perhaps a future issue might rectify the error?

–Paul Anthony [San Angelo, TX] Ed – Thanks for the encouragement. A compendium? Wow. Petra got love and props in our news section (they were pioneers, after all) and took some shots in a historical/op-ed piece, too. A little good, a little bad. What’s an editor to do?

MOUSEPAD I currently use the back cover of the July, August 2005 issue as a mouse mat, and I am thinking about getting a mouse mat printed from it. For personal use only, of course. Everytime I move my mouse, I am reminded that a battle IS going on, and I need to use my computer in a godly fashion too! Thanks for your great mag for an old rocker (40+).

–John Williams [john.r.williams@hp.com] Ed – Of course, of course. I guess that’s better than using it to line your birdcage!

SHE DESERVED MUCH BETTER In reading the most recent issue (20th anniversary), I was surprised and pleased to see the Resurrection Band get some muchdeserved credit for being one of the founding bands of Christian rock. They don’t get enough of that, and it was great to see it in HM! On the other hand, I was disappointed in your coverage of Petra throughout the magazine. It is sadly ironic: one reason the band is splitting up after 33 years is that few people know who they are anymore, and even fewer respect them for all they’ve done for modern Christian music, yet in the very issue you report the breakup, the magazine contains several snide remarks and an outright assault against them. One reviewer dismisses the band as derivative.

Yes, Petra did borrow its style from secular bands like Foreigner, KISS and Van Halen.

Yet they provided a Christian alternative to secular hard rock that for all intents did not exist until they broke out in 1981. Petra’s popularity paved the way so other bands could be more original, more artistic, etc.

Their straightforward lyrics and altar calls – I was disappointed as well to see that practice knocked a little in the issue – broke down the church’s stereotypes that rock

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QUINCY NAILED IT After reading Brian Quincy Newcomb’s special feature, “History of Christian Rock,” in the 20th anniversary issue, I felt like standing and applauding. Newcomb captured the same frustration and despair I felt while delving into Christian rock. I recall going into my local Christian bookstore and ripping through demo cassette after demo cassette of crap before finding anything worthy of a real listen – during my developing years, the only artists of that ilk was Michael Knott (glad to hear Newcomb pay him some homage, too). Seeking truly outstanding music while trying to satisfy a thirsty soul is tricky business, especially when there are countless empty albums both within and without the Christian market. I am grateful for honest, passionate writers of faith like Brian Quincy Newcomb and motivated, God-loving workhorses like HM editor Doug Van Pelt who continually strive to raise the bar of Christ-centered rock journalism. Bravo!

–Greg Adams [Chetek, WI]

INTERNS

Tim Hallila, Brandon Ryan, Frances Schoonveld

CONTR EDITORS

Kemper Crabb, Greg Tucker

CONTRIBUTORS

Chris Beck, Chris Callaway, Tiffany Chow, Chris Francz, Dan Frazier, Brent Gilbert, Amy E. Hall, Ed Hellig, David Huff, Kern County Kid, Dan MacIntosh, Bonnie Masri, Matt Morrow, Josh Niemyjski, Jamie L. Rake, Andre Salles, Bradley Spitzer, David Stagg, Kriss Stress, Jonathan Swank, Darren Tindell

COVER PHOTO BACK PAGE PROOFREADERS

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I read your blog and i just wanted to say thanks, because the last few months or so I’ve been just feeling pretty bummed at the way things are in my life and how I’ve handled certain situations and as I was reading your blog via hmmag.com, I felt deeply convicted by the Holy Spirit about certain areas in my life. I won’t go into the details, but I do want to say that I’m greatly blessed by your writing and what you have shared.

You have blessed me much. Thank you for being open to share so much with everyone.

I hope this will encourage you to keep on going strong. God bless!

–Jonathan Lee [jonnums@gmail.com] Ed – Encouragement is a blessing. So R U.

Mikeadelica Tim Hallila Eric W. Alexy, Vicki Bobick, Bethany Johnson, Valerie Maier, Heather Reynolds, Carolyn Van Pelt “But if Christ is in you, your body is dead because of sin, yet your spirit is alive because of righteousness. And if the Spirit of Him Who raised Jesus from the dead is living in you, He Who raised Christ from the dead will also give life to your mortal bodies through His Spirit, Who lives in you.” (Romans 8:10-11) 6307 Cele Rd. #573 Pflugerville, Texas 78660-7543 877.897.0368 Service@HMmagazine.com 512.670.2764 DVanPelt@HMmag.com Heather@HMmag.com 512.940.0744 Scott@FrontGateMedia.com 949.206.9806 Bruce@FrontGateMedia.com U.S.A. – $15, Canada/Mexico – $20, Overseas – $25

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Ed – Thanks for the encouragement!

BLOG RAWKS

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HARDNEWS Quick & concise SWITCHFOOT

ELLEFSON ROCKS ON

TOPPING A BEAUTIFUL LETDOWN

POST MEGADETH MUSIC SOUNDING GOOD...

“This record was written in back alleys and hotel rooms far from home,” explains Jon Foreman, explaining the difference between Nothing Is Sound and its predecessor. “It’s more eclectic, less settled, with more dissonance. We’ve tried to capture the emotional ride that happens on stage and put it into the studio. Playing that hard every night really stretches you, and all these diverse experiences have played a key role in shaping this record. We were trying to figure out when we would have time to record it. So we took out a second set of gear, tiny drums and amps, and set up in the dressing room every day and got songs ready. While the opening bands were playing, we were in some tiny room trying to make a record.”

The album drops 9/13 with a dual-disc option (incl.

5.1 surround sound and extra features).

Former Megadeth bassist Dave Ellefson has formed a new band called F5. Says Ellefson: “I love the big guitars from some of the European and thrash 80’s metal era but the modern tunings F5 use certainly makes the group much more contemporary without sounding nu-metal or dated either… I’d say that creatively I’m having some of the best times of my life right now and it’s a cool thing for me now that I’m stepping out and playing with a variety of different musicians…While I don’t consider myself to be a Christian artist, I am an artist who’s Christian and have been my whole life. Hopefully my actions will represent that and I will be able to walk that talk.” The album should be released by press time. [f5.com] Photo: Fran Strine

News bullets As I Lay Dying knows how to promote a new album. Hot on the heels of its release, Shadows Are Security hit #35 on the Billboard charts. They were a second-stage co-headliner on Ozzfest all Summer. The guys appeared on MTV2’s Headbanger’s Ball in July, and won Yahoo Music’s “Who’s Next?” contest, resulting in an exclusive interview and performance available on music.yahoo.com The new album by The Juliana Theory was produced by John Travis (Social D, Kid Rock), co-produced by vocalist Brett Detar, and mixed by Joe Barresi (QOTSA, Rancid). Titled Deadbeat Sweetheartbeat, it finds the band returning to its original form. Explains bassist Chad Alan, “It sounds like (second album) Emotion Is Dead on crystal meth. It’s also quite personal and exhibits darker themes than our past efforts.” It was recorded almost completely live with a heavy DIY aesthetic (self-funded without label support; Detar recorded almost all of the vocals alone in his home studio).

“It’s basically a goodbye album, a farewell record,” says Detar. “It’s one long series of goodbyes after another, except they aren’t sappy, sad goodbyes. Most of them are ‘good riddance’ type of goodbyes. Lyrically the songs convey almost elated farewells to lovers, towns, and bad relationships.” Look for it on September 13.

Waking Ashland recently had the privilege of playing two dates in Japan, in Tokyo July 13, and in Osaka July 14.

No. 1 One Gun To their New Home (again) Number Gun Moves will have released ToothLabel and Nail debut titled Promises for the Imperfect by press time. The band worked with producer Aaron Sprinkle (Acceptance, Anberlin). “It was one of the greatest experiences working with him. He was so much fun to work with and was really [respectful] towards us as songwriters,” says Number One Gun bassist Trevor Sellers. He had this to say about the new album: “Musically, it’s a lot more mature than the other one. We had two years or more since we wrote the old one.

The new one definitely is more accurate to how we sound now. And then, lyrically, same thing, the lyrics matured more and Jeff’s definitely come into being lyrically better with touring and everything… We hope to reconnect to people that have seen us over the past few years and let them know we’re still going strong as a band.” // Frances Schoonveld

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Facedown Records had four bands play this year’s Hellfest: Seventh Star, Symphony In Peril, Nodes of Ranvier, and Alove for Enemies, who also have released a video of their song, “Hour of Decision.” xLooking Forwardx has signed with Facedown Records. Be expecting a November release.

Yellow Second has announced they have a new drummer: Sammy Sharon, who used to play in Codie.

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HARD NEWS 13

The Afters were accepted for MTV’s Advance Warning and aired multiple times on the network during the month of June. The show will repeat on MTV2, as well as mtv.com Ex-Korn member Brian “Head” Welch and Stephen Baldwin have partnered to form Livin It Records. Welch is working on his first solo record to be released on the new label. He has also started “Head” Home, an orphanage for India’s refugees.

Underoath has filmed a video for their second single, “It’s a Dangerous Business Walking Out Your Front Door.” Filmed in Hollywood, the video features the group rocking out in a surreal winter forest after a car crash.

Emery

BY TIM HALLILA I just wanted to talk about your new album, The Question, a little bit. On The Weak’s End, drastic changes in dynamic played a big part, from heavier parts and screaming, to singing and more melodic elements. How would you describe the musical direction this time around?

The direction I was going in, as far as songwriting, is to be a little more dance-y. Kind of where you can feel a groove in the song. And I feel like a lot of the lyrics are maybe a little darker than the last album. I always liked it when I heard music like that. Almost like some of the Queen songs, where the songs seem like they’re ultimately unbelievably sad, but the whole time…you know, it’s dance-y, happy songs, musically and instrumentally. So we kind of went that way. There’re still hard parts and screaming, but…my favorite song on the album…it starts out heavy and then goes into something crazy, almost Willy Wonkaesque.

What improvements do you feel you’ve made personally, and as a band?

Just being able to accept my voice. I know when we did The Weak’s End, I just felt like, ‘It’s got to be perfect...’ Now, if there’s a scratchy sound in my voice or whatever, I can accept it. I think (as a band) we have more confidence, because last time we did an album, we were paying for it ourselves. We weren’t signed, so we felt like, ‘Well, we spent all this money, so what’re we going to do if it doesn’t work out?’ We had only

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two weeks to do the album. So this one we had more time and more confidence, since we’ve been doing this for a while. I think everyone feels a little tighter…

What lyrical themes do you think emerge on The Question?

I really think what this album is about how everybody focuses on one thing, like an addiction…it could be sex, drugs, gossip, alcohol, not listening to your parents… and how we all go through the same things… As Christians, we try to correct the sin but forget about the person. It’s amazing that (Christ) came down as an actual human being, so that He could relate to us. It’s important to me to let people know that everything about me is the same as them, and there’s an outside Source that helps me get through it.

What would you hope a fan would take away from one of your shows?

The number one thing I’d want them to walk away with, is that they really enjoyed our show, and think, ‘Man, that was a great band to see.’

That’s really important to us – that we put on a good show… I really feel so led to let people know that I’m a real bad person who does real bad things. You won’t see many people with a darker heart than me. And the only thing that redeems me is my God, Jesus Christ. And other than that, I’m pretty much worse than “good people.” I just…want them to see, ‘Well why does it work then?’ And I think that’s when God will take over and lead them that way.

Symphony In Peril has a new vocalist, John Pope, from Narcissus.

The great Nodes of Ranvier will release the highly anticipated The Years To Come on September 13th.

One of the best concerts of the year was scheduled right as this issue was hitting the mailstream. The Broken Records Artist Reunion Concert, featuring: Undercover, The Choir, Altar Boys, 441, and Crumbacher; celebrates the strength and synergy of the SoCal alternative Christian music scene of the late 80s. “It was a scene like no other,” describes Steve Hindalong. “There were 10 bands or so, playing a circle of venues, mostly churches. Undercover was the main attraction. Those guys were originals: Gym’s awesome hairstyle and guitar tone; Ojo’s intense charisma. I was amazed how he could bring a crowd of frenzied kids to a hush. They really listened to Joe, and I know the Holy Spirit stirred at their concerts. The Altar Boys absolutely rocked. It was an exciting time, and The Choir was fortunate to be part of what could be called a ‘family’ of bands.”

Matt Hyde (Project 86, Monster Magnet) will produce the next Stavesacre album.

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14 HARD NEWS

HARDNEWS Page fourteen News bullets Facedown Fest East Coast will be held November 5 in Brooklyn Park, MD. Hawk Nelson will have a performance in the remake of the romantic comedy, Yours, Mine, & Ours, singing “Bring ‘Em Out,” a song they wrote especially for the film. The movie will open in late November.

Jars of Clay performed in front of a reported one million fans as part of the Live8 concert in Philadelphia on July 2nd.

Blood & Ink Records announced that the new album from Neshamah, Communicating In Heartbeats, has been pushed back to an August 30 release date.

Every New Day

BY CHRIS CALLAWAY Uttering the word “cheese,” with an equally qualifying expression on one’s face, is not just for pictures anymore. Sometimes this dairy creation, processed or otherwise, provides for the payment of goods or services. “Well about 4 years ago we were asked to play a show in Calgary, Canada and we weren’t given too many details, but whatever. It was another show,” recalls Every New Day’s Scott Campbell. “[When] we got there they told us we were playing in the middle of downtown Calgary in a park for some homeless kids who lived in the park. Most of them were living under or in trees. It was freezing cold, but we just set up and started playing for these kids. At the end of the show, they didn’t have any money to pay us, so they paid us with a big bag of cheese singles.”

All things cheesy aside, the Winnipeg, Canada-based hardcore trio delivers an accurate and powerful slap shot of fast, hard, driving tunes on their newest disc, The Shadows Cast. There’s a tasteful dash of accessibility inherent in the music, which should open additional doors to those listeners who refrain from being head-pounding purists. The lyrics drip with tears, bleed from familiar wounds, and ring with honesty. “It’s a record that we spend a long time writing, tearing apart and writing again,” Campbell remembers. “We toured 2 indie records before The Shadows Cast and we took a lot of time to write more aggressive songs for this record. We’re very pleased with how it turned out and I think John (Peters) did an awesome job of capturing the sound we were going for. John had just finished Figure Four’s Suffering the Loss and Comeback Kid’s Turn it Around, so we were very confident that he would do a great job.”

The work ethic proven by the band’s latest journey inside the studio walls refuses to stay relegated to CD players and record store bins. Campbell states that the band tours as much as possible, keeping the Goodyears gripped to the road, one chord to the next, city by city. Hopefully their mode of transportation will be up for the challenge. “We actually just found out recently we had a hole in some part of our van and we’ve been unintentionally inhaling gas fumes for quite some time,” Campbell confesses. “I was wondering why I would get really bad headaches after about eight hours of driving.”

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In addition to releasing its first new studio album in more than a decade, Stryper have also done a cover of M.W. Smith’s “Friends” for a collection titled, Ultimate Music Makeover: The Songs of Michael W. Smith. The cover of Stryper’s Reborn album is another brave yet controversial move that will mean different artwork for the general and CBA markets.

Extol’s video for “Pearl” has been picked by MTV2 to be played on Headbanger’s Ball. The video can be found as an enhanced bonus on the general market release of The Blueprint Dives (on Century Media).

Spoken’s new album, Last Chance To Breathe, will hit stores on August 30th. Early reports from those that have heard it say it expands the band’s sound, mixing their early energy with the best singing from recent material. The song “Bitter Taste” features guest vocals from Cory Brandon from Norma Jean.

Crunchy proved it’s alive by playing a set on the HM Magazine Stage at the Sonshine Festival. Vocalist/guitarist Monty Colvin hints that the next Crunchy album will take “a little harder edge” and is “taking the shape of a ‘concept’ album of sorts. It’s back to some of my GC roots.”.

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HARD NEWS 15

The new GGGarth-produced album from Project 86, ...And The Rest Will Follow, hits September 27th.

The band’s very first DVD will come out earlier (August 12), documenting the making of this project and catching some special concert footage and surprise extras. They will tour with Number One Gun and The Showdown in the Fall.

Telecast has completed their second BEC Recordings project, Eternity Is Now, which is set to release September 27.

Sinai Beach will join The Agony Scene, Remembering Never, and Throwdown for the To Die For Tour.

As Cities Burn INTERVIEW BY FRANCES SCHOONVELD Recently you’ve signed with Solid State Records.

How is it different now than when you didn’t have any label support?

It’s a world of difference. We toured independently for a year and a half. It was always scraping for any shows we could get and…playing for five kids a night. And immediately when you throw a reputable label name on there everything changes.

People start being polite and people start catering to your needs. It’s been a little bit easier as far as booking shows and kids hearing about us. Shows have been much better since we’ve been signed, but it’s always been fun.

Do you have any stories from the tour yet?

We get in a lot of trouble with fireworks. We do bottle rockets inside our van and we just destroy everything. We’ve destroyed cell phones and CD players. Bottle rockets inside the van are a bad idea but for some reason we can’t learn that lesson. So, our big thing on tour is fireworks and any time we tour with other bands we terrorize them with fireworks. It’s always a good time.

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What does the title of the new album, “Son, I Loved You at Your Darkest,” mean to you personally?

The theme of the album is being broken and humbled and realizing we’re broken people and we need help and there is hope. The world is a dark place and even though we participate in how the world is and we’re not great human beings all the time, we are loved by God and that’s an incredible thing.

How do you integrate your faith into your art?

We don’t feel like our ministry is to say we’re a Christian band. We’ve always just been like, let’s live for God and people will see that through us.

When you have certain beliefs and your faith is at a certain place, that’s going to be a main thing in your life. When you write lyrics about what’s going on, 90% of the time it relates back to your faith.

We’re not going to preach on stage and force anything down anyone’s throats but we’re going to be bold about how we apply it to our daily lives and what it means to us. Let’s just admit that we’re broken kids, but we know that there’s a bigger love and something to live for out there.

Ashton Nyte is keeping busy with The Awakening, but he’s also made his solo project a full band – Ashton Nyte and The Accused. Their debut CD, Headspace, hit the streets of South Africa in July. It’s an 11-song album described as, “lo-fi indie rock,” or perhaps more aptly put, “Vegas, Nashville, and the spirit of New York City.”

Guitarist Corey Edlemann has had to step down from the newly reunited No Innocent Victim for “family and job reasons.” In his place has stepped new California resident, Dave Quiggle (of Jesus Wept and xDisciplex AD).

The new N.I.V. album should drop on November 8th.

Evansville, Indiana-based indie rock band, Lost Anthem is preparing for the national debut of their latest project, Moments In And Out Of Time.

Releasing August 16th through Infinity Music Distribution, the album comes packaged with a full-length bonus DVD, featuring three music videos, behind-the-scenes footage, and a mini documentary on the band. Throughout the Summer and Fall the band will tour the Midwest and West Coast in support.

Tantrum Of The Muse vocalist Stephen Mark Sarro has released his solo album, Sympathy For The Living.

7/28/2005 2:46:30 PM

16 HARD NEWS

HARDNEWS Page sixteen News bullets

Pit Moves: #121,“The Windmill”

Mono Vs. Stereo have released the new album by Last Tuesday, Resolve (produced by Joe Martlett and Matthew Thiessen of Relient K), and The Evan Anthem, Sens, as well as a special double-12” vinyl release of Relient K’s just certified Gold (!) album, Mmhmm, which includes a bonus track. A new album by Chasing Victory is scheduled for October, too.

YOUR GUIDE TO THE SWEETEST PIT MOVES Description: Either almost standing still or rotating around in the pit like a “mini twister” with fully extended arms (with a clenched fist at each end) swinging in full 180degree rotation at as high an angle as the person’s shoulder blades/rotater cuffs will allow. Approaching blurring speed is a necessity and you get “bonus points” for changing direction as well as suddenly stopping and maintaining balance. (on a scale of 1-10)

The new Ping CD, The Eleventh Hour Storybook, features Andrewesley on guitar, as well as the legendary Phil Madeira on keys. All proceeds from this album benefit Habitat for Humanity.

Degree of difficulty: 6 Likelihood of injury: 10 (you will get knuckles in the face/ head eventually, maybe at least once every 3 shows) Cardiovascular intensity: 8

[Major props go to David Allen, who first came up with the “Pit Moves” idea in an editorial meeting years ago.]

[Expert illustration by Ivan Minsloff]

Same Question Different Artists CRAZIEST THING SEEN FROM STAGE? “This 350-lb kid stage dove onto a kid that was in a wheelchair in the front row. I don’t think he knew what he was doing, but it was pretty intense. Once, when we were in Arizona, about 25 kids got in a circle and as we started in (“Blue 42”), they got in football stances, charged and tackled one another.”

–Jimmy Ryan (Haste The Day) “I have seen a bra flying through the air onto the stage. One landed in my lap just about a month ago. It was red. Sometimes when there are balconies at the shows, people have been known to jump off of them into the crowd. And then there are the times where I look up to see certain members of the band covered in blood from some sort of collision with a guitar, mic stand, or an array of other things. Last but not least, sometimes I look up to see Scottie flying through the air, coming over my drums, and taking me out. My drums usually end up somewhere in the air, and all over the stage.”

–Daniel Davison (Norma Jean)

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This Beautiful Mess are working on a DVD.

“At a show in Houston last winter a fight broke out in the middle of our set, but we just kept jammin’... Hopefully in the future we can start playing as the WWF band every night while the wrestlers are fighting.”

–Andrew Hall (The Showdown) “On the last show of a tour we always have a little “band war” between us (in fun of course). Ryan from Spoken came out in the middle of our set and just started walking around with a ten foot ladder like he was just looking for something to work on. It was hilarious. To get him back, I climbed on top of a speaker directly above him and poured about 20 packets of coffee creamer on his sweaty head. He looked like he had clown make-up on at the end of it all.”

–Kevin Young (Disciple) “As far as gnarliest pit move, some kid in Dallas takes the cake: He looked like a psychotic windmill! I can’t explain it any better.

–Rob Beckley (Pillar)

Deep Elm Records is in the process of making its entire catalog available as streaming content (that’ll mean early Brandtson and Appleseed Cast tunes) at deepelm.com Minneapolis’ own Mainstay have signed the dotted line with T&N’s sister label, BEC (which a lot of folks are now pronouncing as “beck”). They are currently in the studio with Aaron Sprinkle, recording the debut, Well Meaning Fiction, set to release in early 2006. The band will be touring with Falling Up and John Reuben this Fall.

