HM Magazine, Issue #107 (May/June 2004)

THE HARD MUSIC MAGAZINE JOY ELECTRIC PILLAR PEDRO THE LION CANNIBAL CORPSE EISLEY SQUAD FIVE-O XXX CHURCH

UNDEROATH

MAY / JUNE 2004 | ISSUE #107

$3.50 USA / 4.95 CDN

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Fromthe editor

TABLE ØF

Where are the Keith Green’s of today’s music world? Where is that artist/poet that speaks the truth with an edge that many would go so far as to call “prophetic,” which really is just a religious-sounding term for someone who speaks a Word from God or one of His truths in a context that is perfect for its time.

We’re talking about someone who’s willing to speak the truth in love and doesn’t worry about the toes he or she is stepping on.

Ahh, love. This has got to be the key. If someone is to be this kind of modern day “prophet,” then it would probably be said of them that they cry a lot – in private. Someone who spends time weeping over your condition in prayer or just out of love for you and your incredible value to God – this is the type of person who can walk up to you and deliver the truth that hits you right in the chest and brings you to your knees. This is the kind of balance that it takes, I believe, to keep this special messenger right where they need to be – as bold as a lion, but as tender and caring as a pet lamb.

10 12 20

Regular

LETTERS HARD NEWS LIVE REPORT

CONTENTS 22 24 26 28 30 32 34 36 40 44 50 56 59 65 78 67 76 80

Featurette

SQUAD FIVE-O MORTAL TREASON APOLOGETIX THE DEAL EISLEY EMBODYMENT

Feature MORROW METAL REPORT PILLAR JOY ELECTRIC AS I LAY DYING / POSTER UNDEROATH PEDRO THE LION WHAT CANNIBAL CORPSE SAYS

Intermission XXX CHURCH COLUMNS

Review MUSIC DVD, BOOK, & GEAR PICK OF THE LITTER / INDIE

Now this challenge, or “prophet search,” if it can be called that, is not to say that there are not some wonderful followers of Christ in the music scene we call “hard.” There are plenty of these precious saints that make art their vocation. It is exciting to see and encounter these humble men and women of God in the arts. I’m talking about a special calling here. Someone who’s got that special touch from God that makes us listen and quick to repent.

Reveal yourself, please!

Doug Van Pelt.

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MASTHEAD EDITOR/PUBLISHER MANAGING EDITOR OFFICE MANAGER ADVERTISING SALES ART DIRECTOR CONTR EDITORS INTERN CONTRIBUTORS

Letters to the Editor BLINDSIDE MISQUOTES I was writing to inform you that your writer for the Blindside ‘interview’ misread / misheard the song lyrics. On the song “All of Us,” he quotes them as singing: “All of us are searching for an open love... and it’s a shame how I can’t open the door.” That is NOT what the song says at all. I would hope your ‘interviewer’ would at LEAST take the time to get the quoted lyrics correct.

–Steve [steven@stevenmaier.com] [Ed – Sorry about the misquote. The writer of that story obviously had an advance copy of the album (the story was written in December, more than likely), and sometimes deciphering lyrics is done by listening; and I’ve even encountered false song titles type-written on the advance CD. While we try to be accurate, sometimes the tools we are supplied with are lacking. I thought perhaps you would have taken that into consideration. Please try to go a little easier on our writers and not be so quick to imply that they’re incompetent.]

ROCK STARS ON GOD I am inquiring about a fascinating issue of HM put out a few months ago. The issue had an article which interviewed many secular rock and metal band members, asking them what they think about Jesus.

The issue is no longer out, but I would love to get it. Is there any way I could get a copy of that issue?

–Stacy S. [Coolbeans99us@yahoo.com] [Ed – That was our “best of So & So Says” article in our 100th issue. We still have several copies of that issue available as a back issue. This article is kind of a precursor to a book that’s getting published this month, which is a collection of 20 of these interviews from past issues of HM – Rock Stars on God, published by Relevant Media Group.]

EL DIA DEL MUERTO Hey what’s up? You guys do an awesome job with the mag. But I was wondering if there is any chance of a Ghoti Hook reunion tour ever, or if they are just plain dead. They are and will always be my favorite band.

–Faceplantking923@aol.com [Ed – I think those skeleton masks and “day of the dead” costumes mean there ain’t no turning back for ‘em. But who knows what a couple Letters to Ed can do, eh?]

DOVE AWARDS GONE BAD I am VERY disappointed that the GMA left the hard music bands out in the cold this year at the Dove Awards. There isn’t even a category for Hard Music

this year. That leaves out so many great bands out of consideration. According to the GMA, “Bands that you would qualify as ‘hard music’ would be found under the categories of Modern Rock or Rock Recorded Song.”

Look at those categories: I see maybe one or two bands that would even have been considered “Hard Music.” Odds are, they would have not been in the Hard Music category. The Hard Music category was the only reason I paid attention to the Dove Awards in the past few years. I hope they consider bringing back the Hard Music categories in 2005. I encourage all Hard Music fans to write the GMA and let them know how we feel.

–Jarrod Miles [Olathe, KS] [Ed – Now there’s a Letter to Ed that I hope accomplishes something!]

ZAO DRAMA Hey HM. I like your magazine a lot, and it provides a good alternative to all the other rags out there on the music scene. So my question is if Zao is still in existence. I truly don’t know, because it’s hard to keep up with their breakups and then to hear that they are back together. I thought I heard that Jesse Smith was getting something together, but you can never be too sure about them. And if they are around still, how could I get a hold of them? Thanks, and always remember to add the extra fat onto your gravy, for your mouth will thank you for the extra flavor.

–Brad [Drummerboy83@lycos.com] [Ed – Thanks for the food tip. Zao is now signed to Ferret Records and going on tour, sans Jesse on drums. We’ve had a big story planned in this issue and the previous one, with a trip to the studio to interview ‘em face-to-face even; but like the drama they’re known for, things constantly change. Word out of their camp hints at establishing stability now. Here’s hoping.]

EMBODYMENT, R.I.P. What I wanna say is how gutted I am about Embodyment going their separate ways, as I am a BIG fan. It’s obviously down to finance and not the talent; and I did tell Sean when I met him that the band would be a hit in the UK. It is a shame that Christian bands are getting a raw deal and it’s time that we got out there and showed Satan and the World what we are made of! Nuff said. Question: Will anyone answer the call?

–Jase R. [England] [Ed – Be sure to check out our Embodyment story this issue.]

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EDITORIAL

Doug Van Pelt David Allen Charlotta Van Pelt Doug Van Pelt David Allen Judah Siegal | Greg Tucker Chris Wighaman Colin Hobbs Eric Alexy | Shawn Dickinson | John Dobrowolski | Jason Dodd | Chris Estey | Chris Francz | Lee Haley | Joshua Hynes | Kern County Kid | Dan MacIntosh | Matt Modrich | Matt Morrow | Brian Quincy Newcomb | Scott Phillips | Jamie Lee Rake | Bradley Spitzer | Seth Werkheiser | Christopher Wiitala David Allen David Allen Colin Hobbs Ashlee Allen, Eric Alexy, Vicki Bobick, Valerie Maier, Heather Norman, Carolyn Van Pelt “No temptation has seized you except what is common to man.

And God is faithful; He will not let you be tempted beyond what you can bear. But when you are tempted, He will also provide a way out so that you can stand up under it.” (1 Corinthians 10:13) 6307 Cele Rd. #573 Pflugerville, Texas 78660-7543 877.897.0368 Service@HMmagazine.com 512.670.2764 Doug@HMmag.com [all accounts, except *] Scott@AdolphAgency.com [books, colleges *] Bruce@AdolphAgency.com [music gear *] David@HMmagazine.com

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Hard News Bullets, Pieces and Extra Content

The Death Campaign

Strikefirst Records has added 2 new bands to its roster: Trauma (blending hardcore, melodies, breakdowns, and “refreshing” vocals); and Anam Cara (led by Octavio Fernandez, ex-guitarist for Underoath; “energetic, yet melodic hardcore”).

In related news, Facedown Records has announced the signing of A Love for Enemies and Bloody Sunday. Both bands were a part of the subprint, Strikefirst Records.

Comeback Kid has been confirmed to play this year’s New England Metal and Hardcore Fest.

Both Richard Swift (7”) and Viva Voce are releasing 7” recordings on Velvet Blue Music.

Jamie Rowe is replacing Mark Stuart on the spring !HERO tour. He is also releasing a new solo disc on Vida Music, with 10 songs in Spanish, 10 in English, plus a 4-song DVD shot in Russia. His band, London Calling, is releasing an amended version of The New Sensation with 6 new songs (and a new title – You’re So Lucky).