We are as pleased as punch to once again host the “HM Magazine Stage” at this year’s Purple Door Festival. The lineup is again a great one: Last Tuesday, The Showdown, Showbread, The Beautiful Mistake, Stretch Arm Strong, Hawk Nelson, Haste The Day, The Chariot, and Norma Jean (in that order).

Speaking of The Chariot, they’ve released a DVD of their life on the road (Ladies and Gentlemen: The Chariot), featuring many a cameo appearance by travelling companion, Bradley Hathaway. Hathaway will be touring in Europe soon, in support of his book/CD, All The Hits So Far, But Don’t Expect Too Much.

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HARD NEWS 17

Demon Hunter is in the studio working on their third album, due out in October. “We’re just starting bass on the record,” describes vocalist Ryan Clark. “Drums are pretty much done.

This record is shaping up to be a little faster, more energetic and a tiny bit of a different sound for us without straying too far from the DH sound. It’s more technical in terms of the guitar and the vocals are a little more diverse as well. We’re still lining up a mixer...”

Waking Ashland

BY TIM HALLILA I stand near the back of Java Jazz, a coffee house and concert venue in Spring, Texas, north of Houston. Waking Ashland is on stage, playing for about 40 to 50 people in a space roughly the size of my living room. I can’t help but think they won’t be playing shows this size for long. Simply put, these guys are good. And people are taking notice. Their album, Composure, sold more copies in its first week than any debut album Tooth & Nail has ever released. They seem poised for mainstream success, taking their fresh, fun brand of piano-based pop/rock – think Something Corporate, but with a spin that is all their own – for a summer tour with Action Action and Spitalfield, as well as a short run of shows on Warped Tour 2005. At the same time, they seem content right where they are tonight, not insulted to serenade a modest crowd, with only a small percentage who are familiar with the songs.

In talking to Waking Ashland’s singer/keyboardist Jonathan Jones a few hours earlier, it was quite evident he understood the source of the band’s success, and remains both grateful and humble.

When I asked about the success of Composure, and the doors opening up for the band, he responded, “We were really surprised, and just flattered that kids would want to go out and support us.

We didn’t know what to expect since it was our first major label debut, but we’d been working really hard, though, this past year, constantly touring the country. So we were surprised, but at the same time, it was gratifying to see our hard work pay off.”

The product of that hard work is 13 well-crafted tunes. Don’t say I didn’t warn you when you hear “I Am For You” while watching your favorite teen

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drama. Music this infectious is sure to find a wide audience, and one might worry that the band’s wide-eyed passion could be quickly jaded by the “OC treatment.”

I asked Jonathan about his faith in God, and its influence on his music. His response calmed any worries that potential success would go to his head. “How should I answer that question?

I mean, it’s everything, whether I’m choosing to write about it or not…it’s in everything I do, obviously…our band is not labeled a Christian band, we do a lot of secular touring... Well, that’s all we do, is secular touring. We’re always playing with bands…with no Christian influence…I’ve seen bands do the Christian thing, and I respect that a lot. But for me, I really felt like God was calling me to really put myself out there into the secular world. I felt that that’s where He wanted my music to be and to appeal to. And so, that’s what I did…and each day it’s very hard. I depend on my faith to get me through each day, because I’m put into a lot of situations where your faith is tested.

A lot of people on the road like to mock faith. They don’t understand, because they’ve never experienced true love like that. And so, at the end of the day, that’s all I really have, is my faith. Being in a band has helped my faith grow, actually. And I think that’s part of the overall plan, why God wanted me to do something like this.” This is certainly a band to root for…and pray for.

[See the remainder of this exclusive interview at HMmag.com]

TV and video games continue to use Celldweller tracks. “I Believe You” has been featured in recent TV spots for the Brad Pitt and Angelina Jolie movie, Mr & Mrs Smith. “Switchback” will be used in the upcoming Bizarre Creations’ game project, Gotham Racing 3. “One Good Reason” will be featured in EA’s new Need For Speed: Most Wanted, due out this Fall.

Redemptive Records just signed The Last Regard, from High Point, NC. The band’s 6-song EP will come out in October.

Suffering & The Hideous Thieves’ new record, Ashamed, is their first ever full band effort. Lujo Records promises that, “it brings the band to another level and a new rawness that has not been seen from them.”

The Kirby have a new split CD with Blueprint Car Crash on Doll House Records.

P.O.D. will be featured in the first episode of a new web-based reality television series, The Biz. Contestents will compete for the chance to run their own record label.

Rhythm has signed with Word Records and plans to release a new record sometime in September.

Okay, here’s a promise from Audio Adrenaline about its new album: “The music’s got attitude, it’s got teeth and we’re all taking a big step forward, definitely moving on with less complacency,” says guitarist/vocalist Tyler Burkum. (We’ll see...)

7/28/2005 2:47:04 PM

18 HARD NEWS

HARDNEWS Page eighteen Causes There are surely causes to devote one’s life to, and there are also “phases” or fad causes, just as there are “misguided causes.” We plan on highlighting a cause in each issue for the next several issues, where we ask you to go “beyond the cause” (or any of its logical, possibly conflicting conclusions) and focus – just for a short time (60 days) – on the “good” or “beneficial sides” of some of the causes we feature.

(For example, if you were from a Baptist background, you might have misgivings about helping out a Catholic-funded program for inner-city children, but if you “overlooked those differences” and just focused on the good you could do for a short term, you could love or bless someone else.) Are you ready? Willing?

Let’s go!

Amber Pacific

BY DAN MACINTOSH

PETA peta.org People for the Ethical Treatment of Animals was founded in 1980 to establish and protect the rights of all animals.

MISSION STATEMENT:

Justin Westcott, a guitarist for the group Amber Pacific, is not your typical junk-food-eating, rock and roll glutton. In fact, our interview interrupted one of his kitchen masterpieces. “I’m cooking Chicken Cordon Bleu,” he answers when asked what’s on the menu tonight. “I’m living with our lead singer Matt Young’s family, and I told them I’d cook them dinner every so often, so I decided to cook them dinner tonight. I come from a chef family, so I know how to cook somewhat. My dad currently still does it. But both my mom and dad went to The Culinary Institute of America, which is in New York. It’s like the most highly rated cooking school. And then my brother went there, also. Three out of the four of us cook really well, and I can just do it okay.”

Instead of the restaurant life, Westcott chose the hot lights of the concert stage over the heat in the kitchen. Amber Pacific has just released The Possibility and the Promise, its second Hopeless Records CD. And while this album’s songs may be saturated in promises and possibilities, it is by no means an overtly Christian disc. “We’re not all Christians, actually,” Westcott explains. “Three of us are, but we do not consider ourselves a ‘Christian band.’” Along with Westcott, bassist Greg Strong and drummer Dango are also believers. But so far, this division of faith hasn’t been at all divisive. “I don’t go about judging what they (the two non-Christians) do,” Westcott explains.

“And it’s not like Matt Young and Will Nutter are bad people, either. They don’t drink. They don’t have sex with all the groupies. But it’s not my place to go and judge them for not being Christians, because once upon a time I was a non-Christian. So the three of us (Christians) are just there to show the love of Christ.”

One would guess that the new project’s title, The Possibility and the Promise, was penned by some romantic poet or other. “Actually, our bassist was reading Charles Bukowski, and it’s a line in one of his books,” Westcott corrects. Charles Bukowski may have been a great writer, by the way, but he was certainly no romantic. This Bukowski quote exemplifies that Amber Pacific is not always what it appears to be on the surface. Instead, from its gourmet cook guitarist, to its Bukowski reading bassist, this group is anything but your average rock band.

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“PETA operates under the simple principle that animals are not ours to eat, wear, experiment on, or use for entertainment. PETA focuses its attention on the four areas in which the largest numbers of animals suffer the most intensely for the longest periods of time: on factory farms, in laboratories, in the clothing trade, and in the entertainment industry. We also work on a variety of other issues, including the cruel killing of beavers, birds and other ‘pests,’ and the abuse of backyard dogs. PETA works through public education, cruelty investigations, research, animal rescue, legislation, special events, celebrity involvement, and protest campaigns.”

ACTION POINTS:

You can join bands like FSF and Underoath, by signing a petition sent to the President of IAMS, urging them to conduct compassionate in-home studies rather than ruthless laboratory tests. [see peta2.com] CONFLICTS:

Acts 11:5-9 Proverbs 12:10.

7/28/2005 2:47:22 PM

LIVE 19

LIVE REPORT Cornerstone Festival 2005

BY KRISS STRESS No rain at Cornerstone?

That’s right. This year’s annual Cornerstone Festival put on by the good folks over at Jesus People USA made it through the entire week without any signs of torrential downpour. The sky opened and allowed a few moments of drizzle every once in awhile, but that only cooled things down and helped contribute to one of the best climates in several years.

As in years past, metalcore was the name of game and engulfed every generator stage that was set up across the 924 acre sprawl of the fest grounds. Tooth & Nail Day saw tight performances by the likes of newcomers Becoming The Archetype as well as a stellar show from Spitfire who are at this point veterans to the game. While the crowd for this show wasn’t all that large, the band paid no mind and charged through songs stretching across their career, including several taken from their ‘99 masterpiece The Dead Next Door. A major highlight came later that night when One 21 took their places over at the Underground Stage for their last time ever. The band was in tight form with one time member and Squad Five-O guitarist Kris Klein returning to close out the show with them. They played songs in chronological order starting with selections from 2003’s Grenade before going backwards to draw from 2001’s self titled record (known as the American Flag album by many) before finally resting on tracks from their 1997 album When The Dragon Is Laid To Rest. While their newer material was much more enjoyable in the singer/songwriter vein and more mature, many were there to see this band playing songs from their street punk days and One 21 was happy to oblige. Their set closed out with “Jehovah Is Strength” off of their debut In The Year King Uzziah Died EP and they returned for a brief encore by playing “Streets of Philadelphia,” off of When The Dragon. The pit rits never hit each other harder either.

Wednesday’s festivities included the deathrock of newcomers Red Lipstick Death (already a tight unit after only two years) and the Man or Astroman? influenced antics of Hyperdrive Go! Lead vocalist Scott Potter proceeded to own the 100+ crowd in the palm of his hand with antics straight out of Otto Bot’s (Blaster The Rocketman) bag of tricks. Give it a couple of years and the Ripped Heart stage will get its fair acknowledgement as more then just another generator stage. The night’s highlight was over at the Decapolis stage however,

once the Huntingtons plugged in (to a packed out tent by the way!), it was off to the races.

The band flew through tracks from their entire career, picking generously from earlier recordings like Sweet Sixteen and Fun and Games as well as drawing from their later Tooth and Nail era records like Get Lost, Plastic Surgery and Highschool Rock. With a Ramones medley thrown into the middle of the set and closing out with crowd favorite “No Pool Party,” the Huntingtons went out roaring and played a show that will undoubtebly be seen as one of the best of their entire career.

Other highlights of the fest included high energy sets by Headnoise, the final show by the brilliantly conceptual American Culture eXperiments, a full length set from No Innocent Victim (their first in a few years.

Much more satisfying then their short three song set last year) and Hook Line and Sinker (one of the last existing ska bands it would

seem), who pulled off an amazingly tight set of frenzied third wave ska with tons of wisecracks and words that showed their hearts geared towards ministry and Christ. The Showdown played over on the HM Stage and showed the packed tent why they’ve worked their way up the scales to metaldom so quickly. With interplaying guitars and more solos then the Maiden discography and a drummer whose double kick pedal NEVER seemed to stop along with their ornery lead singer cracking jokes in-between songs (“We usually only get 15 minutes to play, but we’re getting 45 today. That means we’ll play for 20 and I’ll run my mouth the other 25!”), they proved to be an unrelenting force. It’s interesting to see where these guys are going to be in just another year. With godly hearts, humble personalities and more brutal metal then anybody else, they’re sure to be favorites at Cornerstone for years to come.

Photos: As I Lay Dying (by David Hostetter)

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7/28/2005 12:09:49 PM

H E AV EN ’ S M E TA L 21

Album reviews V/A – CPR, Volume 2 The second installation of the first ever Christian Prog Rock compilation album is jam packed with outstanding artists and excellent music. This style demands sonic perfection, performance, and production; and this one’s got it. Neal Morse, Dave Bainbridge, Orphan Project, Glass Hammer, and many more make this collection a great place to begin your exploration of an amazing and talented (yet relatively underground) scene.

GLASS HAMMER – The Inconsolable Secret Dressed in a Yes-like Roger Dean painting, this complete prog rock package is the 10th album in this band’s discography. Not for the faint of heart, the first disc of this double package contains two tracks. One logs in at 15’21” and the other at 24’39.”

Lots of keyboards, floating and harmonized vocals, and plenty of noodling. An acquired Fragile taste, but stellar musicianship.

The second disc still contains several long songs, but also some more “palatable” morsels for the average muso.

TROY DONOCKLEY & DAVE BAINBRIDGE – From Silence Two of the masterminds behind the great Iona laid down some beautiful sounds here. These guys went into the spaceous Lincoln Cathedral with no pre-prepared music and let the surroundings inspire an hour’s worth of spontaneous, uncut, and untouched music that was captured. And making a standout release irresistible, they’ve utilized a special binaural stereo process that makes a terrific headphone experience. Buy this one, turn the lights out and breathe it in. This is world class.

ONCE DEAD – Return With A Vengeance Before this page turns into a Prog Rock haven, let’s cut to the thrashing and blazing stuff. Last year’s Vengeance (minus Martinez, plus Scott Waters) reunion was captured on this DVD. Starting off with “Warfare,” the band thunders through a fairly solid set of original thrash metal classics. Set in a small club, it’s basic, raw, and kind of dirty, which sort of takes away the “epic-ness” of these tunes, but tough nonetheless.

Metal tracks • Heaven’s Metal fanzine is coming up on one year of re-publishing, which has been a fun outlet for the great metal that’s being made these days. The new issue features an exclusive Stryper story, an unpublished discussion with Barney of Napalm Death, articles on Alice Cooper, Frost Like Ashes, Ultimatum, and Becoming The Archetype. A true “brother” publication to HM, some subjects/bands covered will overlap, but will be exclusive to, unique, and separate from HM. • Fear Dark label is releasing Once Upon A Time In The North, a 2-disc digipack from Immortal Souls, featuring the Under The Northern Sky album, their two EPs, plus some remastered demos, along with a historical booklet from vocalist Aki.

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• Jeff Scheetz has released his debut indie release, Warp Speed and his debut, Woodpecker Stomp, on one double CD. • Dale Thompson’s son, Alex Thompson, will be accompanying Bride on drums for its tour of Brazil (10 cities in 14 days).

• Michael Wagner produced the new King’s X, Ogre Tones, which promises to sound like the sequel to Dogman.

• Fear Dark just signed Taketh (melodic death, like Soilwork or In Flames) and Royal Anguish (gothic death from the USA).

• Mortification have changed the tentative name of their next album (early 2006) to Erasing The Goblin.

• Blissed has been recording a new album w/Robert Sweet.

• Circus Dawn will have a new album, Telos, in September.

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22 F E AT U R E T T E

STRETCH ARM STRONG

BY DAVID STAGG It’s obvious he’s got something to say. It’s like his mind is working faster than his mouth can speak; he wants to get it right, and he definitely wants to talk about it.

About a show in Serbia: “We saw the NATO forces and the destruction and the bombs and the terrible things going on… The people (living there) don’t exactly see it the way we do when we bomb targets.”

About PETA: “There’s an ugly face to a lot of the things that come out of the production line. I believe in the rights of animals and (PETA) is making people aware that when you get a hamburger or a steak, it came from a living thing.”

About profanity: “There are so many ways to express yourself other than to use profanity. Bands like Minor Threat and stuff I used to grow up with, I couldn’t listen to that stuff; I had to turn it down when mom would come up the stairs.”

This is Chris McLane, vocalist for Stretch Arm Strong, and to him, it’s all about music reflecting his life. If you take it as political, that’s fine; he just believes it’s the song form of his reflection. When he speaks, it’s almost always professional, but it never loses the feeling like you’ve known him for years.

In less than a week, the band (guitarist McLane, vocalist David Sease, drummer John Barry and bassist Jeremy Jeffers) will be headed to Europe again to play several shows throughout the summer to prime kids for their fourth full-length release, Free At Last. And by the way McLane talks about the album, it sounds as if they actually are, for once, free.

“It’s weird, people are just starting to listen to the record,” McLane begins, “and already we’ve heard that it’s definitely different than Engage. And as far as we’re concerned, that’s a good thing.”

This is because 2003’s Engage, according to McLane, was a rushed album, a ‘fly-in to the studio, hustle, gotta work fast, your plane leaves—now go!’ type of record. The band

was hardly in the studio at the same time.

“We recorded it in New Jersey and back in the day, we had other jobs,” McLane says. “The guys would fly out and do the music and then we would fly up and do the vocals. There was never any time allotted to do anything with the lyrics other than just bang it out as quick as we could.”

After it came out and their contractual obligations were filled with Tooth and Nail’s Solid State Records, they parted ways, got on a different label, finally spent the time and the effort needed and have since put out, as McLane describes it, “some of the best work we’ve ever done.”

“We went back to a lot of the stuff from our early records that we used to do,” McLane says, “but we did some stuff better; things have been layered and worked on. We tried to take what we’re good at and make it better and do it as best as we could.”

And with the release of Free At Last, the Columbia, South Carolina-based SAS will again have the chance to reach an ever-growing group of fans with causes they’re very adamant about. McLane and Searse are the two vegans in the group, forgoing any type of food or drink that depends on or comes from animals. They did a stint on a Hardcore Against Fur tour in December of 2004. They have PETA (People for the Ethical Treatment of Animals) come with them on tour.

“We get a lot of opinions,” McLane says about the possible backlash the highly political PETA brings. “It’s amazing how many kids get psyched or that get completely offended.

(PETA) may do a lot of things in campaigns that I don’t necessarily agree with, but we believe in the freedom for all living things, and the organization raises that awareness.”

And just as they believe their music is going back to things they used to do on older records—but better—the band still doesn’t play any shows that won’t allow kids under 18. “Everywhere we go, every kid that can get in, can get in,” McLane says. It’s something they’ve carried with them ever since the band’s early days, never leaving a fan behind or abandoning the things that are important to them. It’s especially important now, Stretch Arm Strong will tell you, now that they’re very confident in the record they’re supporting.

As McLane says, resolutely: “The record definitely relays the idea that the time was spent and the effort was there.” stretcharmstrong.net

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24 F E AT U R E T T E

DISCOVER AMERICA I’m not really into that anymore.

Did you try anything specific musically?

When I lived in Nashville for a while I listened to a lot of R&B music and also a lot of music from the ’70s. It seems like a lot of the bass lines in that kind of music [are] really repetitive and captivating and it makes people move.

That older music grooves really hard and I tried, with Discover America stuff, to have the rhythm section be really groovy so people can move to it. If I was playing a song back and it wasn’t making me tap my foot and want to bounce to it, then I wasn’t into it.

Do you have any interesting stories so far from you guys being together?

Well, we had kind of a complicated day today.

The place where we were rehearsing, we set the alarm off three separate times and we didn’t know how to turn it off and the police came every time and they charged us $100 every single time. Then this morning, Phillip, our bass player, accidentally flushed his toothbrush… down the toilet. And then we got outside to leave to go (to) practice and our battery was dead.

BY FRANCES SCHOONVELD The older generation may know him as the frontman for the melancholy twothiryeight, but the younger generation now knows him as the R&B-inspired songwriter in Discover America.

Chris Staples’ latest album, Psychology, shows his lighter, more cheerful side compared to the more despondent lyrics he sang in twothirtyeight.

After twothirtyeight’s demise in 2002, Chris started his own one-man band and his sound took a surprising turn.

You’ve recently started a new band, Discover America, after twothirtyeight disbanded. Tell me how all this came up and the story behind it. How have your fans reacted to the change?

I just took two years off to chill out and do something else. I was tired of playing music for a while and so I started writing songs… I wanted to do something different that was a happier and funner kind of music. So, I came up with the name Discover America and then

moved back to Florida and started recording.

My friend Jake played piano on a song and my friend Adrian played drums on a song but it’s primarily just me. On the next record, I’ll probably just have a drummer play the drums.

How has your experience in twothirtyeight influenced your music in Discover America?

With twothirtyeight I was really ambitious and caught up in doing a band and I got stressed out. I basically got really burnt out and I think with Discover America it’s more about having fun with the people that I’m playing with and having fun with people I come in contact with.

It’s going to be more about relationships and the business side of it will be something that I do, but it won’t be a priority. I just want to enjoy the experience more. But also, just to have fun on stage and not be so heavy about things because when people go to a show they don’t want to be bummed out. A show is supposed to be an escape from your regular life. Twothirtyeight had a lot of bummer songs.

What do you try to accomplish through your music?

Maybe just spread my ideas. I have ideas and perspectives about things that are different than other people. A song is a really good way for a person to see that without actually meeting them or talking to them. I would just want people to be encouraged by my music or make people think.

discoveramericamusic.com

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26 F E AT U R E T T E

INKED IN BLOOD “We were actually conscious on this record to try to be a little more pedestrian with our lyrics [as opposed to those on the EP].” As for the band’s message, “it always revolves around humanity...the way we’re treating each other and responsibility,” notes Trump. “We’re sort of preaching what we want to see more of and not just about what we were seeing a lot at shows.”

Just a few minutes talking with Trump and it’s clear he has high hopes for the hardcore scene. He sees the division that so easily plagues it and has a vision to see that change.

“There’s so many barriers in the scene. We want to be something different, do something different and give a sense of what hardcore could be.”

Guitarist Matt McDonnell and drummer Justin Salinas round out IIB’s lineup. Hooper and McDonnell founded the band half a decade ago and stumbled upon the group’s moniker while watching the movie Army of Darkness.

In a decidedly dark and divided scene, IIB hopes to shed some light on the issues that dog hardcore. “We want to try to be a positive band.”