As I Lay Dying have been touring the states with Killswitch Engage and In Flames.

Pastor Bob Beeman has organized three festivals this year – Bobfest (Sweden), MetalZone (Central Sweden), and Elements of Rock (Switzerland). Jim LaVerde is taking the Sanctuary worship team to Elements of Rock, to be joined by Jeff Scheetz and Dave Graef.

Mike Peters & The Alarm released a video to MTV Europe with standin actors (a band called the Wayriders) “lip-syncing” for them, which shot up the charts, perhaps proving that image outweighs substance.

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The wait is over for the release of that Death Campaign album we’ve been hearing about, but something is different. This album is being released under the band name Officer Negative – that gutter punk band! This is strange, considering that The Death Campaign evolved from the ashes of Officer Negative but sounded nothing like them. You’ve probably heard the drama: that lead vocalist Chad Wiggins was kicked out of the band, The Death Campaign forged on, but sputtered and died just three months later. We all knew (or had heard) that an album was recorded, and popular thought was that – worse case, we’d never see it; best case, it’d come out sans a band to support it. No one expected it to really play out with the lone member kicked out spearheading the project’s release under the moniker of his old band…

On the official DeathCampaign.com website, Wiggins explains his departure in direct, but modest terms: “At that time there were growing concerns with certain band members about money that I needed for my family and some other differences. Summer of 2003 we were on tour with As I Lay Dying. After Cornerstone and Sonshine Fest we were going to head over to the East Coast, but the guys in the band asked me

to step down and for us to go home and not finish the tour. So after some discussions I stepped down (and) we headed home. Casey took over vocals and they asked Mark from Akeldama to play bass. They went for about 3 months and then broke up all together.”

Talking to guitarist Taylor Allender adds some additional background. “After Chad was let go from The Death Campaign, we began writing new music and playing shows. After a lot of prayer and thought, we decided to disband after practicing for a couple months preparing to re-record our debut album. There was a lot more against us than for us. We had no transportation, trailer or equipment.”

As one can imagine, seeing the person who you removed from your band somehow take the reigns of it again after the band’s demise is kind of a weird situation. “In some aspects it has been really nice to have a huge weight off our shoulders,” relates Allender, “as The Death Campaign is behind us now, but it’s kind of sad now to see all of our hard work to get away from Officer Negative come to an end by releasing our album as Officer Negative.”

Allender and bassist Casey Wisenbaker have joined the Ventura, CA hardcore band Hit The Deck (releasing a debut album on Facedown’s First Strike label). Former drummer Daniel Osborne and guitarist Joey Buli are working with Akeldama, which is in the process of recording some new material, and just played a sold out show at the key club in Hollywood with Cannibal Corpse.

Talk of a resurrected Death Campaign are circulating amongst Allender and his former bandmates. Upcoming shows in SoCal will test the waters. More news as it comes…

4/5/2004 1:48:55 PM

PEOPLE QUICKLY DISCARD AS SECONDARY IN THE SCHEME OF LIFE. HOWEVER, FOR A CHRISTIAN – OR EVEN FOR SOMEONE WHO CONSIDERS THEMSELVES A MORAL PERSON – HONESTY IS THE BEST POLICY. AND AS THIS FACT TRANSFERS INTO OTHER AREAS OF LIFE, STAPLE HAS STRIVED TO MAINTAIN THAT BRUTAL INTEGRITY WITHIN ITS LYRICS AND THROUGH ITS MUSIC. A RECENT ADDITION TO THE FLICKER FAMILY, STAPLE STANDS AS A WIDE-EYED NEWCOMER READY TO TACKLE THE WORLD, AND RIGHTLY SO. WITH ITS NEW ALBUM DROPPING ON THE 23RD OF MARCH, THESE GUYS HAVE BEEN TOURING AND GATHERING A FAN BASE ALL OVER THE COUNTRY. AFTER ASKING VOCALIST DARIN KEIM ABOUT STAPLE’S LIVE SHOW, HE EMPHASIZED THE IMPORTANCE IN FORMING A CONNECTION WITH THE AUDIENCE. “WE TRY AND REALLY BRING THE CROWD INTO OUR SHOW WHEN WE PLAY. I LIKE TO MAKE AS MUCH EYE CONTACT AS POSSIBLE AND FIND TIME TO TELL THE CROWD WHAT A PARTICULAR SONG IS ALL ABOUT. WE ALL WANT TO BE ON THE SAME LEVEL. THE CONCERT IS WHERE WE PUT OUR HEART ON OUR SLEEVE AND PLAY WITH AS MUCH INTENSITY AND PASSION AS POSSIBLE. IT’S AN ACT OF WORSHIP.” OBVIOUSLY, STAPLE DOESN’T ATTEMPT TO CONCEAL ITS HEART WHEN ON STAGE. AND THAT, IN TURN, EVOKES RESPECT AMONG LISTENERS. KEIM’S RESPONSE ABOUT A “CONNECTION” WITH THE AUDIENCE HOLDS A GREATER IMPORTANCE WHEN HELD NEXT TO HIS LYRICS. BE IT WRITING ABOUT PERSONAL EXPERIENCE OR SOCIAL ISSUES, KEIM RELATES IT ALL TO HIS “PURSUIT FOR TRUTH AND RELATIONSHIP WITH GOD.” HE WENT ON TO EXPLAIN A FEW OF THE SONGS FROM THE NEW ALBUM… LET US SAY, WE WANTED TO GIVE HIM A HIGH FIVE. THIS GUY KNOWS HIS STUFF AND WRITES FROM THE HEART, WHICH, AGAIN, EVERYONE CAN RESPECT. HE REVEALED THE SONG “IMPRESSIONABLE” TO “REFLECT ON THE INWARD DESIRE TO FOLLOW GOD WITH OUR WHOLE