BY AMY E. HALL Blood, guts and a provocative message can make for an intense theatrical experience. The same could be said for Portland’s hardcore band Inked In Blood. The band approaches the scene with gutsy intelligence. In fact, vocalist Joey Trump’s start with the band required some extraordinary guts.

Prior to his initiation into IIB, Trump heard the quintet’s music and didn’t care for the original frontman’s voice. “I e-mailed the band and told them that they needed a new singer,” he remembers with a bit of a chuckle. In that same bold e-mail, Trump offered his services to the band. Shortly thereafter, bass player Chris Espinoza gave him a call. In the days that ensued, Trump made the transition from a former hardcore drummer (itching to elevate the outfit’s vocal element) to a confident frontman. “It took me a good two years to actually learn how to scream,” he recalls.

IIB’s first full-length album, Lay Waste the Poets, drops in September on Strikefirst Records and promises “melodic hardcore with a little tinge of metal” for fans of Shai Halud and Strongarm, says the singer.

Trump – together with guitarist Blake Hooper, who has a degree in English Studies and a love of literature – takes their platform very seriously. The two shared lyric-writing duty on the group’s first Strikefirst release, an EP entitled Awakening Vesuvius, while Trump penned all but two or three lines on the new record. Although Hooper now focuses more on serving as the unit’s chief music maker, he is still very involved with shaping the message the band conveys.

IIB’s dedication to intelligent, challenging lyrics distinguishes them from the typical, angstridden, underdeveloped lines that threaten the scene. “There’s a lot of things that Inked In Blood is not,” he affirms. “We’re far from being a band that wants to alienate people.”

The men of Inked In Blood have something to say, and the smarts and the guts to say it. Just ask Trump. “Hardcore has the potential to be the most fun and influential genre of music.”

“(He) is really into slam poetry,” Trump explains.

The axeman incorporates spoken word pieces into IIB’s live show. It is the blood brothers’ commitment to the power of words that has taken their lyrics to another level.

inkedinblood.net

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7/29/2005 2:17:59 PM

28 F E AT U R E T T E

DARK NEW DAY Cool. What’s your opinion on Jesus Christ?

What’s my opinion on Jesus Christ?

Yeah.

Uh…that’s a strange way to word it. Um… [The publicist cuts in on the conference call] ”Hey guys, it’s Penny, just checking in on the time...”

Ok, we got a little bit then…?

Penny: “How many more questions do you have, Doug?”

Oh, about two or three...

Penny: “OK.” ...Hundred! No, I’m just kidding.

Penny: (laughs) “Alright, well, do you mind just cutting it down to one, because I have to move on to the next, if that’s alright?”

Sure.

Photo by: Eddie Malluk

When I went to a Chevelle show in Austin, TX recently, I was curious about the opening band, whose raw rock and roll sound has plenty of modern metalcore edge to it, and the t-shirt that frontman Brett Hestla wore (“Jesus loves my tattoos”) was intriguing. So, the following interview was set up.

DV: Tell me about your album. It’s a debut, right?

BH: Yeah, it’s our first record. It’s nobody’s really first record, but this is this band’s first.

Right. What songs stand out to you and why?

‘Brother’ is the first single, so that always kind of holds a special place in your heart and it’s kind of how we’re being introduced to the world.

How was it touring with Chevelle?

Chevelle, man? They’re really nice guys, and they treated us better than they probably should have, but you know, I mean, they made sure we were well taken care of on

the tour. The Chevelle guys had toured with a couple of the members of this band as an opening band for Sevendust and an opening band for a couple of the other bands, so it was cool. It was kinda like a return of a favor and uh…kind of a family getting back together kind of atmosphere. It was really a cool thing, being out with those guys.

So, what do some of your tattoos represent?

Um, I’m kind of a…I like tattoos that kind of represent good versus evil. You know, the epic battle kind of things, but, I have the archangel Michael casting Satan into hell, it’s on the back of my head and kind of around the sides of my head and goes down my back. And then I have a big, shoulder and arm piece of St. Christopher carrying the Christ over the river Jordan. And they’re both old religious paintings so that’s kind of the style of art that I like, you know? And then, my other arm is something I drew myself. My first tattoo, kind of representing the first tour so… That’s all the ink I have at this point.

...Sorry, Doug. Uh…I’ll make that quick. Um…I am a…I’m a…I consider myself a Christian.

I’m not very…I’m not involved in any specific religion but I try to…I mean, I try to live my life by the guidelines of…of Christianity and to be somewhat Christ-like. I think He’s, at the very least, an excellent role model to…to uh…try to live up to, you know? I personally believe he was the Son of God, but even if you don’t, you know, it’s…it’s still a…a nice uh…a nice pattern to mold yourself by.

Cool, I agree. What are your thoughts on the fusion of faith and music and art?

You know what? I think it was a natural progression. I think that Hollywood had kinda steered rock and roll artists away from talking about it and kind of put the hush-hush, because it wasn’t fun and lighthearted and wasn’t geared towards selling uh… products.

But, I think that inevitably, people sing about what they feel and they uh…and they write songs about things that are important to them and, you know, any spiritual person would write songs about things of that nature. You know, we’re not…we’re not a Christian band in any sort of way and I don’t really…I don’t really write songs about my faith, but, I definitely have hints of it you know in…in some of the lyrics. You know, that I…that I’m just a positive person and I’m trying to, uh…trying to represent a positive and, uh… an all together good lifestyle, you know?

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7/28/2005 12:27:28 PM

30 F E AT U R E

JUMPING THROUGH THE SAFETY NET

BY DAN MACINTOSH

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THE CHOIR

The Choir long ago intentionally stepped off the music business treadmill, and rarely records or tours anymore. Nevertheless, it has just blessed us with a “fun fine time” of a CD, titled O How the Mighty Have Fallen, which reveals how – even with such limited activity – this veteran outfit is still in fighting shape.

“We just felt like painting a painting,” lyricist/drummer Steve Hindalong replies, when asked what motivated The Choir to create its new musical portrait. “We’re not driven by anything commercially. One thing about The Choir is that it’s something that we do just for the sake of the music.

There’s no agenda or anything. No A&R guy. No record label. We’re not concerned with how many copies it sells, or anything like that. It’s just for the sake of doing something that we want to do musically.”

“After doing everybody else’s records for years, it feels so good just to go back and write your own music,” vocalist/guitarist Derri Daugherty adds.

(Hindalong and Daugherty spend the most of their studio time producing and engineering other artists’ albums). “The record was so easy. It was, by far, the easiest record we’ve ever done.”

Before its current state of semi-retirement, and prior to its relocation to Nashville, The Choir was one of many ambitious bands fighting it out in Los Angeles. And although it never made a big mark on the mainstream rock charts, it is nevertheless proud of what it accomplished musically.

“I don’t have any regrets, other than the anxiety that was involved and the stress and stuff,” Hindalong says now about those days. “Bands tend to take themselves too seriously,” he continues. “Not very many bands

make it, as far as being commercially successful and making a lot of money. That doesn’t happen for very many bands. The odds are really against that. It doesn’t mean they’re not good. And I feel like we have had an impact. And I feel like our records were heard by a lot of people, and still are. I feel, actually, pretty satisfied. I don’t feel like we were failures in any way. We tried, but I don’t think we had great expectations of being a commercial success, because we certainly didn’t acquiesce and we didn’t compromise. We always were pretty much true to the music we felt like making.”

The lyrics on this latest CD suggest that Hindalong is satisfied both artistically and personally, these days. “I have more peace in my relationships,” Hindalong states. “I’ve been married for twenty-three years. We’re doing okay. My kids are growing up. Things are okay. There’s more contentment (in the music). There’s a little bit more peace, a little less anxiety.”

Such peace is reflected in some of this disc’s more humorous lyrical moments. For instance, the song “Fine Fun Time” includes these lines: “And time will prove what I know is true/Husker Du is the most influential rock ‘n roll group.” And believe it or not, Derri Daugherty once argued this point vehemently with Steve. They’re words, however, he’s since come to regret.

“Derri and I are always arguing about stupid things,” Hindalong begins.

“That was a famous argument. It was on New Year’s Eve. My daughter was five, and his daughter was three. It was eleven years ago, and Derri insisted that, when our kids are sixteen, Husker Du would be sited as the most influential band. But I said, “Not more than The Beatles!” And

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31

he said, “More than The Beatles!” And when it comes to a music argument, he (Derri) just gets irrational and really angry with me. He knows a whole lot more than I do about it. He knows all the facts. But he gets irrational, and says crazy things. “So I didn’t mention it for all these years,” Hindalong continues. “I’d remembered it, though. But now my daughter is sixteen. I even called his daughter and said, “Who’s the most influential band?” And she said, “I don’t know, really. But maybe The Beatles.” And I said, “What about Husker Du?” And she said, “Husker who?” (So) I just put it in the song, and I think it’s hilarious that he has to sing it.”

“I was trying to make the point that, when my daughter and Steve’s oldest daughter get into their twenties, their influences are not going to be The Beatles, or The Beach Boys, or Bob Dylan. For the most part, they are going to be things that have come way later than that,” Daugherty says in his defense. “And because I was into Husker Du at that point, I said, ‘They might like Husker Du or Nirvana. Those would be the bands that they recognize, not The Beatles.’”

“We ended up clearing the room,” Daugherty confesses. “People got so mad at us at the party, that they all left and went over to Steve’s house, who lived next door. So it was basically me and Steve left there arguing.”

Rather than chronicling a now-funny old argument, however, this song has much more to do with the endurance of solid friendships, instead.

Hindalong and Daugherty may disagree about trivial stuff – such as which bands are the greatest of all – but their bond as members of a musical family remains true and strong.

“That is success: maintaining your friendships and your alliances,” Hindalong clarifies. “That’s the hugest success of all…twenty years later to be sitting around the pool at (bassist) Tim Chandler’s house. That’s what the whole “echo of hyenas laughing in the night” (line in the song is about).” It was Steve’s uniquely poetic way of saying, “‘Look at us! Twenty years, and we’re just sitting around the pool on a summer night.’ It’s just great to be friends. The music is completely secondary to the friends.”

Even though this new CD contains undeniably large contentment content, Hindalong’s writing hasn’t gotten all mushy either, which can sometimes happen to artists that are traveling over smoother sections along life’s road.

A few such emotional potholes, if you will, are also exposed through this music. “There’s plenty of calamity, believe me,” Hindalong jokes. “There’s plenty of tragedy, left and right and all around.” “How I Wish I Knew” is about my daughter, when she was fourteen and very depressed,” notes Hindalong, getting serious once again. “And that’s intense. There’s plenty of intensity to be had.”

Although the making of O How the Mighty Have Fallen was, by all accounts, a great experience for this veteran Choir team, its mere existence doesn’t guarantee a follow up anytime soon. “It was a few years before we did this one,” reminds Hindalong. “And I have no idea when, or if, we’ll ever do another one.”

Drat! O how The Choir keeps us guessing!

7/28/2005 3:03:12 PM

32 FEATURE

BY TIM HALLILA

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MORTAL TREASON 33

If Mortal Treason’s newest release proves one thing, it is that change is not a thing to be feared. When singer Seth Kimbrough and guitarist Josh Jarrett found themselves to be the only remaining members of Mortal Treason, after just one album, the future of the band could have been in jeopardy. After hearing the pounding, full throttle, heavy metal assault on the ears that is Mortal Treason’s sophomore effort, Sunrise Over A Sea Of Blood, nothing could be further from the truth. I had the chance to speak with Seth Kimbrough about the new record, his BMX career, and the addition of his wife on keyboards to the Mortal Treason arsenal.

What would you say inspired (the new musical) direction?

Well, since A Call to the Martyrs we got all new members, except for me and Josh. I know me and Josh had talked, we always wanted to go a little more towards the metal side, but still keep the breakdowns and all that. So we just got some different guys in and they were a little more capable of doing what we were wanting to do, and they were more into that.

Your wife plays keyboards in the band now? How’s that been, having her on tour with you? In what ways do you think your relationship’s been stretched or grown?

Oh it’s awesome. It’s really good. I don’t really have to worry about getting back home and stuff. It’s good. I don’t mind being out as long as it takes. As far as our relationship, it’s definitely helped out a lot, just because we get to be together all the time. And I know especially for being married for not too long, being apart isn’t good on a marriage at all. So it’s definitely helped with that.

How do you feel about being a character in a BMX video game? Have you ever played the game yourself?

I don’t know. I just try not to think about it. It’s kinda weird. They actually sent me an X-Box and the game when it first came out. I’ve never been into video games at all. Josh (plays it), our guitar player. But I’m not good at video games at all, so I just stay away from them.

How do you go about balancing the BMX tours with your MortalTreason tours? (laughs) I don’t know…here lately it’s been kinda wild, trying to do that. I really haven’t been able to ride much at all. It’s been something I’ve been taking a day a time, and hoping that I can keep doing both.

So, Mortal Treason usually takes a priority over BMX if it’s a conflict?

Yeah, because there are five other people in the band, and I don’t want to be responsible for them missing out on what they want to do. I don’t think it’s fair for those guys to sit around and wait for me to get done chasing my dream, then we can go after what they want to do.

Do you feel like you’ve been held back as a BMX rider because of that?

I definitely think as far as progressing and everything in it, it’s taken a big toll on it. But it’s sacrifice, that’s

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all part of it…it’s a blessing to able to play in this band, so I think it’s worth sacrificing a little bit. And it just makes me want to work harder when I get on my bike.

What kinds of opportunities have you had to share your faith through your BMX riding?

It’s definitely been very good. I think a lot of times that’s the only thing that keeps me actually doing the competitions and stuff like that. Just being able to hang out with the guys, the other riders, and…just like Jesus did, He didn’t just walk up and point His finger at people and tell them what they need to do.

With His disciples, He fished with them, He got in the boat with them, He ate with the sinners, and hung out with them and shared their lives. That way, they would be able to respect Him and listen to what He had to say…I feel that every day I’m trying to figure out exactly what I’m supposed to do, as far as sharing my beliefs with these kids that have heard it so many times and are tired of hearing it. I just want to figure out and show them a different view of it and let them see that Christ is worth having in their lives.

What kind of lyrical themes do you see that are evident on the new record?

I think on the new (album), I’m hoping that they’re definitely going to make people think a little bit. A few of them, the lyrics are dreams that I had, and stuff like that. A lot of the songs are based on, just the end times, which I strongly believe that we’re living in right now. And most of the lyrics are about that, about spiritual things that go on, and also the physical things that go on.

Could you describe your approach to evangelism on tour, if it’s more of a direct approach, or just kind of letting God work where He will?

First of all, I would definitely like to have more boldness about it. I hope that every day I can gain more boldness, just to stand up to represent Christ more.

Being out on the road I try to talk to kids about Christ as much as possible, but not so much that it would run them off…I think it really depends. Sometimes we’ll have shows that on some songs…people will end up lifting their hands or crying or something.

Then sometimes, we’ll have shows that nobody does that stuff, but then after the show, kids come up and want to talk. It’s kind of different at every show.

Describe how you find yourself worshipping on-stage in the midst of that style, with the brutal breakdowns, and is that something you feel is still possible in that heavy musical context?

Yeah, I think I’m always going to be worshipping God when I’m on stage, because for me that’s the best way that I can come to God and pour everything out…almost like screaming is sometimes…as far as you can possibly go, just pouring it all out, laying it all out right there. And that’s just my way of laying everything before God.

7/28/2005 3:05:18 PM

34 FEATURE

Don’t fear the music AN HM MAGAZINE BLACK METAL PRIMER

By Ed Hellig Christian black metal. The very mention of that phrase sends waves of blasphemous thoughts through the minds of some purists. To the most extreme ones, black metal is not only a mere style of music, but rather a movement rooted and mired in the satanic arts that utilizes music simply as a conduit for hatred and misanthropy. At the very least, they claim black metal has absolutely no business mixing itself with anything remotely divine. So it’s only obvious that a legion of bands claiming to play Christian black metal would be received with, say, less than amicable fanfare.

Any foray into the history of Christian black metal would be fruitless without understanding, first and foremost, how black metal actually came to be. A metallic assault that combines the ferocity

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of death metal with the venomous and sharp precision of thrash and speed metal, black metal has been (for close to thirty years) the most engaging and controversial of all sub-genres in metal.

While the triumvirate of Venom, Bathory, and Celtic Frost, is widely considered to be the genre’s seminal force, bands such as Hellhammer, Mayhem, Darkthrone, and Sarcófago helped solidify black metal’s dark infamy as they merged their occultist imagery with the intensity of blast beats and bone-chilling vocal shrieks. Some of the early albums that helped forge the blueprint of today’s black metal sound include Venom’s eponymous Black Metal (1982) and At War with Satan (1983), Hellhammer’s legendary Apocalyptic Raids (1984), Bathory’s Under the Sign of the Black Mark (1987), Mayhem’s Deathcrush EP (1987) and Sarcófago’s INRI (1987).

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BLACK METAL 35

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The ’90s ushered the so-called ‘second wave’ of black metal. Some of the early protagonists, such as Mayhem were still present. Immortal, Darkthrone, Emperor, and Satyricon joined them in their pursuit of cold musical malevolence. At the turn of the decade, Scandinavia became a hotbed for the genre. The well-publicized church burnings and cemetery desecrations in Norway perpetrated by the Scandinavian renowned ‘Inner Circle’ and the slaying of Mayhem’s Euronymous at the hand of Burzum’s Varg Vikernes served to reinforce the skewed notoriety of the scene. The media blitz surrounding the events increased not only the popularity of black metal, but also the authorities’ concern about its influence on the corruptible Scandinavian (and worldwide) youth.

At the peak of the genre’s popularity, Nuclear Blast Records – under the conspicuous aegis of head honcho Markus Staiger – released the album Hellig Usvart (literally translated as ‘Holy Un-black’) by a band called Horde.

Enshrouded in great mystery, the true identity of the project’s mastermind known only as Anonymous (perhaps a humorous take on the late Euronymous) was never revealed, as Nuclear Blast received a deluge of hate mail and death/bomb threats targeting the label and its owner. With song titles such as ‘Blasphemous Abomination of the Satanic Pentagram’ and ‘Crush the Bloodied Horns of the Goat,’ Horde’s kult status was almost guaranteed. A limited number of copies of the CD were printed and sold out rather quickly, due in part to an ad in Metal Maniacs Magazine by renowned distro Relapse Records. The vitriolic, relentless onslaught contained in the album was palpable, and to some, it has yet to be surpassed. It combined the shrill grimness of Darkthrone and Destroyer 666 with lyrics that proclaimed the annihilation of evil and the glorification of God. It wasn’t until many years later that Anonymous’ identity was revealed to be none other than Jayson Sherlock, drummer for Mortification and Paramaecium.

Frost Like Ashes

Norway’s Antestor became only the second Christian black metal band to ever sign with a secular label, the infamous Cacophonous Records. The band had already released The Defeat of Satan (1991 demo) and Despair (1993 demo) independently, as well as their debut album Martyrium, which was released in the same year as Horde’s one and only album. The Return of the Black Death was unleashed in 1998, but the band soon found itself in a marketing quandary, as Cacophonous (a label that signed and promoted mostly satanic bands) refused to promote the album claiming Antestor never disclosed their religious beliefs to the label. And so, despite critical acclaim, few people were actually able to buy the album when it was first released.

By 1998, the Christian black metal scene was now forging full speed ahead.

With the support of small, independent distro/labels like Little Rose and Fear Dark Records, bands like Finland’s Immortal Souls and Mordecai (Divine Wintertime split CD), Sweden’s Crimson Moonlight (Eternal Emperor), and Indonesia’s Kekal (Beyond the Glimpse of Dreams) all released albums in that year. The scene seemed as invigorated as ever.

Antestor

The dawn of a new millennium saw a continuance to the proliferation of quality bands. Vardøger, Sanctifica, Crimson Moonlight, and Drottnar all became household names. Holland’s Slechtvalk introduced to the scene its own blend of black metal and war/Viking influences, first as a one-man project (with Falconry) and more recently as a 7-piece band (in the 2005 bombastic album At the Dawn of War). Frost Like Ashes, one of the few American bands adhering to the movement, began raising eyebrows with their self-produced Pure as the Blood Covered Snow in 2003. The band features former vocalist Azahel and drummer Adonaijah from kult thrash metal band Possession, and guitarist Sebat from World Funeral and Coven. The band combines the unrelenting speed of death metal with the chaotic, yet beautiful atmosphere of bands like Cradle of Filth and Dimmu Borgir. A new album, entitled Tophet, will confirm Frost Like Ashes as a worthy American representative of the scene.

Ironically, it seems Christian black metal has come full circle in 2005 with the release of Antestor’s The Forsaken. As they searched for a drummer, the band sought the talent of none other than Hellhammer, of Mayhem and Arcturus fame, to be the session drummer for the album. The aggression

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7/28/2005 3:08:05 PM

BLACK METAL 37

Slechtvalk and sheer brutality of that album, as well as the rousing performance by Hellhammer, ratified the recognition the scene has been seeking since the very beginning. Could it be then that Christian black metal has finally achieved a certain amount of maturity, more than ten years after the release of Hellig Usvart? Shamgar, vocalist and guitarist for Slechtvalk, seems to think so. “In my opinion, Hellig Usvart was too provoking and was probably meant as such, but it was also an answer to all the provocations the satanic black metal scene has made over the years. Nowadays, I tend to believe that the mutual respect between the secular and Christian scenes has grown, but there are still some that strongly oppose what we’re doing.”

While it is undeniable that Christian black metal has made an unmistakable impact in the metal world, an underlying question perseveres: what really attracted Christians to a style of metal that had been perceived up until now as purely satanic? A prominent extreme metal media outlet posed the question recently, and added, “is it possible that Christianity has a dark side that incites Christian metalheads to seek black metal as a source of catharsis?” Shamgar opines: “Christianity as we know it has, indeed,

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a dark side. In the past 2000 years, many evil things were done under the name of Christianity.

Over the centuries, mankind, driven by his sinful desires, has only partially been obedient to the Bible. People have added a lot of their own philosophies to it and even implemented other religions into Christianity. I often criticize this development in my lyrics. I believe such things can be a great source for black metal lyrics. The music doesn’t always sound friendly, but neither is the Bible. I don’t see any reason why Christian black metal cannot deal with such dark subjects.

People who have certain problems are often most helped by others who had experienced the same problems, and have conquered them.

One might find his way out of his mess when reading a lyric of someone who has had the same experiences, but found the solution.”

Sebat, guitarist for Frost Like Ashes, has his own opinion on the subject: “Although I am positive we all have a dark side, the Bible refers to it as our sin nature. I think that God is on the move and wants those lost sheep -- the sick and the outcasts -- and is sending some who are willing to go there into the lions’ den. Plus, you have to admit: it’s an exhilarating style of music, full of passion and beauty whether done

by sinners or not. Therefore, it is the style itself that makes it so intriguing.”

Whichever the case may be, one thing is certain: Christian black metal is here to stay, and to the despair of the purists, the scene will grow stronger in talent and numbers. Prolific scenes in Brazil and the rest of the Americas give every indication of that fact. Perhaps the biggest achievement of all is that the Christian black metal scene has survived against all odds, while remaining patently and defiantly ingenious.

Recommended Discography: Drottnar: Anamorphosis [Industrial-laced fast black metal] Evroklidon: Flames of Sodom [mid-paced obscure black metal from the Ukraine] Crimson Moonlight: Veil of Remembrance [hyper-blast grim black/death metal] Holy Blood: Waves are Dancing [Folk-influenced atmospheric black metal] Divine Symphony: Reject Darkness [Symphonic black metal art]

7/28/2005 3:08:46 PM

38 FEATURE

Stryper EXISTENTIALISM BY #’S Things are going well for Stryper again. Even when they fly a transatlantic flight and arrive with no luggage, clothes, wireless unit, drums, intro recordings, and toiletries; they manage to stay focused on the show at hand. “We were literally washing our undies and socks in the sink, man,” laughs frontman and band spokesperson Michael Sweet. In spite of false promises and attempts by the airline, they head to the venue without a change of clothing. Once there, they alert a few fans that they’re in desperate need of a couple CDs for song intros they want to use, and some helpful hands go home and return with ‘em about ten minutes before they go on to “The Battle Hymn of the Republic.”

In addition to these annoyances, the pressure was squarely on their shoulders. They were the headliners at the giant Lorca Rock outdoor metal festival. In this setting especially, it was time to deliver the goods.

“We went on about 12:30am, following Dream Theater and Maiden,” describes Sweet. “They

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had full production, this incredible looking show.

Maiden sounded as good as ever. They had good old Eddie up there waving the British flag, pyro ... just crazy. Great show. We go up there with our little half stacks and street clothes.”

The promoters had warned the Christian metal quartet that half the crowd might leave in droves when they went on. Instead of a mass exodus, though, the scattered crowd of maybe 7,000 in front of the stage, a bunch in the back, in corners and on both sides all came together and enlarged to possibly number 14,000 fully engaged in the show.

“It was unbelievable. The promoter was floored.

He was like, ‘What? I’ve never seen this before.

You’ve gotta be kidding me.’ Everyone was just going on and on about it. Like, ‘What in the world is going on here?’ The only thing we could figure is we’ve never been there before, and there’s a lot of fans. A lot of people that wanted to see the band, and it was our first time there. Maiden plays there 8 to 10 times a year. So, we went on and

we did it and they knew all the words. They were singing along. I ended in a prayer. I had a translator up there and everyone prayed with me. It was a wild time. It was pretty amazing.”

Lorca Rock set list: “We started with ‘Battle Hymn,’ went into ‘Sing Along Song,’ which we used as our sound check.

So we kinda did the old ‘kunka-kunkah,’ ya know, and the keyboard going for a while. Then we went into ‘Makes Me Wanna Sing.’ Break. Went into ‘Free.’ Into ‘More Than A Man.’ Break. Went into ‘Loud ‘N’ Clear,’ into ‘Calling On You.’ Break.

Change guitars. We did ‘In God We Trust,’ new version. Into ‘Live Again’ off the new record. Break.

Then we did ‘Open Your Eyes,’ which is off the new record. And then we did ‘Honestly.’ We asked the crowd if they wanted a ballad and they all started shouting ‘Honestly.’ We were gonna kinda take a chance with that and we wound up doing it. They loved it. They sang along. It was really cool. After ‘Honestly’ we did ‘The Way’ and ‘Soldiers Under Command,’ and then we left the stage. And then ‘Abyss’ and ‘To Hell With The Devil.’

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STRYPER 39

So, how intimidating was it to follow Dream Theater and Iron Maiden?

Not a bit. And I don’t say that in a way (changes voice), ‘Oh, hey! We’re as good as them.’ We don’t think that at all. I mean, they’re amazing bands.

But it wasn’t intimidating at all. We just didn’t even really think about it. We just went out there and did what we were there to do. It’s a whole different thing. I mean, apples and oranges. You can’t compare us to Dream Theater. If we were that type of music and trying to do the progressive metal thing, then maybe it would be a lot more intimidating. But we’re more of a freestyle, just go out and have fun kind of band. A little more a la Van Halen, verses the real progressive thing.

So, how did it feel recording with the guys again?

Tell me specifically about working with Oz on guitars and background vocals…

It feels really good, man. The first time we came together – way, way back for the tour – it was a little odd. A little uncomfortable having to lock into how each other plays and obviously being apart for so long and listening to other types of music and our styles have changed a little bit. We’ve been influenced by other guitar players and music and whatnot, but after the first couple hours of playing, it just kind of… to use the old term, it’s like riding a bike. It felt comfortable and natural and it just came right back. I’m referring to Rob and Tim at that time as well. We all kind of clicked. Same thing now. We come together and rehearse, and the first time through the set is a little shaky and then the second time through it just starts to really lock in and feel like the old days. I guess because we played together for so long for so many years, that’s why it’s that way.

Alright, let’s talk about the new album a little bit.

What songs stand out for you, and why?

Certain songs stood out a year ago, when I first did the record, but now other songs stand out.

Just to explain briefly: I made the record as a solo record back in April of last year. And shopped it around and got some interest and whatnot, and we did the Florida show with Tracy, the new bass player, and it felt so great. It felt like, ‘Wow, this is something new, and God’s really doing something here.’ I came home with the idea and heavy on my heart to go to the guys and say, ‘Hey, how do you feel about making this record a Stryper record and re-recording drums and bass and adding new guitars and all that stuff?’ And they were really excited about it. So, I just wanted everyone to know that first. But back at that time, I was really excited about songs like ‘Reborn’ and ‘Open Your Eyes’ and ‘Passion.’ But now (there’s) other songs that I’m even more excited about. ‘When Did I See You Cry’ has become a favorite of mine. My pastor (David Johnson) actually wrote the words to that. I love the lyrics to that song. It’s got a little bit more of a retro, Zeppelin-y feel to it. I like that about it. I like ‘In God We Trust’ a lot. The new version of that is really growing on me. It feels almost like a new song. I dig ‘Live Again.’ Especially playing it in Spain. It’s really cool live. It’s got kind

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of a Sabbath-y, just a real heavy vibe to it. And the crowd loves it. It’s fun to play. So, those three songs really stand out. I think it’s the best record we could have made and the record we needed to make. We couldn’t be more pleased.

Why did you remake “Amazing Grace” and why did you use the name “10,000 Years?”

I always wanted to cover ‘Amazing Grace’ in a whole new way. Not the standard traditional melody. Because of the new music and completely new arrangement, I felt it was fitting to use a new title, you know? Yet I wanted to use something that was within the lyrics, so ’10,000 Years…’ ‘When we’ve been there 10,000 years...’

It’s almost a hook within the lyric. It’s obviously a very important lyric. I don’t know. It just sounded cool. It worked with the music and the sound of the track. It just kind of worked. ‘Amazing Grace’ doesn’t work as well as ’10,000 Years’ works for a title with that music – the version we did.

Why remake “In God We Trust?” Was there something about the original that always bugged you?

The only thing that bugged me about the original record – the whole record itself – was the production. It was just a little too slick. Too produced, wet, delayed, and reverbed, and all that stuff. The reason why we did that was because we played that version on the 2003 tour, and we weren’t able to add it to the live disc, Seven Weeks: Live

or two steps to a fast-paced run, you know, and sprinted about a mile down the road there. We did the album. We’ve got a tour being booked.

We’re going to be doing roughly about 40, 45 shows. We’re going overseas after the New Year.

We’re going to do Europe and Japan, Australia.

And then come back and if the record is still doing well and deserving of any more touring, we’re going to go out and do it, you know? Keep touring. If the record has kind of done its thing, we’re going to go in the studio and do a new one. But yeah, we’re doing this. Nothing against Tim. Tim’s a great guy. We love him and we’ve been through so much together, and there’s so many memories… So I don’t say this to disrespect Tim at all, but it’s just the truth – Tracy coming in and kind of filling Tim’s shoes has kind of… To some degree it’s done so much for the band and to the band.

You know? Tracy is, at this time, more in line with where we’re going; and Tim was kind of wanting to go somewhere else, or at least that’s what he told us. He’s kind of going in a different direction.

Musically, not really into the real heavy stuff anymore and not really into touring, you know, the way we were talking about possibly touring. You know, that kind of stuff. He’s working with his wife, Irene Kelly, and producing her stuff. It’s really great stuff – just totally different. He wasn’t completely happy. We just kind of got together on the phone one day and said, ‘Hey man, life’s too short. You’ve gotta be happy. You can’t continue

“We all believe that God’s hand is on this and He’s wanting us to go do it.

For whatever reason, He’s wanting us to go out and do this and we’re following His lead and we’re going for it.”

In America. We were really bummed about that, because we dug the song and liked playing it and people really liked it live and everything, and we felt like, ‘Hey, we’ve got to do that sometime.’ We thought of how perfect it would be to add it to the new record. And then Oz and I worked out new solos and added some backup vocals in the end and just kind of prepped it up a little bit. It really turned out good, man. It’s one of my favorite tracks on the record. It’s funny, because so far a lot of people that have heard the record, it seems to be a crowd favorite. It’s just interesting how that works, because that’s a real gamble, I think – re-doing an old song. Especially if it was somewhat popular, and that one was. We always played it live and everyone liked it, but to take a riff like that and re-do something, you run the risk of destroying it and going backwards. I think we actually kind of went forward on it. At least so far that’s the feedback.

Where are we at on the grand scale of the “Stryper: A reunion or not?” question? Last time we were at a “one step at a time / wait and see” place. Now we have a new studio album, a DVD, and a tour planned. Please fill us in on all the official news.

Well, I guess we could say we are definitely officially reunited. And doing it. We went from one

to be unhappy in this situation,’ and he was. So, we parted ways and Tracy came in and took Tim’s place and it just felt like, when we did this Disney World show, it just felt like a new band. I’m sure it wasn’t just because of Tracy coming into the band. It was a big reason why, but there were other things that were taking place and everyone seemed to be maturing and growing and it just felt right, man. I came home, not wanting to admit it, but saying to myself, ‘Oh my gosh! This just might be a very good time to do this. Everything feels really right. It feels like God may be saying, ‘Go.’’ Sure enough, we all believe that. We all believe that God’s hand is on this and He’s wanting us to go do it. For whatever reason, He’s wanting us to go out and do this and we’re following His lead and we’re going for it, you know? It’s a new band, it’s a new day. Things are different. It’s 2005 and we’re excited about what’s to come. We don’t know if we’re going to keep going for 10 or 15 or just a few years. We really don’t know. We’re just at this time willing. Our desire is willingly to follow what God has for us. We honest to goodness don’t know what that is, but we know that it’s something.

INTERVIEW BY DOUG VAN PELT

7/28/2005 3:11:31 PM

40 FEATURE

Blindsided WHAT DOESN’T KILL YOU...

By David Huff On the surface, 2004 was a breakout year for Blindside. The hard rocking quartet was a staple on mainstream rock stations with their smash hit, “All Of Us.” Their album, About A Burning Fire, was solidly entrenched in the Billboard Top 200 for months, selling over 250,000 copies in this country alone. The group also had a wildly successful Summer tour with their close friends, P.O.D. Yet, to hear vocalist Christian Lindskog describe the whirlwind of activities that surrounded the band, you would think the group had been, well, blindsided.

year’s cycle of events that had every member of the band seriously thinking about the future of Blindside.

“Sometimes,” replied the singer matter-of-factly, “the answers to prayers come to you in ways you would never expect. Some very good things did happen to our band in 2004. But on the other hand …”

“No matter who you are, your relationship with Him is always changing.

I really believe God allows us to see success, so you can realize who He is, in the midst of all your triumphs. We all know that He could break this band up tomorrow, just to get to our hearts, because that’s what He really cares about.”

Lindskog pauses and takes a deep breath. He finds himself reliving last

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“Sometimes,” he said softly, “it seems as though God wants to take you to another place where things just seem to go wrong. You have to fight your way through the adversity to see the light. As a band, we’re starting to understand more and more, with each passing day, that God doesn’t care about material things.

7/28/2005 3:12:29 PM

BLINDSIDE 41

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8/1/2005 5:01:05 PM

BLINDSIDE 43

The first indication that God was going to put Blindside through a test of faith occurred shortly after the 2004 release of About A Burning Fire.

The band’s most ardent supporters, P.O.D., had personally asked the Swedish band to open up for them on a three-month Summer tour that also featured Hazen Street and Lacuna Coil.

Thirty minutes into the trip, aboard their brand new tour bus, it crashed. No one was hurt, and the band made it to the first show on time, but the eerie disaster proved an omen for things to come.

During another tour late in the Summer, Blindside lost all their possessions, passports included, in a daring nighttime robbery that occurred while the band was eating in a restaurant. The group had just arrived in Dallas to perform a benefit concert for a close pastor friend. If that wasn’t bad enough, their label, Elektra, announced they were shutting the doors, and transferring their roster over to its sister label, Atlantic. The new home for Blindside didn’t quite roll out the welcome mat for its new tenants. Despite the fact About A Burning Fire was selling thousands of units a week, Atlantic gave the group little to no marketing support to pump up sales. The writing was on the wall for the band, and they read the message loud and clear.

“I want to make this absolutely clear,” stated Lindskog firmly. “It was our choice to leave

Atlantic Records, not the other way around.

We begged them to let us go. Once we were transferred over to them, we knew we had to get out. All the people that believed in our band had been fired. We did not want to be with a record company that couldn’t care less about our future.

“Our management team flew to New York, expecting a long battle to get our release from the contract we signed. To our surprise, Atlantic said, ‘Okay.’ Leaving that label was the best thing that could have ever happened to us.”

Blindside had delivered a blockbuster album to Elektra in 2004. It didn’t matter to the people at Atlantic. That lack of compassion really hit the band hard. If they had not been granted their outright release, Lindskog says the future of the four long-time friends would have been in severe jeopardy.

“I’m not saying it would have happened,” expressed the singer, “but this band was on the verge of calling it quits if the Atlantic thing blew up in our face. Remaining with them would have been a bad scene for Blindside.

“Selling over a quarter million albums was a tremendous achievement for us. Those numbers meant nothing to the executives at Atlantic.

They simply didn’t care about this band. Their

feelings about this band became quite evident to us when they stopped marketing our record once we were shifted over to them. Our album continued to chart in the Top 40, because our fans went out and bought the record. We all felt as a group that there was no way we were going to relive that type of experience with a new record. We had to get away before we slipped completely off their radar screen.”

The move proved fortuitous. Blindside was approached by Derek Shulman, the principle owner of DRT Entertainment. The celebrated industry executive made a name for himself in the early ‘80s when he headed up the A&R division at PolyGram Records. During his stint with the label, Shulman signed Bon Jovi, Tears For Fears, Cinderella, Men Without Hats and Dexy’s Midnight Runners to name a few. He was later lured away by the Warner Music Group, to revive the Atco imprint that had been dormant for years. Shulman further solidified his reputation in the industry by working his magic on the label. Within a couple of years of signing on, he breathed new life into the company behind stalwart acts such as AC/DC and Pantera.

The music industry veteran formed DRT in 2003.

It was specifically tailored to provide sales, promotion, marketing and distribution for former major-label artists with an established fan base and record sales success. The impressive numcont’d on page 51

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7/28/2005 3:14:39 PM

44 F E AT U R E

Project 86 frontman Andrew Schwab takes time out during GMA:2005 to answer a few questions asked by his peers from the band Disciple.

Kevin Young: So you recently came back to your original label, Tooth & Nail? What reservations did you have about that?

Well, initially with Tooth & Nail, we had an introductory deal, and we grew, and that’s the thing…we sort of outgrew the record deal that we were in. And that creates awkwardness along the way. We left and went to Atlantic, and left Atlantic… Then finally, when we were talking to them again, they had reached the point where (they were) a big independent label with backing. (We considered) everything from labels that were just starting up, to majors…and it just made sense. I mean, we had done them before, they knew how to market our band.

And now going into the new record we’re writing, we have a really good setup, probably better than we’ve had on any other label.

Joey: …and the new album?

We’re still in the writing phase. It’s probably like 15 to 18 skeleton-structured songs. And I haven’t written any vocal ideas yet.

Kevin: Vocally, are you going to sing a lot on this album?

You know, I’m just going to see what comes out, but I definitely want to try and experiment with things on this record. It’s important that you keep evolving as a band. Musically, there’s definitely some different stuff on this record, in terms of just the vibe.

Kevin: You just recently wrote a book. What (is it) about?

I wanted to take more autobiographical short stories, some of the more interesting moments in the history of the band. It’s not the whole story of our band. It’s just taking a few isolated experiences and sort of putting them together.

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Brad: Is it hard to write a book? I would love to know how to write a book.

I wouldn’t know where to start.

I guess I’ve always been into it. I’ve always enjoyed writing and language. My degree wasn’t in English. I had a degree in communication, but I’ve always enjoyed (writing). It’s more about putting your head into the mind of a reader. I know what I like, and books that keep my attention, and I know what kind of books I’ve read that are boring.

Kevin:You have a reputation of being more stand-off-ish, or more to yourself. In different ways, do you feel like you can communicate with people more by writing? Is that right?

Yeah, in some cases. I’m not necessarily naturally an extroverted person.

Kevin: Which probably means you’re intelligent...

I hope! I don’t know.

Brad: You sound intelligent. We’re from Knoxville, Tennessee, so I guess anybody sounds intelligent to us.

The funny thing about performing is it’s actually a very introverted activity. People think it’s the mark of an extrovert because you’re performing, but it’s really a very introverted thing, because you’re not really developing relationships…the larger the group, the more shallow the relationship. So you’ll find a lot of artists go into performing cause it is actually a more isolated thing…Like writing is enjoyable to me cause it’s something that I can do. And I know I’m talking to a lot of people, but I can make it sound very personal. It’s one on one communication, but it’s more than that.

Brad:We just released a DVD.Watching that, I come across like I’m the funniest guy in the world, but I’m not. I sometimes just want to be by myself.

7/28/2005 3:18:41 PM

PROJEC T 8 6

And at our shows people come up to me…like I’m going to be funny. Did you find that when you write a book? When they read it now they feel like they can connect with you and they come up to you?

We still have the illusion that art creates, whether it’s writing a book or whether it’s writing songs. When you put something down on paper that people connect with, immediately there’s a perceived relationship there. That’s the difficulty, cause a lot of people think that’s the whole of your being captured in that piece of work, and you can’t really know the whole of a person by their work.

Kevin: Our bands have encountered kids who will pester you for not saying this or that on stage, or not doing something the way they would like.

On the flip-side of that, what are some of the fans that have responded in a positive way that have really encouraged you, or blew you away?

Maybe you guys can concur with this, but early in our career… I mean, it’s very easy to be impatient with a 15 year old or 17 year old who doesn’t understand what you’re trying to communicate, and the further you go, the more patient you become, just from the maturing process. But some of the coolest, most encouraging things along the way… is like if somebody paints a picture for us as a gift. That’s always cool, someone taking time out of their day to make us something.

We’ve gotten letters and stuff, but anytime someone comes up with a specific song, or lyric, or some specific change that occurred in their life because of something that we did…that doesn’t get old. It totally humbles you, and reminds you: “Yeah, this is why we do this.” It’s not just to look cool, or whatever.

Kevin:What attitude changes, or adjustments, or just simply…what’s God been doing with you in the past year?

I think…just learning to be thankful, and hopeful, in all circumstances, especially surrounding a career in music. For my band… it’s so much

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45

a part of my life. It’s so much a reflection of me, at least in certain aspects, and so close to my heart. So the goals that I attach to the band, it becomes, or at least in the past has become sour. And then it becomes more about the goal instead of just the process. I think coming to appreciate the process. And not just being in a band, but in life, it’s really important for someone who is driven, or goal-oriented.

A lot of guys are that way. More goal-oriented. Women appreciate the process. Guys appreciate getting to the goal. And that manifests itself in every part of life. But artistically, when so much emotion is involved in something that you create, when you’re attaching an emotion towards accomplishing a goal, and then those goals don’t pan out the way you want, it makes for a tough situation. So really, coming to a thankful place is such a freeing thing, especially for someone of my personality type.

Kevin: Yeah I was thinking, as you were saying that, sometimes we get goals in our head, but when we do that, sometimes we totally miss how amazing the things that God has done in our lives, just how unbelievable they really are.

Yeah, definitely. I just…having a thankful heart translates into being loving towards people instead of being rigid, or so focused on tasks or details. That makes it not about people. So being more about people, trying to maintain that focus, that helps me in what we do. I mean hopefully…we’re going into the studio…we have a new record out in the fall. Hopefully that freedom will sort of come out on the record.

Brad: That’s the best thing I’ve heard an artist say this week. That helps me a lot.

7/28/2005 3:19:05 PM

46 H I P - H O P F E AT U R E

THE AMBASSADOR

BY BRENTEN GILBERT

HIPHOP IS ALL GROWN UP  BULKED UP IN A SENSE, FILLING OUT ITS ONCEBAGGY OUTFITS. WHAT WAS ONCE SIMPLY A VOICE FOR THE MARGINALIZED CITIZENS OF NEW YORK CITY HAS GROWN INTO A MEGAPHONE THAT DICTATES THE ACTIONS OF AN ENTIRE GENERATION. THE AMBASSADOR, COFOUNDER OF RAP OUTFIT THE CROSS MOVEMENT, HAS WORKED WITHIN THE HIPHOP CULTURE FOR OVER FOURTEEN YEARS, OPENLY SHARING HIS FAITH AND HOPE. HIS VI SION? A GENERATION OF HIPHOPPERS “WHO ARE REDEEMED AND WHO LIVE LIKE IT.”