THE CONCERT IS WHERE WE PUT OUR HEARTS ON OUR SLEEVE AND PLAY WITH AS MUCH INTENSITY AND PASSION AS POSSIBLE. IT’S AN ACT OF WORSHIP.

After selling out dates all over the world with Linkin Park, P.O.D. have jumped back on the road to headline a tour with Blindside, Lacuna Coil and Hazen St. The Pat Terry Group performed a fund raiser reunion concert in January, that brought the pioneering early Jesus Rock band back together for the first time in 23 years. Babbie Mason and Mac Powell also performed solo for the event.

A new Sam Phillips album, A Boot and a Shoe, is hitting stores now.

12 Stones have parted ways with bassist Kevin Dorr. The rest of the band is in the studio with Dave Fortman (Evanescence).

Mick Rowe is releasing a solo album, Summertime, and performing with former GS Megaphone guitarist Chris Freeman. Freeman has left GS Megaphone and is pursuing both a religion/philosophy degree and a solo career (expect lots of Eastern sounding Sitar).

Celldweller has had every one of its songs from the self-titled debut album licensed for film, tv, or video game use. Celldweller will film its first video (“Switchback”) in High Definition.

Dead Poetic and Demon Hunter are both working on new videos.

Jon Bunch, formerly of Sense Field, is now the vocalist for FSF. “We changed out minds (about staying disbanded) when the exciting possibility (of having Jon in the band) arose. We have decided to continue as Further Seems Forever. We have been fans of Sense Field for a long time. Jon will be doing vocals for our upcoming album to be released this summer.”

HEART,” ALL THE WHILE FIGHTING A CONSTANT BATTLE OVER OUR HEARTS BETWEEN SPIRIT AND FLESH. “THEN ‘DEATHTRAP DAISY’ IS SYMBOLIC OF EVERY IMAGE THAT HAS CAUSED IMPURITY IN MY HEART, AND I’M SURE MOST GUYS CAN RELATE TO THAT.” HONESTLY, HE’S RIGHT. WE ALL CAN. - COLIN HOBBS

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The Migraines won a Whammy Award by Ft Wayne IN site FWM. com for “Best Punk Rock Performer of 2003.”

Holland has changed its name to The Lonely Hearts. The music is also evolving (think roots rock).

4/5/2004 1:49:14 PM

Hard News Continued

Immortal Souls Why is it that foreign countries are always keeping secrets from us? Spies, government plans and weapons of mass destruction aside, how come Finland hasn’t revealed the Immortal Souls? Believe us when we say America has been left out of the death metal loop. Willing to bring this aggressive, Finnish death metal group to the states, Facedown Records has proven to be more than happy to release the full length, Ice Upon The Night. Below are the best excerpts of a recent interview with Immortal Souls:

All Access have a new 5-song EP out called Secrets.

Havalina will be providing the musical accompaniment at an art exhibit called “The Profit: The Betrayal and Death of Christ.”

Project 86 has returned to Tooth & Nail Records.