One of the stumbling blocks in the way of realizing this goal, however, is the predominant notion that hip-hop is beyond help. “People think that every sinful thing that’s done or is pervasive within the hip-hop community is hip-hop,” says The Ambassador. “We have to distinguish between the sin that’s within the culture and the culture itself.”

So what exactly is the hip-hop culture?

“What you’re looking at is a social phenomenon or movement that developed surrounding four original, fundamental modes of expression,” Ambassador explains, “turntablism (doing tricks with the turntables), emceeing (rapping), break dancing, and graffiti.” Those four elements combine to form hip-hop art, which initially was the essence of the culture. “People who enjoyed, rallied around, or were involved in this art formed the hip-hop culture, which now more expansively includes the lifestyle, activities, innovations and language that existed within that community.”

As this culture began to thrive, religious

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themes naturally found their way into the various arts. Seizing the opportunity, the Nation of Islam quickly reached out to the community, validating their self-expression and influencing their beliefs. In the track “Thesis Pieces” from his recent solo album, The Thesis, The Ambassador offers the NOI as an example of effectively engaging the streets and promoting a better culture. However, Christians have a more extensive and difficult message to deliver. “Nobody has a problem with a humanitarian, so if that’s all Christians are supposed to be is humanitarians, we’d never be persecuted,” notes The Ambassador. “It’s when it’s time to really represent the interests of Jesus Christ that all of a sudden our album doesn’t sell as well and people don’t like us as much.” But a down cycle in popularity doesn’t mean that it’s time to tone down the message, as many within the industry choose to do in order to thrive in the mainstream. “I think it’s very strategic when a person stays on top in the mainstream and they’re a Christian,” The Ambassador con-

tinues. “I think what they do is: they cease to give people the hard sayings. That’s why they stay on top.”

“The mainstream,” The Ambassador states, “will always be primarily hostile to God.” Despite this hostility, The Ambassador believes that Christian music does have its seasons in the limelight. “Every now and then,” he notices, “you’ll have someone (like a Joseph or a Moses) who gets embraced because God, in His wisdom, allows someone to blow up in the world’s scheme of things while staying faithful.” Seeking this success, however, is how many get sidetracked.

The key to truly succeeding as a Christian artist lies in perspective. It starts with realizing that God doesn’t measure success by the standards of the world. “Right now,” explains the Ambassador, “the Christian industry is more into who’s selling and who people like than who’s actually being faithful to what God is after in a servant.” This attitude and focus affects what music gets marketed well and played on

7/28/2005 3:21:21 PM

BEATS [hip-hop news by Sphere of Hip Hop dot com]

July 19th marked the drop date of DJ Maj’s 4th Gotee release titled BoogiRoot – the newest member of the ingredient family. Maj recently stated, “People will truly get to know Maj on this album and I believe it follows the natural progression for a DJ/Producer to step into rhyming (DJ Quick, Jay-Z, Tony Touch, J-Live, etc..), and that’s why this record is so timely. It’s my heart best album to date.

Plus it marks the start of a new season for Maj & Maj fans.“ Participating in BoogiRoot are the voices of legendary Brooklyn MC – Special ED, Michael Tait, manChild (Mars ILL), Toby Mac, KJ52, Shonlock, MOC, new Gotee recording artist Liquid Beats, new Gotee recording artist Ayiesha Woods, Gabe Real (Diverse City), LA Symphony and Verbs.

News shorts… Mars ILL recently released their second Gotee release, and third overall after the classic Raw Material debut, Pro Pain on July 19th. (marsill.com) Tru-Life from the Cross Movement crew released his solo project in June, following up earlier solo releases from the CM camp by Phanatik and The Ambassador. (crossmovement.com)

the radio, since program directors are hesitant to change their format and incorporate more hip-hop music. “Well I think that’s a shame,” he continues. “If you can find enough hip-hop that is honoring God – and that’s necessary to counter what’s going on in mainstream hiphop – you should play more of it, even if that’s not helping your ratings.”

A truly redeemed culture places more importance in remaining faithful to Christ’s teaching and becoming more like Him, regardless of the earthly costs. Much like a redeemed person, the culture “progressively relies upon faith in Jesus Christ and the indwelling of the Spirit of God.” The Ambassador remarks, “It’s still those same basic elements, [but] yielded to the requirements and the requests of God.” Unlike “the Kanye’s and the Common’s [who] set the scene and set people’s sight on more than just the typical,” the Ambassador’s message speaks of the Holy Spirit Who changes your lifestyle. “Ambassador is presenting a Jesus Who’s not walking with you but inviting

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you to walk with Him. He’s got an agenda and He’s got a mission and He’s doing something and He says ‘drop your nets,’ as it were, and ‘follow me.’” This is not to say that redeemed hip-hop is reduced to explicitly religious themes. The Ambassador envisions discussing everyday life and emotions in a way that displays humanity “surrendered to God’s rules for humanity.”

The other side of the equation needed for redeeming this culture includes creating a church that supports hip-hop. “Embrace this seeming paradox [of redeemed hip-hop culture],” The Ambassador urges. “Teach them how to make sure that their culture never competes with their Christ. Then, send them into this world that’s hip hop oriented as indigenous missionaries sponsored by the church.” Then, finally, hip-hop “will begin to see the church of Jesus Christ as providing hope and direction in this decaying world.” The Ambassador concludes, “this is a hip-hop with whom [God] will be well pleased.”

2005 looks to be a busy year for members of the Deepspace 5 crew. Listener, Mars ILL, Sivion, Illtripp and Sev Statik all have brand new records out now.

Playdough has a solo on deck for release as well. Look for new music from Sintaxtheterrific as well as Beat Rabbi later this year, both releasing on Illect Recordings. (illect.com) LA Symphony has a new album packed full of those ever-so-fresh LAS beats + rhymes set to release in October on Gotee Records. Look for guest appearances and production from Posdnus (De La Soul), Madlib and Evidence (Dilated Peoples). An EP of new music plus a 12” vinyl single will lead off prior to the record’s October release. (lasymphony.com) Gotta check these releases out… Manafest Epiphany, Othello Elevator Music, Mr Del The Future, Ohmega Watts The Find, Sivion Mood Enhancement, Change Tuesday Mournings, Locke and the Chris Wilson Five Loose Ties, Rob Hodge Born King, The Procussions Up All Night and Cookbook & Uno Mas While They Slept.

Get more hip-hop news and MP3 downloads at www.SphereOfHipHop.com

7/28/2005 3:21:39 PM

48 F E AT U R E

JOHN DAVIS

BY JAMIE LEE RAKE Speaking with John Davis on the telephone, it’s easy to form a visual impression of the erstwhile indie pop champion on the other side of the line. He looks you square in the face. If there is any hesitancy in his eye contact, it’s born of humility over his abudance of good fortune. His earnestly wanting to relate how much of a changed man he is isn’t articulated without humor. Resilliant joy tempers the gravity of the experiences he recounts. If you could see him, there’s as much of a story in his beaming face as there are in the words he speaks.

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7/28/2005 3:23:04 PM

J O H N D AV I S

“I don’t know if it could have been a more drastic about face. It was the last thing I expected,” John Davis says of the Christian conversion experience that has culminated in a change of career from singer of prolific post-punk/power pop band Superdrag to solo singer and collaborator in a new band (more about that later). But back to Davis...

“I was pretty far down the primrose path of being an alcoholic and a hard, cynical kind of person,” Davis explains of his state of inebriation and spiritual callousness before “the Spirit landed on me with both feet. I know what it was.” Now, after the years of dissipation, Davis claims retrospectively, “All along the way, I can see God’s presence there. He said, ‘I’ve been here all along, but you have to choose whether to believe Me or run.’ There was no doubt in my mind that God was dealing with me. It was almost physical, how it felt.”

Maybe because Davis tells of his strong Southern Baptist upbringing, maybe because his own testimony is so matter of fact, there’s no glint of wild-eyed zealotry in what he says. Hearing him say, “I had a crippling drinking problem that ruled every day of my life. God took that away from me in a second,” it’s easy to be happy for Davis and marvel at the power of Who brought him out of his addiction.

Three years later, the first artistic fruits of that turnabout, John Davis, surely ranks as one of the most effervescently sincere portraits of fresh faith committed to digital media. It also doesn’t fit the norm of Superdrag’s usual lyrical approach. “I didn’t want to be euphemistic,” Davis says in explaining this, saying that he was going for a “plainspoken, unvarnished way of presenting the Gospel.” Working against type vis-a-vis his approach with Superdrag songs, with this album, he wanted it made clear that, “this guy’s singing songs about Jesus.” That kind of forthrightness has put some of his handlers in the Christian market in mind of singer-songwriters of such scriptural insight as the late Rich Mullins (whom Davis may resemble a bit) and Keith Green. Like that esteemed company, the music on JD may have hooks for days that his Superdrag constituency would easily take to heart, but...

“It’s way too Gospel for regular rock sensibilities,” Davis perhaps understates, adding conversly, “(but) it doesn’t sound enough like MTV for others.”

No, Viacom’s original music video outlet isn’t playing anything nearly so retro-electric inspired as Davis’s solo debut. His most obvious influences number among the most typical for rockers of any sense of ambition, but he finds fresh ways to interpret late period Beatles, early Band, country-era Byrds, prophetic as anything Dylan and studio whiz Beach Boys.

49

listen to (them). The first couple of songs on John Davis are definitely paying homage to a certain period of his work.”

As was Superdrag’s protein and proflific wont, Davis is already working on another album, and the best guess is that he’s not to be repeating the sounds of his current disc. He says at one point that his ideal listenership is, “people who love the Lord and Guided By Voices.” Davis’ appreciation for post-punk stalwarts GBV goes beyond the musical.

Though he says of the Voices’ leader, “I think Robert Pollard is the best front man in rock and roll,” and marvels at the band’s consistency in their volume of work, Pollard is a friend. When Davis and his wife had their first child several months ago, “he sent us a baby gift.”

Though he foresees another solo project out by year’s end, Davis doesn’t risk a studio tan by just working on those albums. With Sixpence None The Richer alum Matt Slocum and Sam Ashworth (son of some guy named Charlie who changed his last name to Peacock), he has another band. Davis called the enigmatically monikered Astronaut Pushers, “a fully collaborative effort. Way more post-punk. It’s weird music (possessed of) shades of progressive music and SST Records guitar bands, Husker Du, Dinosaur, Jr.” No word on whether he’s as tight with Bob Mould and J. Mascis, too, but it would be no surprise if he were.

Between being a new dad, having a work ethic for solo work that rivals pre-glyph Prince and his participation in the aforementioned trio, doesn’t Davis have enough going on? Not quite, apparently. His touring schedule has included more general market dates than any other kind, though he adds, “I’ll probably do more churches than I have.” Wouldn’t it be nice if churchy radio supported such lovely music as Davis’, too? It hasn’t much happened as of this writing.

“If I have a game plan,” Davis says of cultivating his previous ‘Drag notoriety while building a name among his kin in Christ, “it’s to go both directions at once.” With as much desire to spread Good News as to provide for his family, he says of the road, “I’ll go anywhere and play anywhere.”

Summarily, Davis says, “I just want to keep working and keep speaking the truth as long as God provoides a way to do that.” Creatively as he does that, here’s to the Almighty allowing Davis to do that for a long while to come.

As for the last band mentioned, Davis isn’t alone among Christian musicians in drawing from Brian Wilson’s psychedelic meticulousness. “I go nuts over The Beach Boys,” Davis gleams. “I always feel loved when I

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7/28/2005 3:15:43 PM

Blindside | cont’d from page 43

bers Blindside racked up with About A Burning Fire, again, with little or no marketing support from its label, convinced Shulman to visit the band’s management team in Bartlesville, Oklahoma.

“To be honest with you,” smiled Lindskog, “I was impressed that Derek flew into Tulsa, then drove up to Bartlesville, to meet with our manager, Tim Cook. When we spoke with him, I was impressed with the fact he wasn’t your typical, business-driven record executive. Derek really understood the artistic side of the business.”

Shulman was an accomplished artist in his own right. Along with his brothers Ray and Phil, they formed the progressive rock band Gentle Giant, in 1969. For more than a decade, the British-based outfit toured the world. Though the band wasn’t as flashy as Yes or Emerson, Lake & Palmer, or as sophisticated as Genesis or King Crimson, the Shulmans and Gentle Giant left their mark in the music business nonetheless.

In a precursor of things to come for Shulman, Gentle Giant recorded three albums (that) its American-based label refused to distribute in the States. The reason? The music was deemed ‘un-commercial’ for release.

“When Marcus, Simon and Tomas listened to the songs on Thought, it was hard on them to not pick up their instruments and re-record some parts. As for myself, I didn’t have any problems with the vocals I originally sang. I loved those songs when we made them, and thought the music was the best thing in the world. Then again, I feel that way every time we put out an album.”

Blindside will be releasing their much anticipated debut on DRT, The Great Depression, in early August. Helming the project was an old friend, Lasse Martin, who produced the band’s first recording in 1997.

“Lasse is a very creative person,” commented Lindskog. “Our first album was the first thing he ever worked on as a producer. Since then, he’s been working with the biggest artists in Sweden. His style is very different from what we are used to. This record had more of a workshop experience feel to it, where we experimented a lot with the music.”

Blindside recorded their last two albums in Los Angeles, with a large record company budget to work with. The situation this time was much dif-

havoc HIV and AIDS has caused the people in South Africa is one thing. Actually being among the people who are dying from the virus is another. You can either choose to be numb to the situation or do something about it.

“There is no way a white male from a Western society can understand the devastation AIDS has brought to the black population in South Africa. Once you see it for yourself, it’s impossible to remain unemotional to a person sitting next to you that’s dying.”

In 2004, there were 6.3 million cases of South Africans either diagnosed with HIV, or they had AIDS. That figure was up 700,000 from 2003.

World Vision paid for Lindskog’s excursion to South Africa. Blindside is a big supporter of the international Christian relief organization. In 2004 alone, World Vision assisted 100 million people in 96 countries to help end poverty, fight hunger and transform the lives of people, particularly children, with relief aid and education.

“I had all these numbers in my head,” replied Lindskog, “about how destructive HIV and AIDS was, especially to the people of South Africa.

I felt if I was going to start talking about this

“I felt if I was going to start talking about this on stage, I better witness the chaos with my own eyes.

To this day, I’m hard pressed to put the overall experience into words.”

–Christian Lindskog

“We’re basically in a partnership with them,” admitted the singer. “They are our record label, but it’s on different terms than what you would find with a major. We are using their marketing expertise in the business, and taking on more of the risks. In return, we’re getting more on the profit side. Believe me, this deal is much more beneficial to us than anything we signed with Elektra.”

Earlier this year, Blindside reclaimed the master recordings for their first two Swedish releases and Blindside and A Thought Crushed My Mind from their American distributor, Tooth & Nail.

The band re-released the discs on May 10, with new album artwork and four additional songs.

Lindskog says finding the right tracks to put on the debut was an easy task. Choosing the proper mixture to add onto A Thought Crushed My Mind, however, proved to be quite daunting.

“Finding the right four songs to put on Thought,” recalled the singer, “proved to be harder than we expected. A lot of our fans really love that album, so we had to be careful with the material we added to it. We finally decided to use songs the band had recorded after the release of that album, and before we started working on Silence.

115_blindside.indd 6

ferent. Not only did the band return to Sweden to record The Great Depression, they had less money to work with as well. It didn’t matter.

“The environment in which we create music,” explained the singer, “doesn’t affect us one way or the other. When we get together in a room, something happens to us musically, and it doesn’t matter whether we’re recording in America or Sweden.

“To be totally honest, the four of us never know what we’re going to do when we actually sit down to write. We don’t even know what the album is about until it is halfway finished. That process is what makes this band so interesting.

We never know where the music is going to lead us once we start playing.”

Earlier this year, Lindskog took a pilgrimage that changed his life. His wife Elina, was traveling to South Africa to work in villages affected by the AIDS virus. At the time, she was working on her thesis in cultural geography, and felt strongly about incorporating the AIDS pandemic gripping South Africa, into her paper. ”I really wanted to go with my wife to South Africa,” confessed Lindskog, “to see what was going on. Watching television reports on the

on stage, I better witness the chaos with my own eyes. To this day, I’m hard pressed to put the overall experience into words. I can tell you, however, the lyrics I wrote for The Great Depression were greatly affected by the experience I shared with my wife.”

One song that particularly touched Lindskog is called “Yem Kelr.” It’s about a young boy the singer encountered during his South African travels. While visiting a friend doing missionary work, the singer witnessed a touching encounter he just couldn’t shake loose from his memory.

“Elina and I have a friend named Charlie,” he said, “and he’s been working with AIDS victims in South Africa for two years. He had been taking care of this one particular orphan for a long time. Both his parents had died of the virus.

“Charlie was getting ready to go back to Long Beach for a couple of months. As he was leaving, the two started hugging, and the little kid started crying. Charlie started crying too. As I watched this drama unfold, I kept saying to myself, ‘These two aren’t going to see each other for several weeks. This kid could be dead before Charlie gets back.’

7/28/2005 3:16:02 PM

Blindside | cont’d

“Writing that song was a way for me to deal with the unbelievable horrors I saw on a daily basis.

It’s also the heaviest song on the record. The lyrics are about the frustration, aggravation, and the anger you feel when you encounter a situation you’re powerless to do anything about.”

For her record, Elina Lindskog received an “A” on her thesis and received her master’s degree.

For his record, Christian Lindskog discovered several themes to write about for the group’s upcoming album.

“There’s a part of The Great Depression,” revealed the vocalist, “that focuses on the causes people fight for when they’re growing up. There is a part of the record that focuses in on the great sadness our society feels, although no one can explain where that feeling is coming from. Nothing is wrong, nothing is right, but since we’re supposed to be free, why are we feeling sadness?

“The Western world is dealing with a lot of young people committing suicide. South Africa is dealing with a lot of young people contracting AIDS, never living long enough to see adulthood. The similarities and the contrast between the two are so striking, it led me to do some real soul searching as I wrote the lyrics for this album.”

Lindskog says the most striking moment of the recording process occurred at a very unexpected time. His band mates had finished record-

115_blindside.indd 7

ing the music for the very last song on the disc.

Lindskog needed to write the lyrics. Listening to the music alone in the studio, the singer found himself caught up in a surreal moment that literally floored him. In the blink of an eye, Christian Lindskog was curled up in a ball on the floor, crying.

“I had gone to the studio late at night,” revealed the songwriter, “to do some scat vocals on the last song the guys had composed for the album. I didn’t have any words written down, and I was just listening to the music looking for some inspiration. All the sudden, it was like God just walked through the studio doors and took hold of me. The next thing I know, I was on the ground, bawling my eyes out.

“There was this one phrase I kept repeating over and over to myself as I lay there. ‘I’m not forgotten. I’m not forgotten.’ Those words released a flood of emotions in me that had been building up for a long time. As a believer, you know God loves everyone. But, when you know in your heart that you’re not forgotten, it really means something.

“If you are comfortable with your faith, and can roll with the punches that life deals you, it’s going to affect you beyond music. Without a doubt, that realization was the pinnacle of the album for me.”

7/28/2005 3:16:48 PM

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8/2/2005 8:47:39 AM

FEATURE 57

What The Locust Says THIS IS ONE CRAZY BAND. MY FIRST EXPERIENCE WAS GOING TO ONE OF THEIR SHOWS WITHOUT HAVING HEARD A SINGLE SONG PRIOR. I LOVED THE ENERGY AND SHORT FIERY BURSTS OF EXTREME METALLIC AGGRESSIVENESS. MIXING ELECTRONIC BLIPS WITH BLAST BEATS AND 200 MPH RIFFAGE IN SONGS THAT SOMETIMES CLOCKED IN AT UNDER 30 SECONDS WAS AMAZING. AND YOU CAN’T HELP BUT NOT LOVE THE IRREVERENT RIDICULOUSNESS OF THEIR COSTUMES. IT’S NO SHOCK THAT THEY HAVE QUITE A LOYAL FOLLOWING. WHILE ON THE ROAD WITH FANTOMAS, EDITOR DVP WAS ABLE TO CATCH UP WITH BASSIST JUSTIN PEARSON AND DRUMMER GABE SERBIAN ON MONDAY, APRIL 4TH FOR THE FOLLOWING INTERVIEW IN THE BACK OUTDOORS-SIDE OF AN EMO’S CLUB THAT WOULD SOON BE PACKED FOR A SOLD-OUT SHOW.

JP: Do you think this (location) will be okay?

DV: Well, why don’t you hold the tape recorder.

JP: Microphone is right here? Okay.

So, if there is one, what is the formula for songwriting or writing songs for Locust?

JP: I don’t think there is one. There are things that are, like, reminiscent of other songs or the way we write, but not like a formula for a song. It’s really weird. We just wrote a new EP as one long ten-minute song. Obviously, different than anything we’ve ever done. I think we’re always trying to reinvent what we’re doing or kind of evolve, so it will always, like, cancel out any kind of formula. There’s subtle similarities or ways we do things, but it all… When we come to the table with riffs, it always gets brutalized by everyone else and becomes something else. Even the way we present it is altered, I guess. I don’t think there is one (formula).

[Drummer Gabe Serbian strolls up with a big grin on his face.]

Would you like to join in?

GS: Sure, why not?

Well, you guys have got a devoted fanbase that totally loves and gets what you guys do. When you fi rst started out, tell me about the apprehension if there was any about the audience getting it at all.

GS: When we first started out, I don’t know. I don’t think there was much people being afraid of getting it. Do you mean, like, ‘getting’ it,’ like getting hurt or something? Or understanding it?

Like you as a band, like your fi rst few shows… Was there a concern that your audience would understand what you were doing and appreciate it?

115_the_locust_says.indd 1

GS: Our first few shows were smaller and we were different musically. A different lineup and stuff, so it wasn’t that big of a deal. Also, we had members from other bands. It just happened. We were playing with bands, Man is a Bastard and stuff.

And bands that were kind of, like, obscure for that genre and that era, I guess.

So it was never an issue.

JP: Recently, in the last couple of years we would do tours with the Yeah, Yeah, Yeahs and Andrew W.K. and the audience of people at those shows were the people that weren’t getting it – if you want to say ‘get it.’ I mean, they did get it, but it took ‘em a little while. I’m not really sure what the effect was. It was always kind of a mismatch of people that already knew what we were doing, people that had no clue what we were doing, people that were just pissed off. It was like a bunch of weird effects on the audience – from the audience. A variety...

GS: Pretty entertaining for us, actually. I thought it was kind of cool.

JP: People watching.

What do you guys think of Jesus Christ?

JP: (long pause) As a man? I didn’t know him. As a concept? I don’t know. I think they could have based the calendar that we use on maybe a different person in my opinion. It doesn’t really bother me. Whatever.

GS: I think he probably is a hopeful focal point for some that possibly need that in their life. Not that it’s right or wrong. I mean, there’s many other focal points that could be used, whatever. Different religions and philosophies – that serve the same purpose. It’s kind of interesting, actually, because there’s this part of the brain that’s been identified as the ‘God part’ of the brain, by this guy, Dr. Roman Shadrin. It’s really crazy, because this part of the brain becomes super active when there’s a really particular point of epilepsy when they have seizures. They all of a sudden become super extremely religious or spiritual, but not necessarily one particular religion. It’s kind of interesting, because it leads me to believe that it’s like a necessity to have this thing in the brain, where it’s a be-all-end-all explana-

7/28/2005 3:26:22 PM

58 FEATURE tion of the universe or whatever; so, I think that’s possibly that’s what everyone kind of utilizes.

It’s pretty interesting stuff, huh?

JP: (kind of a muffled giggle) What about you?

What about me?

JP: Uh-hmm.

Well, I, uh… I happen to believe and think that His claims to be… Like, He came into a Jewish context and basically said, “I am God.” Because, like, “Before Abraham was born, I Am,” and He said some things that the religious leaders in that context knew exactly what He was saying. He was making himself out to be God. And, uh, I believe that He is. Because if He was lying, He’s not a good teacher. Everybody calls Him a good teacher, but if He’s a liar, He’s not a good teacher – at least in my opinion. Or He could be a lunatic, because somebody who thinks he’s God – like people that are in mental hospitals down the street…

JP: (kind of giggles) Yeah…

Or that His claims were true. And, uh, my own personal belief – just looking at the things He said, the miracles seem to have validated what He was saying.

He had some sort of powers that didn’t come from natural human beings. (Gabe’s cell phone rings) So, I see Him as more than a fart noise on a cell phone...

JP: (laughs) Which is great. You know, if He was to walk up to me, I think my initial response would be to wash His feet with my tears. I’m just grateful for the beautiful story that He was the central character of, like you mentioned. I think that He’s my Redeemer – the One Who forgave my sins, so I look to Him as Someone I’m grateful to and in love with. A man that I completely admire and love and respect. In a nutshell, that’s kind of what I think.

GS: Have you ever heard that maybe he was a time traveler from the future, or an alien from a different planet?

I’ve heard some interesting concepts about Christ…

GS: I mean, it was 2,000 years ago. So, it’s hard to say one way or another. I mean…

JP: Also, like all the miracles that you speak of and stuff.

Nothing’s been… We don’t have any proof. It’s just heresay. It’s like reading a message board on the internet or something, you know? How do we really know it really happened? We weren’t there. We don’t know anyone that was there.

GS: Well, maybe. Who knows? Some time travelers, I guess, could come and go. You know, I kind of think that it might be time travelers. I was giving it some thought the other day, and if time travel could be possible, which actually the leading physicists are saying it’s not that farfetched of a concept at all… then you could see maybe throughout history, before this guy – this whole evolution of religions coming out… There were plenty of beliefs before him, like thousands of years before him. Depending on how old you think the planet is, but… In any case, there were religions before. The thing was, there was lots of these sacrifices; and humans had to sacrifice to these multiple gods. I’m sure you’ve heard about it. Hindu religions… All these religions, they would kill each other. And it sucks, because they were destroying the population, sacrificing to these gods – whether they were real or not, who knows – so

115_the_locust_says.indd 2

they could have wiped out… We could’ve wiped ourselves out as human beings. So, someone from the future would be like, ‘Huh. Let’s not kill ourselves. Let’s go back, put in this guy who would die for everyone’s sins; so no one has to die anymore. No more sacrifices.’ If that’s true, they did a good job, cuz not that many religions kill anymore.

JP: I don’t know about that, man. People kill in the name of religion all the time.

GS: (bleep) That’s totally right.

They had a different god than you do. They didn’t have a Christian god like you did. They had a much different god, and that’s all they had at that point. They were robbed of everything by Christians. They had nothing. They really had nothing. So I think that the Civil Rights Movement was driven by, in a spiritual sense... But I don’t think it was driven in the sense of, like… I don’t know, let’s say Mel Gibson’s Passion of the Christ thing. I think it was from a different angle.

“I don’t want to talk about our new release or anything. That’s boring.

This is more important.”

One good thing you could say about Christianity, though, is that most of the world has been culturalized by Christianity in a sense – westernized – in that peace and gentleness and pacifi sm is fairly predominant. I mean, you could nitpick about wars about people murdering in the name of God, but that religion has infl uenced the world in a dramatic way.

It’s not the only one that has, but…

JP: What about issues of misogyny and homophobia, sexism… You can throw in racism. What about that? That’s all a very prominent part of Christianity. And just all the contradictions, like people’s sexuality? It just goes on and on and on. Even now, with the Pope dying and how they’re against contraceptives… What about, like… “Well, screw gay people, because they’re bad anyhow,” in Christianity’s eyes in general. But there’s heterosexual people dying from HIV and they’re not supposed to use contraceptives, so it’s like… There’s all these, like, contradictions and… I don’t know. Issues that aren’t very peaceful – that I think are very important issues that aren’t ever tackled.

Those are important issues, for sure. Do you see people tackling them at all from any angle? Like the treatment of homosexuals or the treatment of diff erent races?

JP: Within that tradition?

Within anything. I mean, if Christianity is (bleep) and doesn’t have any solutions, do you see solutions coming from anywhere?

JP: Yeah. Not from, like, a specifically Christian organization or something, but yeah, it’s coming from different groups of human beings. Not claiming… Not doing it under the name of Christianity, but doing it under the name of whatever. Take a pick. Anti-racist Action or whoever…

N.O.W. Any organization that’s fighting for equality of any kind of injustices that are happening, I guess, in the world.

So, yeah. They don’t go under the name of Christianity.

They go under the name of the political agenda, I suppose.

I don’t really know. I wouldn’t relate it to… I’m sure some of them are Christians, you know, but it’s not a “Christian thing.”

Wouldn’t you say that the Civil Rights Movement was largely due in part to church’s infl uence in America?

JP: Look at the time, though. I mean, look at Dr. Martin Luther King. That makes sense. It totally makes sense, but I don’t think it was a Christian movement. I think it was more of like… It was beyond that. At that time, you have to look at, like, slavery and what did those people have?

GS: It’s interesting that you bring up Civil Rights, because it seems that, like, homosexuals don’t have their civil rights right now. And it’s like…I think, a big problem – people just not being accepted. It’s a complete modern-day Civil Rights.

It’s just like the cycles of history. The next cycle is like homosexuals. I don’t see many Christians or Catholics helping that cause. As a matter of fact, they make it really hard.

JP: (chuckles) Is there no diff erence between race and homosexuality?

JP: Sure, there’s differences; but there’s also similarities as well.

GS: The classification. Classifying someone is judging them, basically.

GS: There’s homosexuality in the Bible. Different people are alluding to all kinds of so-called wrong actions – I guess sexual actions happening. It’s part of human nature. Yeah, I don’t know. I don’t see Christians stepping up to the plate to help out, really, for the most part.

Can you specify any contradictions in Christianity?

You mentioned there being a bunch of them. Can you name one?

GS: Well, for one, the general idea of life is pro-life, right?

But many people are pro-death penalty, yet pro-life at the same time. That’s a contradiction.

JP: Abortion is a whole other issue on its own. What about…

I mean, it does happen – rape and incest. Okay, should those women be forced to give birth to their father’s baby? Or some, whoever – a rapist’s baby? In a sense, they would be. I think that is a little bit hypocritical – forcing someone to do that in their lifetime. It’s an issue that’s decided by men in general. So, that’s a contradiction in itself right there.

GS: Just killing in general, actually. “Thou shalt not kill,” is one of the Ten Commandments, yet many Christians have killed in the name of God. JP: The U.S. Government. I mean, every step that this government has taken in Gulf War number One, Gulf War Number Two… It’s all under the blanket of, “We’re doing this for God,” and, “We’re going to get rid of the evil doers.” I’m pretty sure that George W. Bush is the evil-doer.

We can go ahead and classify him as the anti-Christ as far as I’m concerned. The guy is racking them up. It’s full … under the name of God and Christianity.

It’s kind of funny to have an interview turn into a debate.

JP: (laughs) That’s good, though. I don’t want to talk about our new release or anything. That’s boring. This is more important.

7/28/2005 3:26:40 PM

WHAT THE LOCUST SAYS 59 Well, let’s talk about abortion for a second. I definitely have my heart strings tugged when you talk about the victim of rape or whatever. But what about the argument about, “Is it a life?” If that baby’s alive, do we kill it because the father was a rapist?

JP: I don’t think it’s a life when it’s still in the womb. I don’t see it.

It comes down to where you defi ne life?

JP: Yeah. Where do you define that? I’m not sure. First semester, trimester, whatever. I don’t know. That’s a whole other interview.

GS: That is a legitimate debatable question. But saying it outright – banning abortion completely – I think is wrong.

First of all, it’s not realistic; because it won’t stop. Second of all, it’s just… How far are you gonna go? Are you gonna go that masturbation is illegal, too? Many sperm are getting flushed down the toilet…

JP: Also, the whole thing with abortion: you have to take class systems into play as well. Because if you look at people like a single mother whose father left or whatever, and she’s forced to raise this child on her own… I mean, yeah, you could say, “Give it up for adoption,” but that could be emotional… Sure, there’s emotional stuff you can go through from having an abortion, but also like knowing that you have a child in this world that you couldn’t take care of because of circumstances that were out of your control. There’s a lot of different angles to take this from. It’s sad and it’s complicated – just like any other issue we could argue about.

GS: It seems that, if there was a thing called a soul and it was there since the millisecond that the sperm entered in and touches the egg, and it got aborted, then it seems that this nice wonderful God would just place it into a different one.

Maybe that’s the case.

JP: We’re not going to find out until the aliens come down and give us the answers, I guess. (laughs) GS: One thing I find interesting about Christianity in general, though… I was actually brought up in the church as an altar boy even and did the whole thing up until the point that I was supposed to get confirmed. And I was just not going to go away for a weekend. That’s when my mom had to face the truth. The thing I noticed, though, is that – even to this day – you being an exception, the most people who are Christian or Catholic seem to be a lot more dick-ish, kind of (bleep). I don’t want to offend you or anything. But I have an idea behind that. From being brought up in that lifestyle, there’s this whole process of getting forgiven. “You can do anything you want, and you just say you’re sorry. Then it’s cool.” But since…and even for myself…completely abandoning that as a social structure or way to live my life or whatever – when I was six or seven or eight years old when I decided I wasn’t really into it. It seems that people who don’t have this forgiveness thing / concept that’s gonna happen, they seem to be more responsible about their actions, because they know: If they (bleep) something up, they’re going to get in trouble. You can’t go and, like, beat someone up and go, ‘Oh, I’m sorry!’

And then it’s like, ‘Oh, God still loves you.’ No, it’s like, if you beat someone up, you’re screwed. You’re gonna go to jail. The other guys are going to come and probably beat you up now. You can’t just say, ‘Sorry’ sometimes. Anyway, it’s something I’ve noticed.

JP: It is interesting. My uncle molested my cousin and went to jail and got the (bleep) kicked out of him, but found God and my whole family thinks it’s fine. I’m like, “Dude! He (bleep) up his daughter’s life.” Now she’s on drugs. She’s got two kids. Whatever. Maybe… You don’t know the chain of events that could lead to those issues, but anyhow: he didn’t add to her childhood and her up-

115_the_locust_says.indd 3

bringing to be molested by her father. But he found God and it’s all good now? And everyone’s honky-dorey and it’s fine. Our family’s great. I guess. That’s what they say.

I think it’s (bleep).

GS: Well, if that keeps him from doing something like that again, then that…

JP: No, I would say, if it works for him now; better that then never having nothing that works for him ever …

Well, he was molested when he was a kid, too. By a male, too, who was a devout Catholic, I guess. Yeah, it’s a weird thing.

I think, if every person’s valuable, then you’ve got to treat the person who’s a total dick with dignity at some point. It’s like, in the case like that, do you act like everything’s honky-dorey and ignore the victim?

Ignore the pain in that person’s life? Or do you try to have a balanced approach and treat this person...

Like, “Okay, you’ve reformed. That’s great.” Do you make this person, you know, try to live out of guilt the rest of his life? Or at some point is there some point of resolution? And do you ever ignore somebody who’s going through pain or been mistreated?

JP: I don’t know. Also, like, you know. Everyone justified him molesting his daughter, because he was molested when he was younger as well. And that’s like, well…which is a very valid point to bring up. I mean, psychologically that must’ve effected him – to make that next decision later in life. I don’t know where you would draw the line. I don’t know. That’s an interesting point.

One thing that’s interesting about all the gay friends that I have… I can’t think of a single one that wasn’t molested or somehow abused at an early age. It seems like a pattern.

JP: So, you think that would, like, make them homosexual?

Well, I think it’s a valid point that every single one of my gay friends and people that I’ve talked to have that in common.

JP: Can you count your gay friends on one hand?

No. JP: Um. I don’t know. That’s interesting that your gay friends have all had that issue.

It sucks.

JP: It does, yeah. I agree, but I have tons of friends. I have male friends that were molested that are straight. And gay friends that were not molested that are very gay. You know, it’s like…

GS: Almost half of my friends that are girls have been molested. That’s insane.

JP: Way too many of my female friends have been raped.

And they didn’t become lesbians. It’s just (bleep) up. That’s an act of heterosexual violent sex. That’s another issue, too.

That is a whole other issue, too.

There’s nothing sexy about it at all.

GS: Yeah, there’s nothing sexual about it at all.

JP: As far as that correlation, I don’t really subscribe to it. I have way too many gay friends and I know way too many people in the gay community that weren’t molested that are just gay as hell; because they’re gay. You know, it’s just how it is. I think it’s great. (laughs) That’s interesting. I’ve actually, honestly never heard that.

JP: Really?

I believe you, because… I mean, I don’t think statistics would be that way, but… (long pause… some silent interruption) Well, in a practical sense: How do you guys play so stinkin’ fast?

JP: How? Practice, I guess.

GS: We could always be faster.

JP: There’s always room for evolution. Full circle there (chuckles).

Okay, why do you think mankind needs art? How does art and music benefit us?

GS: I personally think that…I hate to use this word again, but the collective consciousness and collective unconsciousness, for that matter, are in a state of evolution constantly.

It’s constantly evolving to a greater point, maybe someday, where humans won’t have to kill anybody anymore – including other creatures, non-humans. And, let’s see… The thing to me, the role of music and art in general is to help this evolution along. A lot of times art and music are ahead of their time. It’s almost like picking up on things before they’ve occurred. Kind of like in the surrealist movement, there was things that completely correlated to string theory and leading theories in physics that weren’t really able to be verbalized at the time, yet there was some sort of awareness there. That somehow artists tapped into. It’s really kind of a weird phenomenon that occurs. It’s almost predicting and helping the future become. Like feeling an early ripple of the future, or something.

JP: It’s like what Dizzie Gillespie said, “The artists are effected by the society that they live in; but it’s up to the artists to set people straight and speak out about the changes that need to be made,” so I think that that, in a sense, makes music and all other art forms, you know, the most effective forms of communication. It’s delivered better.

There’s a platform where it’s easy to digest. It seems like it’s the most effective form of communication, I guess. That’s my opinion.

What are two or three bands would you like to tour or play with the most?

GS: Well, we’re on tour with one of them right now: Fantomas.

JP: I’d like to tour someday with The Residents. That’d be nice.

What are two or three bands you would hate to play with or tour with? And why?

GS: It’s hard to justify doing any tour to find something either funny or challenging about it. I didn’t think I was going to enjoy the Andrew W.K. tour, to be honest with you. But it was interesting, to say the least.

JP: Yeah. That guy’s awesome, but some of his fans are seeking the lowest common denominator, and it was really weird trying to perform for that mindset. The guy’s great, but playing every night and hearing a Kit Kat commercial is kind of rough. It’s somewhat defeating. But there’s tons of bands I would hate. Any of the, like, Atreyu kind of bands. Oh, dude. (bleep) I would not do that. I could entertain touring with, like, I don’t know, a lot of crap, but those (bleep) bands I could not handle.

GS: Yeah, I’d have to agree with that.

JP: I don’t know all the names, but Atreyu is the worst, man. It’s the worst (bleep) ever. So, yeah. (laughs)

7/28/2005 3:27:25 PM

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8/5/2005 10:12:37 AM

I N T E R M I S S I O N 61

KP WESTMORELAND

ByTim Hallila & Doug Van Pelt K.P. Westmoreland is not your typical missionary. His heart for sharing the message of salvation is the same. But in his case, television cameras are sometimes brought along for the ride – a cross-country motorcycle ride that is. His reality show/ministry, Rev’d, has already filmed a pilot, and is being looked at by multiple networks. It might all take place under the watchful eye of the camera, but Westmoreland certainly has no script, simply sparking conversation with whoever may cross his path and letting the Spirit do the rest. “It’s time that the reality of being a follower of Jesus Christ is shown. And the only way you can do that is by reality, a real reality type of program.”

But how real can this type of evangel-tainment be, when the editing process means the uninterested can be sifted out, leaving only the responsive conversationalists for our viewing pleasure? Is this approach altogether too calculated to really make a difference? Westmoreland clarifies: “They’re just real people. Some of them Christians, some not. If we run up to someone at a diner, or at a gas station, or along the road, we’re not going to screen them: ‘Are you a believer? What’s your belief system?’ They may answer the way a typical Christian would, or they may not be buying it.

You know: ‘I think it’s a load of crap.’ Christians trying to evangelize, sometimes they say stuff like that. We don’t want to come up with the cute little packaged deal…and not necessarily even say we always get it right.

What believer always gets it right? I think a lot of times that’s the way the church is portrayed, and then in real life the believer doesn’t always get it right, then the non-believer has this excuse. We’re not always going to get it right. And so, I just want to show the reality of it.”

So why the motorcycle? “Well the chopper‘s just… it‘s a tool, you know. I have one, God supernaturally gave us one and…had it custom built to our specs, but it’s just a cool means of transportation. I know it grabs people’s attention. It’s parked out there and everybody that walks by looks at it.

Well, then, why not travel on the back of that? It’s a nice little hook for a TV show. There’s a lot of TV shows now that build some really cool bikes, but there’s only one that shows them riding any kind of distance. You don’t build a bike and then sit there and stare at it. You ride it, or don’t build it at all. So it’s just a hook, and all I can be is me, and let the world see it.”

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The cameras may be pointed at him, but Westmoreland’s focus seems to remain right where it should be. “…the Holy Spirit’s the One that’s going to give you the words. It’s all God, not us. We’re just doing what He tells us to do. It’s God who does the miraculous change in a person’s heart.

He changed me… and it wasn’t because some guy said the right answer.

Cause we don’t, and I think sometimes the church tries to have all the answers. You know, there’s a lot of stuff I don’t know and won’t know till I get there, and for me to sit there and try to come up with an answer, that’s just going to make it worse. It’d be better for me to just go, ‘You know what dude? I don’t know. If the Bible doesn’t spell it out then I really can’t tell you. I’m not sure.’ There’re a lot of things the church pickets. We’ll draw up a sign and march on the sidewalk. Jesus probably would have just loved the people. It’s one thing to say, ‘Hey, abortion’s wrong,’ or picket a bar, or homosexual parades or something. Hey, I know it’s a sin. I know it’s wrong, but you know what? Jesus loved the people. He didn’t love the sin, but He loved the people, and that’s what drew people to Him. But so often, we don’t do that. We want to let our voice be heard: ‘It’s wrong!

It’s wrong! It’s wrong!’…draw up another posterboard and march down the street. That’s not drawing anyone to Christ. That just makes people defensive and ticked off. I want people to come to Jesus more than I want to have my opinion heard. And with a TV show, a ministry, or a speaking engagement, ultimately, it’s not that they remember me. It’s ‘Are they contemplating this Jesus thing?’ …Is this person across this table leaving here thinking, ‘What is it about this Jesus character?’ That’s all I want to do. I think that’s what’s going to change the world. Live your life trying to follow Jesus Christ and allow the world to see it. Allow them to see the messed up, and the fact that you keep getting up and dusting yourself off, keep going. Let them see the miraculous answer to prayer, the times when prayer didn’t turn out the way I wanted, but I’m still trusting God, still following. That’s all I want to do, and that’s not a lofty goal or anything. I was reading in Ephesians, where it says God seated Jesus at His right hand, far above all rule, authority, dominion and power. And then it says God seated us with Christ. And often, we think we’re down here, and everything has power over us, the enemy has power, look what the devil’s doing, and this and that. When, as a believer, I’ve been seated with Christ. That means I’m far above all that stuff, too; so what do I have to worry about? I’m in this world, but not of it. And while I’m here I’m going to take this faith and hit the streets and try to change the world. I think that’s what God put us here to do. So we keep on going.” Ride on, brother!

7/28/2005 3:37:16 PM

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8/1/2005 10:48:57 AM

ALBUM REVIEWS

63

Album reviews

63 ALBUMS 68 ENTERTAINMENT 69 BOOKS & GEAR

MXPX PANIC

Rating system 05 04 03 02 01

115 album reviews.indd 1

CLASSIC FABULOUS SOLID SUSPECT AMISS

In front of MxPx is a barrel, and they’re staring straight down it: the prospect of getting older. Every record since their breakout Life in General—yes, the one with “Chick Magnet” on it—is like walking up a slippery slope, not getting them anywhere.

It seems that being an old punk isn’t hip, doesn’t make sense to a good portion of the public, and MxPx is approaching that threshold where they’ll either make or break themselves with each record they put out. Classic fans can only listen to the same record so many times; prospective new fans that haven’t fallen for the band yet look for a more grown-up—or maybe just a different—sound.

MxPx, on the other hand, has since put out Panic, and it should be chalked up as another step forward on a plateau, rather than what should be happening: an attempt to climb up the mountain.

Older fans will enjoy it; newer ones—unless a solid single, which some songs on here are capable of, launches them into stardom—might toss it aside.

MxPx needs urgency in their development as a band, a push for a better record, rather than rest on its laurels and put out Life in General again.

Panic has a mild sense of urgency, and it’s not entirely fair to call it the same record as one they’ve already put out. It has a feel like it’s got a bone to pick with someone or something—maybe even themselves. “Get Me Out” is the closest they’ve come to old-school punk (one that borders on oldschool hard-core), a more solid throwback to their original days of 1994’s Pokinatcha. “The Darkest Places,” the opening track, is unfortunately one of the best on the CD; I spent the rest of the album hoping one would be better than it. Mark Hoppus of Blink-182 fame even lends a hand in co-writing the slowest track on the record, “Wrecking Hotel Rooms,” lending his voice to some background vocals as well. It helps resuscitate the record a bit, but hasn’t quite pulled it out of the water the band’s been doggie-paddling in. And though the lyrical content is more mature and political in nature, the lyrics are hardly poetic (“You’re an emotional anarchist,” vocalist Mike Herrera sings. “You’re pissed like you’ve never been kissed.”). ¨

7/28/2005 3:40:22 PM

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

Give the record a spin, and you’ll probably listen to it more than once. It’s an enjoyable record with melodies you’ll be singing as you work your day-to-day job, remembering when you listened to the band in high school. It will attract younger, disengaged types, but don’t expect the record to be a groundbreaking step in the maturity of MxPx. [SIDE ONE DUMMY] DAVID STAGG

BLINDSIDE THE GREAT DEPRESSION Everyone’s favorite Swedish rockers, Blindside, are back again. They decided to return to their roots for the recording of their fifth full-length, The Great Depression, their first release on DRT. The band holed up in the same Stockholm studio where they crafted their self-titled debut in 1997, while working with the producer of that album, Lasse Martin. The results are both surprising and impressive. The Great Depression is unquestionably Blindside’s most sonically diverse and innovative album yet. It’s evident they’ve reached the point where they can go in just about any musical direction they please. Indeed, the band takes several artistic leaps this time around, but seems to land on their feet every time. Many new avenues are explored, such as the funk/dance riffs during the verses of “Heartattack,” the airy background vocals, what sounds like an upright bass, and atmospheric aesthetics of “This Time,” and the (ready for this?) techno-beat-driven crooning of “My Alibi,” on which Christian Lindskog experiments with some spoken-word delivery during the verses. If this is all beginning to sound a bit scary, don’t fret; this is still the same Blindside we all know and love. “Yemkela” and “Come to Rest” ring with as much hardcore/punk rock intensity as anything off of A Thought Crushed My Mind, and Lindskog’s voice still drips with emotion on every soaring melody and gut-wrenching scream. There may not be a radio-ready single a la “Pitiful” or “All of Us,” although “We Are To Follow” could make a nice candidate. There are parts of songs where it feels like there are subtleties still waiting to be pulled from the mix, and Lasse Martin’s direction lacks a bit of the epic nature present on the last two albums under Howard Benson’s hand. But this new release leaves very little else to complain about and takes hard rock music to a few places it rarely ventures, with considerable success. The Great Depression might very well mark Blindside’s arrival among the legends of Christian hard music. [ DRT] TIM HALLILA

AS CITIES BURN SON, I LOVED YOU AT YOUR DARKEST At first listen As Cities Burn’s Solid State debut disc, Son, I Loved You At Your Darkest, sounds vaguely similar to their Florida labelmate Underoath’s recent work. More specifically, the band pulls off the two singer setup with ease and has wholly embraced a love for melody. But labeling

115 album reviews.indd 2

As Cities Burn as just another clone of a successful hardcore-band would hardly do them justice.

The five-piece band is incredibly tight, due in part to their insane amount of touring (over 250 shows in 2004). The lyrics read like a poet’s open journal, such as in the album opener, “Thus from my lips, by yours, my sin is purged,” (and) “My bride, I don’t want to know what I’d be without forgiveness brushing these adulterous lips.”

Overall, the group has succeeded in creating a great album that showcases some of the best hardcore today and one’s desperate hope in Jesus Christ.

[SOLID STATE] BRADLEY SPITZER

TFK THE ART OF BREAKING Thousand Foot Krutch first broke onto the scene with their indie Set It Off and its bass groovin’, getcho-hands-up, jump-upin-da-air, rapcore/punk vibe. This energy was tempered a bit, but still present on their T&N debut, Phenomenon. Now, with the rapcore era firmly in the past, in terms of the greater commercial consciousness, TFK continues with the redefinition of their sound on Breaking. The boys don’t completely abandon their rap-rock roots, as several tracks ring with a groove that is sure to leave heads bobbing, but Trevor McNeevan opts for a rhythmic singing method over hip/hop delivery. Only he could get away with lines like, “watch me get wicked and drop like hand grenades,” but otherwise, the cheese factor is low. TFK makes a point to push themselves into new explorations, such as the impressive, squealing lead guitar in the title track and “Go,” and short but sweet solos in “Stranger” and “Hand Grenade.” Nothing jaw-dropping, but certainly something new for this band. TFK does more than simply survive the commercial demise of rapcore on this solid but not spectacular release.

[TOOTH & NAIL] TIM HALLILA

LIFE IN YOUR WAY IGNITE AND REBUILD This album delivers ten tracks worth of solid, melodic, emo-influenced metalcore. The vocals tend toward screaming, but there’s still plenty of melody to be had here, along with some gang vocals now and then. Instrumentally, each song is all over the map, from hardcore breakdowns, to some metal-influenced lead and machine gun drums, as well as some melodic, sweeping dynamics that hint at emo. Each part works in and of itself, but at times the overall continuity of the songs is compromised. For instance, “More Than Efforts” starts out heavier, then breaks down into a soothing, beautiful portion, then rips off a metal riff and tips its hat to hardcore before finishing up. It’s all well done, but a few unifying elements to link the tempo changes and a better fusion between breakdowns and melody would make this a must-listen.

EMERY THE QUESTION The answer: Emery has struck gold with their new album, full of catchy sing-alongs and passionate screaming. With strong variations in dynamics, there’s a little something for everyone. Each track is decidedly unique, from the soft melodies and smooth piano of, “In a Win, Win Situation,” to the upbeat sounds of “Left With Alibis And Lying Eyes.” In “Listening To Freddy Mercury,” passionate screaming is masked by the harmonious tranquil singing of “la da da da da” and “In Between 4th and 2th Street” sounds like a 30-second blip from a church choir performance.

Emery has definitely hit the mark with this one.

[TOOTH & NAIL] FRANCES SCHOONVELD

BLOODLINED CALLIGRAPHY THEY WANT YOU SILENT Like a lot of the bands that fall into this genre (metalcore/metallic hardcore, whatever, etc.) the emphasis while composing songs seems to be on writing the hardest, angriest, meanest riffs and breakdowns. While these elements are not bad and

Ratings DV

Writer

MxPx Panic

03*

03

Blindside

The Great Depression

04

04

As Cities Burn

Son, I Loved You At Your Darkest

03

04

Thousand Foot Krutch The Art Of Breaking

03*

03

Life In Your Way Ignite And Rebuild

03*

03

Emery

The Question

03

04

Bloodlined Calligraphy They Want You Silent

03

01

Denison Witmer Are You A Dreamer?

03

03*

Sufjan Stevens Illinois

03

03

Mortal Treason

Sunrise Over A Sea of Blood

04

04

Van Morrison Magic Time

03*

04

Kekal Acidity

03

04

In Due Time Final Showdown

03

03

Morphia Fading Beauty

02*

04

Sherwood

03

03*

Sing, But Keep Going

[INDIANOLA] TIM HALLILA

7/28/2005 3:40:38 PM

ALBUM REVIEWS

should actually be encouraged, they cannot be the sole foundation of a band’s songs. That’s the case with this record: each song is mean, angry, and heavy. Each song has got everything but the one necessary ingredient that makes or breaks a song - a point of memorability. These songs are tedious to get through because they all sound the same or should I say, they sound like most other songs out there floating around in this genre. The band proves that it has talent and passion but that’s just not enough to win over this writer...I need something that is memorable and sticks in my head.

[FACEDOWN] CHRIS FRANCZ

DENISON WITMER ARE YOU A DREAMER? The tenth anniversary recording by altleaning folkie Denison Witmer could be mistaken for that of any number of guitar-wielding coffeehouse soloists. The acoustic axe, gentle demeanor and confessional, imaginistic songwriting beg for the aroma of steaming java to waft by while listening to Are You A Dreamer? What, then, makes this debut for a general market indie so compelling? Witmer articulates his streams of lyrical consciousness with aurally coaxing vocal caresses in precise vocabulary. His spartan musical accompaniment sparkles with the occasional female background vocals, muted percussion and other embellishments to his fretwork. Finally, as he questions, encourages and reminisces through these ten songs, it becomes clear that this is rare artistry that comes from a godly sobriety that’s as much a witness to his faith as Dreamer’s concluding “Finding Your Feet Again” is a benediction to listeners to live (or embrace) that faith.

[THE MILITIA GROUP] JAMIE LEE RAKE

SUFJAN STEVENS ILLINOIS On the surface, the content of Sufjan Stevens’ Illinois release is not all that different from what you might gather out of a schoolchild’s written report about this significant Midwestern state. Notable historical figures, like Abraham Lincoln, Carl Sandburg and Andrew Jackson, are sprinkled throughout it, and popular state institutions, such as the Chicago Cubs, are also mentioned in its lyrics. But tracks like “John Wayne Gacy, Jr.,” which studies the notorious serial child killer, turn this work into something weightier than just a breezy musical travel brochure. And while Stevens may know his history well, he’s at his lyrical best when relaying more personal thoughts, as he does with “Casimir Pulaski Day” about a memorable romantic encounter. Musically, this is one busy recording. Various horns, keyboards, stringed things – especially Stevens’ banjo work – are incorporated throughout it, creating a particularly full sound.

Stevens obviously had a lot on his mind when he composed Illinois, and grasping it all can be a bit overwhelming at first. But peeling away its multiple layers a little at a time is ultimately a rewarding endeavor. [ASTHMATIC KITTY] DAN MACINTOSH

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MORTAL TREASON SUNRISE OVER A SEA OF BLOOD Since their acclaimed debut, Mortal Treason has suffered four line-up changes – a critical strike that would sink most beginning bands. But after hearing their sophomore release with vocalist Seth Kimbrough’s wife Kimberly added on keyboards and their improved elongate epics, you will be reminded how true passion can never be subdued. Kimbrough’s lyrics reflect upon perspectives of substance abuse, domestic violence, and Judgment Day – which proves suitable for their clangorous metal assault as thick as the summer night air from their home of northern Alabama. And just as your ears are attempting to crawl away from the intensity (emotionally and audibly), another crescendoing riff grabs you by the ankles and virulently pulls back. It’s not over yet... [FLICKER] DAN FRAZIER

65

like no one else. Kekal’s last album, 1000 Thoughts of Violence, was easily their best release yet. And this new album Acidity, while maybe not being quite as aggressive as a whole, perfectly matches the brilliance of 1000 Thoughts…, maybe even surpassing it. Kekal continues to impress with their fine musicianship and creative song writing.

Acidity will keep you on your toes whether the band rips a crazy guitar solo, lays down a funky jazz piece, utilizes an ambient-styled intro, or goes insane with blasting, double-bass, and black metal shrieking. You don’t know whether to headbang, to dance like a fool…or both. Kekal has once again created an album that is not for everyone. But for those who love great metal by a band that is passionate about doing it right…Acidity is your album.

[FEAR DARK] MATT MORROW

IN DUE TIME FINAL SHOWDOWN

VAN MORRISON MAGIC TIME Van Morrison can put out most anything he wants, and he will have a guaranteed audience. Thankfully, after the better part of four decades after his epochal Astral Weeks, he’s still finding fresh angles within the matrix of jazz/blues/r&b/Celtic folk that made his name as a solo artist. Magic Time won’t only satisfy those who can’t get enough of the Belfast Cowboy’s soulfully elastic gruffness, but fans wondering as to his spiritual state should likewise glean insight.

When not putting his spin on a handful of swinging standards, Morrison evinces a godly handle on life.

With a bluesy chug, he wants to “Keep Mediocrity At Bay,” but “They Sold Me Out” finds him relating to Christ’s betrayal by Judas without the melodrama a lesser singer might read into it. Revisiting a leonine theme on his St. Dominic’s Preview, he sings of “The Lion This Time,” which sounds to be as much about human struggle as the tempered power of a Narnian Aslan/Jesus. Because he’s Van Morrison, no one’s going to give him guff for putting songs of such heavenly thoughts next to slightlier romantic numbers. Were only evangelighetto labels more willing to sign (or distribute) acts so poised between aesthetic invention and tradition, personal confession and faithful profession.

[GEFFEN/EXILE/POLYDOR] JAMIE LEE RAKE

KEKAL ACIDITY On the ten-year anniversary of their existence, Kekal is celebrating by releasing a new full-length album called Acidity.

Kekal stormed onto the scene with their first album in 1998 called Beyond the Glimpse of Dreams, setting the stage for a career of some of the most unique metal you’ll hear. And while they still retain some black metal tendencies, their music mixes avant-garde, classic rock, progressive metal, and progressive rock with everything from black, to death, to clean vocals to create a style that sounds

In Due Time’s mission statement is to create music loved by both their fans and themselves. It’s refreshing to witness such simple sincerity in a scene where every band is trying so desperately to do something new with a sound that is so tired. As a result, IDT’s sophomore release, Final Showdown may not be anything absolutely groundbreaking, but is incredibly solid hardcore with catchy riffs, pounding drums (though they could be louder), and intense breakdowns. The album features a number of anthemic tracks, especially the title track “Final Showdown”. If this album doesn’t fulfill your metal and hardcore needs while getting your heart pumping, then I don’t know what will. [STRIKEFIRST] TIFFANY CHOW

MORPHIA FADING BEAUTY The masters of emotional doom are back. Morphia graces us with their third full length, Fading Beauty, and what an incredible ride it is. This disc is metal for sure, but Morphia expresses more emotion through their music than just about any band out there. The brutal guitars and growling vocals are still present, but they are used as an expression of power and passion and not necessarily as a means to be extreme. The band also utilizes beautiful and moving clean vocals, acoustic guitars, and guitar solos and violin playing that will make you weep. I cannot hype this band enough. If you love doom metal like Morgion or Paramaecium and can’t get enough of the overwhelming depth and feeling of bands like Saviour Machine or Virgin Black, then Fading Beauty is exactly the album you need to purchase. [FEAR DARK] MATT MORROW

SHERWOOD SING, BUT KEEP GOING Soothing, melodic, and displaying a world of potential. Think Copeland with a more guitar-driven, almost folksy flavor. Wellarranged and stylistically varied. One can hope they live up to the album title. [SIDECHO] TIM HALLILA

7/28/2005 3:40:51 PM

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

AMBER PACIFIC THE POSSIBILITY AND THE PROMISE If you’ve been looking for a catchy, sweet poppunk band, you will find it in Amber Pacific’s new album, The Possibility and the Promise. At first, they sounded like they might just be another one of the pop-punk bands that do well with the kids, but they manage to take it up a notch. Being that Amber Pacific fits somewhere in the gap between power punk and emo, the requisite angst-filled love song is in there right along with contemplation and fighting resolution. Overall, there is a lot of youthful energy displayed, and every song rates high on the “catchy” scale. Clean and fast drumming is very prominent in the production, and the guitars are not far behind. “The Right to Write Me Off” has a nice little choir group that chimes in near the end of the song, a good sleeper surprise. A few songs later, “If I Fall” actually qualifies as beautiful – a simple piano piece with a soaring melody.

The album’s most redeeming quality is that Matt Young’s vocals manage to stay light and open, far removed from the whining of so many emo-punk outfits. [HOPELESS] BONNIE MASRI

GLENN KAISER BAND LIVE This Glenn Kaiser Band concert release features two of its namesake’s favorite creative elements: The blues and a live setting.

Although Kaiser also shined brightly while moaning the blues live with his pioneering Resurrection Band, this recording is painted with deep, dark blue, from start to finish.

With just this one-recorded document, vocalist/ guitarist Kaiser sure covers a whole lot of musical ground. Stylistically, it ranges from the ZZ Top boogie rock of “Torch,” to the soulful axe chops coloring “Nick of Time,” and its song selection stretches from Robert Johnson’s “Crossroads,” to that old Sunday School favorite “Do Lord.” Kaiser places himself in a relatively familiar band setting here, since he’s also joined on bass by his Resurrection Band mate, Roy Montroy. Although Kaiser twists nearly every last bit of slack from his electric guitar strings, it’s that familiar pained and strained vocal style of his that carries the day. So, if it means more great stuff such as this disc, Kaiser can resurrect the blues any old time he pleases. [GRRR] DAN MACINTOSH

NUMBER ONE GUN PROMISES FOR THE IMPERFECT This album is everything a second fulllength should be. It builds on Number One Gun’s sound from Celebrate Mistakes, while showing some marked growth in several areas.

Jeff Schneeweis’ vocals sound more confident this time around, and have an engaging, inviting quality to them. Either the production of the vocals is much better, or he’s increased his range considerably.

These songs had me humming along after one listen.

Some Jimmy Eat World and Dashboard influences creep up more than occasionally, but while these

115 album reviews.indd 4

guys don’t quite transcend the genre, Promises For The Imperfect marks their arrival as a capable and confident member of the emo gang. Infectious, fun, and sing-able. [TOOTH & NAIL] TIM HALLILA

huge potential. Meadow has somehow managed to combine delightful screaming, evocative lyrics and energetic instrumentals and present them in a way us mono-lingual Americans can understand. Bravo.

[FEEDBACK] FRANCES SCHOONVELD

WAKING ASHLAND

SLECHTVALK

COMPOSURE Lou Giordano’s hands are wonderfully weathered from the wear and tear of ear-pleasing pop production. Millions of dew-eyed fans know the Goo Goo Dolls – due, in part, to his studio counsel. The now-defunct Sunny Day Real Estate released their best disc, The Rising Tide, courtesy of his guiding hands. The recording was packed securely with soaring sonics and strong tunes that allowed for expression and creativity that never completely threw out the bread and butter of commercialism.

Waking Ashland has also met with Giordano’s genius. Composure takes the spirit, pop craftiness, and larger-than-life sound dynamics of arena rock greats, bringing them into current times with the attitude and textural leanings of modern rock. When Jonathan Jones tickles the ivories or sings his way through one of the many radio-ready tunes, there is a sense that a truly skilled performer has been discovered and set loose. The remaining three members certainly are not disappearing in Jones’s exhaust fumes. Every musical part and instrument is performed with studio perfection.

The opening cut, “Shades of Grey,” fails to set the pace for what lies ahead. However, tracks two through four pack enough strength in composition, melodic intelligence, and back-handed slap delivery to more than make up for it. “Hands On Deck” is the memorable ballad, but investigates no new territory. All in all, Composure is a collection of catchy modern rock, peppered with lyrics detailing the complexities and ambiguities in romantic relationships, and the realities of a living, breathing friendship with God. [TOOTH & NAIL] CHRIS CALLAWAY

MEADOW WE ALL COLLAPSE I think we too often compare one band to another, when no two bands sound exactly the same. Having that said – I couldn’t resist this one. Not only is Meadow’s sound comparable to that of Blindside, they’re also a Swedish band that chose to record their new album in English.

A copycat? Not at all. Meadow is close enough to compare, but different enough to add their own flavor. Maybe I’m a little biased, since this is “my kinda music.” Although not quite as hard as Blindside, the comparison is evident even in the first track of Meadow’s new album, titled We All Collapse. About five seconds in, something clicked in my mind that I’d heard this before. It’s uncanny. But wonderful. I’m not one for proper grammar, but I won’t hold their horrible misspelling of the lyrics against them. Their presentation makes up for it and more. We All Collapse just shows these guys are vastly capable and have

AT THE DAWN OF WAR It’s exciting when a band that you follow matures with each new release.

The songs are better, the lyrics have more meaning, and the music as a whole sounds more complete.

Such is the case with Slechtvalk and their new album, At the Dawn of War. Though Slechtvalk falls into the extreme metal category, several things about this album should make it appealing to the hard music masses. The band displays their songwriting skills by seamlessly combining slower parts dominated by the playing of a piano or acoustic guitar with the blast beats and double bass drums that are typical of black metal. Further adding to the album’s appeal is the frequent utilization of three distinct vocal styles: a low black metal growl, a soprano female voice and spoken dialogue mixed

Ratings DV

Writer

Amber Pacific

The Possibility And The Promise

03

03

Glenn Kaiser Band Live

03

03

Number One Gun Promises For The Imperfect

03

03

Waking Ashland Composure

03

04

Meadow

We All Collapse

04

04

Slechtvalk

At The Dawn Of War

04

04

Blindside

Ten Years Running Blind 1994-2004

03

04

The Lee Boys Say Yes!

04

04

The Cardinal Effect Red Light Carousel

03*

03

The Evan Anthem SENS

03

03

Rosie Thomas If Songs Could Be Held

03

03

Seventh Star Brood Of Vipers

03

04

Alice Cooper Dirty Diamonds

02*

Monday Morning Fool’s Paradise

03

FBS

02*

They Hate You

02

7/28/2005 3:41:07 PM

ALBUM REVIEWS

BLINDSIDE TEN YEARS RUNNING BLIND 1994-2004 (DVD) This DVD will certainly not disappoint the diehard fans of these Swedish rockers, and those who were not fans before will be singing along by the time the credits roll. Includes a reasonably in depth documentary on the band’s ten year history, from their early jam session days in a small studio in Sweden, to touring with P.O.D. The film ends with a short segment on the recording of the new album, leaving the viewer yearning for what’s to come. Features two complete concerts, one from Cornerstone 2003, and one from their Internal Storm Tour. Extras include slide shows, 3 single-song performances from various shows, and all of the band’s music videos. Sure to be a staple in the DVD players of Blindside aficionados and beyond. Viewers will appreciate where Blindside has come from and anticipate where they’re going next. [DRT] TIM HALLILA

THE LEE BOYS SAY YES! With Robert Randolph covering Jimi Hendrix on record and Michael Jackson in concert, there’s room for a sacred steel guitar act to keep the blues/gospel hybrid deeper in the church. As it takes church to jam band and secular roots music fans, natch’ The Lee Boys rank among the few contenders. That Say Yes! exudes godly joy and intuitive instrumental skill plenteously’s nearly a given; the strides made by the Lee brothers and their kin, including young 20-something steel whiz Emmanuel Roosevelt Collier, gleefully innovate within their tradition. Note the modulation of “If You’re Happy And You Know It” (yes, that one!) from Brazillian-hued lightness to pulverizing funk. Those with an ear for ‘70s soul will recognize a quote from The Main Ingredient on “Walk With Me.” And though you may be among the diehards for whom singing “praise God” ad nauseum as a last verse for “Amazing Grace,” you’ll be hard pressed to kvetch much when the ‘Boys render it so. A tribute to steel forebear Calvin Cooke practically melts the CD’s aluminum, too. With no need to remake anything by fallen kings of pop or dead hippies, The Lee Boys Say Yes! by keeping it soulful and sanctified. Yes, indeed! [ARHOOLIE] JAMIE LEE RAKE

with Gregorian Chant. Many songs implement two or more of these vocal forms at the same time.

Several bands have done this before, but few as effectively as Slechtvalk. The song “Thunder of War,” which Slechtvalk has released as their first single from the album, best exemplifies the band’s matured songwriting and its use of different vocal styles. Consistent with past releases, the lyrics are primarily about war, but can be interpreted in both a physical and spiritual sense. Though the lyrics are effectively matched with the music, Slechtvalk should strive for greater lyrical diversity on future releases. One other complaint is that the introduction to the album is too long; the first note isn’t sung until over five minutes into the album. These minor quibbles aside, this is an excellent album on which the band has capitalized on its collective creativity. The maturity revealed on At the Dawn of War should rightfully allow Slechtvalk to be mentioned in the same breath as the most talented of their secular counterparts. [FEAR DARK] CHRIS BECK

THE CARDINAL EFFECT RED LIGHT CAROUSEL Somehow The Cardinal Effect completely missed the metalcore memo – or purposely ignored it. This Raleigh-based quartet refuses to abide to the current trend of song elements and instead is clinging onto head-nodding nu-chugs. Vocalist Jonathan Parker interrupts his own screamo shrieks with melodic relief while sporadic hardcore breakdowns interrupt the pace.

This band offers a flexible appeal regardless of the circumference of the legs on your blue jeans and thus bridges similar (yet usually in spite of each other) genres. [TRIBUNAL] DAN FRAZIER

THE EVAN ANTHEM SENS This Pennsylvania quartet vaults over the sophomore slump with a monolithic second record. The production, by Mark Lee Townsend (Relient K), is dense and sparkling, and the songs are huge, towering things that, in lesser hands, would collapse under their own weight. The harmonies are gorgeous, the guitars are perfectly layered, and even the rap on “High-Strung Poets” comes off well. But with all the attention paid to the sound, these songs should be more memorable, and they just aren’t. SENS is one earnest piano-and-guitar epic after another, and over 47 minutes, the lack of variation is wearying. This is decent, emotional rock crafted with care, and given time, the Evan Anthem will hopefully widen their songwriting scope to match their dazzling sound.

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guitarist Dino Meneghin. Although an acquired taste, Thomas is a very talented singer, and with her folk/jazz/indie sound she creates dream-like songs on this album. Word on the street is that she also does stand-up comedy with her alter-ego Sheila.

[SUB POP] FRANCES SCHOONVELD

SEVENTH STAR BROOD OF VIPERS It’s not every day that an album as heavy and bone crushing as Seventh Star’s Brood of Vipers comes out – and what a breath of fresh air it is! Despite traveling down a path often taken by hardcore acts today, Seventh Star manages to push their breed of metallic hardcore ahead of the competition, with the help of new vocalist Johnny Intravaia. As expected, Brood of Vipers is jam-packed with beefy breakdowns that should not go unnoticed by any listener, not to mention provide the always needed “chugga-chugga” to move the dance floor. [FACEDOWN] DARREN TINDELL JR.

ALICE COOPER DIRTY DIAMONDS Not quite up to the songwriting strength of classic Alice, but right up there with smart, relevant (and did I mention witty?

Listen to the great moralizing “Woman Of Mass Distraction.”) songwriting that he’s been at lately.

A good follow-up to Dragontown and The Eyes Of, just not superior. Like a solid Squad Five-O outing, it’s a welcome treat, but a slight letdown that it’s not a great leap forward. [NEW WEST] DOUG VAN PELT

MONDAY MORNING FOOL’S PARADISE If The Cult tourbus settled to a stop after a hard weekend of partying and playing up the East Coast and you heard the hydraulic brakes let off its steam as the bus gives its last deisel-fumed breath, and you heard some muttering outside the label headquarters marked Word Records that a new record deal was being hashed out in exchange for repairs to get the tour bus back out on the road, this would be that new album under the moniker, Monday Morning. Sure, there’s some rambling bass and some tight snapping drums, but the Cult attitude was stripped away and replaced with youth group and radio friendly sounds. Vocalist Ian Astbury is asked to sound his choirboy best to atone for his sin of fronting a reformed Doors. Yep, it’s clean, full of positive attitude, and, uh, charming.

[SELECTRIC] KERN COUNTY KID, THE

[MONO VS. STEREO] ANDRE SALLES

FBS ROSIE THOMAS IF SONGS COULD BE HELD Rosie Thomas’ third full-length on Sub Pop Records offers a sweet voice with a soothing melody. The album also features Liz Phair

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THEY HATE YOU Raw, thrashing almost gutter punk delivered with the necessary oi’s, slapped snaredrums, and flying spittle. Judge’s score = 7 for passion, less 7 for thin production, plus 7 for attitude.

We have a winner! [WOUNDED] DOUG VAN PELT

7/28/2005 3:41:20 PM

Entertainment reviews DVDS, BOOKS & GEAR 02 UNDECLARED

SHOUT! FACTORY

One look at the cover and you know enough information: this was created by the producers of Freaks and Geeks. It’s a hilarious and uncannily accurate picture of college life (especially those first couple uncertain months).

While it tackles collegiate “sinful behavior,” it does so with a conscience.

03 THE CHORUS

MIRAMAX

A slightly obscure British tale about an insightful first-time teacher taking on the daunting task of inspiring a class of unruly and “troubled” boys in a boarding school. He reaches them through music. Like many similar tales, the villains are uncaring administrators, but it’s a good, warm story.

01 X-FILES: ABDUCTION FOX VIDEO This is a good example of a “genius move.” The alien abduction thread that wove its way through many of the episodes during this 9-year series is collected here in one boxset. Not only do you see the pilot episode that got this crazy fuzzy ball rolling, but a layer-by-layer peeling away at the mythology that became the spine of the series (and what kept Agent Mulder so fun to follow).

Various episodes (at least one per disc on these four discs) have a commentary by the writer or director, which explain loads more of the storyline, and this is all culminated in a nice documentary that wraps it all up nicely. Unlike The Wizard Of Oz, where it’s disappointing to finally “see behind the curtain,” here knowing the mystery doesn’t spoil the captivation with this wonderous series. The first few episodes show a slight weakness in some low resolution, but the later ones all feature that brilliant crisp picture that DVDs highlight so well. Doug Van Pelt

04 BE COOL

MGM

This sequel to Get Shorty was completely panned by critics, but I was laughing too hard to see anything that deserved this punishment. Predictable (profane) and campy at times, it’s still a bucket of laughs centered around the shady biz of the music industry (Russian mafia and gangsta rap and all).

05 FOREVER LULU

COLUMBIA TRISTAR

A hideously bad movie, but loaded with quirky personality and almost a fun experience. Deboarah Harry says all but maybe four lines in her ‘co-star’ billing with Hanna Schygulla and a young Alec Baldwin. This 1986 flick runs for 86 minutes, most of which I wish I could have back.

06 THE PACIFIER

DISNEY DVD

Okay, it’s a far cry from XXX for this actor whom Bradley Hathaway admits is “pretty hot,” but this comedy of errors recycles many of the laughs that Cheaper By The Dozen or Kindergarten Cop evoked. Charming, clean, and capable of making the most cynical of critics laugh at least a few times.

07 COACH CARTER

PARAMOUNT

Like a re-telling of Dangerous Minds or The Substitute, Samuel L does a stellar job here. The basketball action is great, and the story is compelling (even though we’ve heard it many times before). The documentary interviews with the real Coach Carter and his student-athletes are fascinating.

08 HIDE & SEEK

FOX VIDEO

Somewhat akin to a Shyamalan film, the characters’ relationships are compelling. The eventual dementia is almost frightening. The four alternate endings are cool and can be uniquely watched in four separate and entire film viewings or just played as alternate endings inside the “bonus footage” menu.

SPIRITUAL RELEVANCY % OBSCENITIES SCENES OF GORE NUDITY / SEXUALITY

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7/28/2005 3:42:19 PM

EN T E R TA I N M EN T

Dark Star

CHANGED

Creston Mapes – Multnomah

Christy Barritt & Ginny McCabe – Standard

A book with a slow beginning, but a fast end. A story about a drug-addicted, alcoholic rock star gone genuine Christian. A literal picture of Satan’s power in this dark world. I had to read about 200 pages of Creston Mapes’s 397-page novel before I really got into it. Dark Star: Confessions of a Rock Idol is a crazy, crazy story; some parts predictable and cliché but others shocking and outrageous. Written as a memoir by a famous rock musician, Dark Star tells of Everett Lester’s rise from drugs and alcohol to the peace and love of Jesus.

A few letters from not a fan, but a woman praying for Everett to experience the grace of God turn into a battle for his soul. Everett is charged with the first-degree murder of his psychic and turmoil ensues. Dark Star takes the prevalent work of Satan and brings it into a very real context. Frances Schoonveld

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This Standard Publishing release is a collection of testimonials on the power of Christian music to encourage, inspire and change the listener in profound ways.

Included are stories of losing a loved one, deciding to dedicate one’s life to missions, wondering about the future, and the ways in which specific songs from Christian artists brought guidance and reminders of God’s character, power, and sovereign plan.

Songs by artists such as Rich Mullins, Chris Rice, DC Talk, and Michael W. Smith are mentioned, among many others. Sorry folks, no Zao or Living Sacrifice. That should only serve as motivation for headbangers, metalheads, and emo kids to submit their own stories of the power of Christian music by the time Changed, Volume 2 rolls around. Even with the concentration toward the radio-friendly Christian artists, this makes for a nice read for fans of ANY genre of music, or anyone in need of a challenge or encouragement, for that matter. Tim Hallila

3.5” Quicksilver Kanguru Trying to figure out a new device usually leaves me with a headache. Kanguru Solutions’s 80GB high speed external hard drive not only provided me with plenty of extra (and portable) computer space, it did so without me screaming in agony. Setup was easy. The capacity is a bit misleading, as the unit eats up a good 5Gb, but overall this gadget is fast and great for storing and transporting large music files (think recording studio) in a handy leather case...albeit with a breakable strap (trust us).

Available in 40GB all the way to 800GB (!). If you need something a bit smaller, Kanguru Solutions also offers the Kanguru Zipper HD. No larger than a Zippo lighter, this is a mini USB 2.0 hard drive with a 4 GB capacity and the USB connection folds right into the device to prevent it from damage. [kanguru.com] Frances Schoonveld

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Joe Perry (Dual Disc) Umixit Remember the Amplitude PS2 game included as a bonus disc in the last Payable On Death album?

The Umixit ® technology on this Dual Disc is similar, allowing you to remix 2 songs, with access to 8 tracks of sounds to tweak, distort, and filter (a $13 upgrade gives you 16 tracks). The rest of this Dual Disc technology is pretty cool. The (secular) music here is a decent album of Gospeltinged blues, sounding a lot fresher than Perry’s last solo outing (in the 80s); but, boy, do these songs come ALIVE on the 5.1 Surround Sound mix (the DVD side)! Wow. [umixit.com] DV

7/28/2005 3:42:34 PM

70 C O LU M N S

WITH KEMPER CRABB

A few observations on worship and the arts Part 5 In the last couple of issues, we looked at the history of the most recent outbreak of the centuries-old conflict today usually referred to as the “worship wars”, a struggle over control of the style or form of worship to be used by the Church.

This most recent outbreak, which began during the Jesus Movement of the early 1970’s, was a conflict about musical style (instead of, as in previous outbreaks, church architecture, the forms and placement of prayers, whether and how the Lord’s Supper was to be shared with laypeople, what manner of clothing was to be worn by the ministers, etc.).

A wave of new converts from the then-burgeoning counter-culture entered the Church, bringing with them the musical styles they had adopted and inherited from the counter-culture, which they began to use to create new contemporary worship and outreach songs, because (1) they wanted to worship God in musical styles they knew and loved (and which, carrying also the artistic bias of the counter-culture against the older popular and Classically-derived music of the middle-class masses in the West, they considered to be inferior in many cases to the styles of music they had adopted), and (2) they wanted to communicate the Gospel to non-believers in the counter-culture in styles those in that culture both knew and appreciated. A number of those raised in the Church approved of these practices, adding impetus to them.

This influx of contemporary worship songs was opposed by a majority of the leaders and members of the Evangelical Church of the time, on the grounds that (1) these styles aped obviously pagan and frequently anti-Christian music of the godless counter-culture, (2) since these contemporary songs were tainted with the same styles as the pagan counter-culture, they were so evil that they were unfit expressions for biblical worship (especially since much of Rock music is derived from the Blues, which is itself derived from pagan music of darkest Africa), and (3) the older Christians, who had little appreciation generally of contemporary music styles, especially disliked it when these songs displaced the traditional hymns they loved and associated with Christian worship.

The young converts responded to this opposition by maintaining (correctly, in this writer’s opin-

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ion) that Scripture does not commend one musical style as more inherently spiritual than another.

The older traditionalists mostly maintained stoutly that it does (a fiction still promulgated by the dwindling reactionaries to this day…). The young converts pointed out that the hymns they revered were mostly based upon Country and Western music (which derived from British, Irish, and other Celtic folk music) or Classical music (which owed much of itself to Medieval polyphony and chantform, with its early dependence upon a mixture of ancient European folk and imported Middle Eastern modalities). To this the traditionalists maintained that their hymns were hallowed by centuries of use. The converts responded by saying that they wanted to give their music the opportunity to be hallowed by more centuries of use. And so on and so on.

This most recent round of the worship wars is gradually being settled (as is usually the case) by the passage of time, as the older traditionalists die to be replaced by younger Christians who are less emotionally attached to traditional hymn-driven worship (both a good and a bad thing, as we will see…). Yet the battles continue to be fought, as congregations/denominations orient themselves as much by worship style as by fidelity to Biblical and Confessional doctrine. Why, you wonder?

As in all outbreaks of the worship wars, the heart of the matter is this: we are selfish. We want to please ourselves more than our brothers and sisters in the Faith, and even, all too frequently, than the Lord Jesus. We do this despite clear Biblical directives to “Be kindly affectionate to one another with brotherly love, in honor giving preference to one another” – Romans 12:10.

We are to esteem others as better than ourselves, looking to their interests (Philippians 2: 3-4). We are not to think of ourselves more highly than we should (Rom. 12:3), but are to humble ourselves before God and each other (James 4:10; 1 Peter 5:5), seeking to serve our fellow Christians rather than to be served by them, as Jesus Himself did (Luke 22:26-27; Phil. 2:5-11).

These directives from God Himself (2 Peter 1:20-21) are frequently taken for granted (or are considered optional, so long as our doctrine concerning Christ, tongues, baptism, or whatever doctrinal pony our congregation/denomination is currently riding is approved), and are frequently the first things jettisoned in a doctrinal/stylistic conflict among believers.

Yet we are never relieved from our obligation as Christians to obey these commands. ¨

7/28/2005 3:43:59 PM

C O LU M N S 71

The way I see it Chris Wighaman

Devotions with Greg Tucker

I’m a gadget person. Not your garden variety I-dig-gizmos sort of guy, but people in my category take our gadgets seriously. If it’s cool, we have one. If it’s really cool, we have three.

Laptop, iPod, DVD player, nice watch, Blackberry? I’ve got ‘em all.

Even my guitar cables and extension cords are above-average when I can afford them.

People at this level don’t have junk drawers, we have junk rooms.

And we have a hard time cleaning those areas, because our progress screeches to a halt every time we rediscover something great.

Lots of folks enjoy a good gadget, but here’s how I distinguish the men from the boys: At the first red-light after a Circuit City purchase, guys like me are studying the back of the box. Hit a train (or some other delay) and we’ve ripped the package open. Our mansion in heaven will be nestled comfortably between a music store and Brookstone, because otherwise it just wouldn’t be heaven.

But recently I was reminded that sometimes stuff assumes a value it doesn’t deserve. I came across a long-forgotten box marked “Extremely Important / Do Not Lose!” in bright red letters My palms got sweaty and my heart raced as I considered what might be inside. Could this be my first generation Apple Newton, now worth millions? Maybe my first cell phone, one so large my hand remained eight inches from my ear when I talked?

A few observations on worship and the arts... continued:

Our interaction with others is the practical arena in which all of our doctrine is put into concrete expression. To only love God, and not our brothers, is to obey only the Greatest Commandment (Matt.22:35-38), while disobeying the Second Greatest Commandment (Matt. 22:39), and it is only on both of these commandments that all other commandments depend (Matt. 22:40). It is vitally important that we humbly love and serve one another.

Had these commands been obeyed by both sides in the most recent outbreak of the worship wars, the resultant lack of heat would have led to a much greater abundance of light, which would have illumined both sides in the debate. For there is much to be gained for everyone involved contained in the positions of both the traditionalists and the innovators.

There is a constructive way forward in this debate, but only if all involved will take seriously the commandments just seen above. To this, Lord willing, we will turn in the next issue..

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The excitement was palpable as I opened the carefully sealed package, so you can imagine my disappointment when my “treasure” was 25 installation CDs of America Online, version 2.1.

I guess the thing that surprises me most is that, at some point, I actually thought these were valuable enough to save. Today, I see how ridiculous that was, but at the time it made all the sense in the world. And that’s where the problem lies: using the sense in the world.

Revelation 21 talks about how wonderful heaven is going to be – the whole “no pain, suffering, or trouble” bit. But it also says the things we value down here will be little more than construction materials there, because being with God will be much greater.

According to Isaiah 64:4, our minds can’t even imagine everything God has in store for us.

That’s great news for every Believer, I know, but for gadget freaks like me, who think we’ve imagined almost every good thing, heaven’s going to especially cool.

7/28/2005 3:44:13 PM

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

PICK OF THE LITTER Fasedown Whenever I hear a galloping rhythm section like this, my head starts a bobbin’ and my muscles slightly tighten in a most joyous and relaxing state. While aggression and high energy can be thought of as the antithesis of relaxation, good metal can do that for you... The return of legendary drummer Jim Chaffin, guitarist Mike Phillips, vocalist Devin Schafer, and newcomer Dana Veit (who recorded on their new album, Blitz of Anguish, but has since been replaced by Matt Hopson-Walker) was one of the happiest pieces of news laid on me this Summer. After quietly disappearing after their self-titled debut on the now defunct 316/Rescue Records label, Fasedown is now solidly and triumphantly back. Majoring on a thick metal backbone makes any kind of hardcore, passionate singing sound great, and Devin sounds as convincing as ever. Everything you loved about Pantera or Hatebreed can be felt here.

When their liner notes declare, “God has given us all a love and passion for heavy music, and we feel His pleasure when we play it for Him,” and the music is this primo and intense, you tend to believe them. (DV) fasedown.com

The Apprentice

Mark Alan

Well crafted, melodic, roots rock. Guitar driven, predominantly acoustic. Laid back and engaging, with strong vocals. Sorry, no guest appearance by Mr. Trump. (Tim Hallila) theapprenticemusic.com

Worship-style music from an experienced young musician. Having opened for bands like Sonicflood and John Ruben and with 14 years of performing under his belt, it’s about time he got some recognition. (Frances Schoonveld) markalanonline.com

One Must Fall Freaking amazing metalcore. Full-on tough-guy assault. Absolutely brutal, heavy, and fast. I just love this kind of music. Since we get so much great hardcore over here (like Nodes of Ranvier, The Chariot, Figure Four), I guess it’s only fair that New Zealand gets a rippin’ band like this (I just wish I could see them live). (DV) onemustfall.co.nz

Caleb Engstrom Any of these tracks could easily have been pulled from the Garden State soundtrack. Acoustic, minimalist singer/songwriter stuff along the lines of Iron and Wine. A fantastic young talent. (TH) Calebengstrom.com

The Honour Recital Punk/rock/emo vibe similar to Fall Out Boy. (TH) Thehonourrecital.com

Kingsdown Very different. Similar to Rocket, only with more of an edge and background screaming. (TH) Kingsdownmusic.com

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Veda Amazing girl-fronted indie rock. Add an edge to Sixpence and Eisley.

Fantastic... (FS) weareveda.com

EasternYouth Asian flavor added to Franz Ferdinand/Killers/ Strokes style rock. Creative and talented. Great sound, although hard to sing along. (FS) saka-sho.co.jp

The Satire What has the prolific Bryan Gray been up to lately? Well, this is one of his projects (he plays drums). Formerly known as The Blamed Is Dead, it’s dry, raw, melodic post-hardcore that’s not at all emo. (DV) myspace.com/thesatire

The Daylights Super clean rock, this trio is so good that it’s almost not fair how a professional group can sound so much better than the myriads of garage bands out there. Fantastic songwriters, you’ll continue to hear about these guys, as their talents make a way for them on TV, movie soundtracks, etc. Look for the follow-up to the Shift And Blur EP next month - The Propaganda EP. (DV) thedaylights.net

7/28/2005 3:45:12 PM

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