Skillet has signed a mainstream deal with Lava Records. They will be re-releasing Collide on May 25 with a bonus track, “Open Wounds.”

Switchfoot are releasing a live DVD, recorded in their hometown of San Diego. Extras will include a behind-the-scenes of the “Meant to Live” video shoot. The Beautiful Letdown was certified Gold last December.

Blissed is hitting the road for a 50city North American tour (yes, with Robert Sweet on drums).

Mortal Treason had its video, “War Within,” featured on MTV2’s Headbanger’s Ball recently.

Building 429’s radio single, “Glory Defined,” is #1 on Christian Radio Weekly’s AC chart.

The Fear Dark Festival 2004 has an amazing lineup: Immortal Souls; Kekal; Morphia; Crimson Moonlight; Sacrificium; and Brainfaq.

Mike Roe and Mark Harmon (77s) are touring together on a semiacoustic jaunt called The Roed Less Traveled Tour, playing 77s and Roe solo material. The pair are writing songs for a new album, which’ll be semi-acoustic and “bass-loopy” in nature.

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1. How does this new release differ from the Ice Upon The Night that Fear Dark put out last year?

All the same songs are included but the artwork is new and totally different than in the earlier Fear Dark release. This is a treat for US fans, since the label didn’t want to just put the same album on sale there.

2. What inspires many of the metaphors you use in lyric writing? What are some of the messages that most people have gotten?

I love to do layers of meanings with a lot of metaphors. Many fans have contacted me with questions and ideas and I really enjoy this. In most of the reviews there are never comments about the text, so the feedback from the fans is great. My use of meanings like snow falling down to earth like grace has been quite easily marked and a few times I have had discussions with some theology students that have good questions of my meanings.

3. What do you think being in a band represents to musicians such as yourself? Do you see differences in how you guys might feel as opposed to how others might feel in a band but in the USA? How are musicians perceived there?

What kind of respect/disrespect do you receive as artists?

The band is the vehicle to get to our artistic goals, so I don’t see it as a team of superstars, but more of a simple friendship. I think the band is always

respected in some amount, as a team working for the same goal, which I think is the same in the US. 4. How important is fusing your faith and/or being vocal about your faith from the stage, etc to you guys?

We build our live show as a show; let the music speak for itself. In a metal concert, I want firstly be entertained. The show is too hectic to stop it for a speech. It’s not us.

5. In writing music, how important is feeling?

Compare and contrast that to technicality and its importance...

I think feeling is very important. It is needed to build up a song that is supposed to last and stay in the listener’s mind. A great melody will haunt for days, but a complex rhythm is easily missed.

Some emotionally packed text can remain in memory as a well-written book. Technicality in songs and structure is nice to have, but if feeling is missing and the music doesn’t have any connection to the listener, that isn’t good.

6. Anything else you’d like to add?

I await to see US fans on the tour, we are waiting for some confirmations still, but as they come we will update our site, so that anyone who wants to participate, can. The site address is immortalsouls.com and news is updated as it comes in.

Thanks, and see you on tour.

By CH & DV

3/30/2004 9:45:11 PM

Zao has signed to Ferret Records and is probably recording a new album as you read this. The current lineup is as follows: Dan Weylandt on vocals, Scott Mellinger on gutiars, Russ Cogdell on guitar and the label is proud to introduce Shawn Koschik on bass and Steven Peck on drums. They’ll be headlining the first ever Ferret Tour all summer with Twelve Tribes, Misery Signals and Scarlet.

NASA’s Mars Rover used the song “My First Trip To Mars” by Atticus Fault for its March 7th wake up song.

Buddy & Julie Miller are on a new album with John Keane (REM), called Pin My Hope.

The Gospel Music Workshop (GMWA) is circulating a petition to present to the Post Office for a Rev. James Cleveland “King of Gospel Music” postage stamp.

Beginning April 6th of this year, Dead Poetic will unleash their sophomore release New Medicines on the world. What to expect? Over the past two years the group has toured relentlessly across the country and added a fifth member to the squad – just two major factors that have influenced Dead Poetic to create an aggressive, passionate follow-up to 2002’s Four Wall Blackmail.

Some songs on their debut release, such as “Stereochild” and “A Green Desire”, hinted at their potential but in comparison to their upcoming release only gave a small glimpse of the capability of the group. “I think that New Medicines is the type of album that we wanted to create for our first album, but we weren’t there musically yet,” describes guitarist, Zach Miles. Lead vocalist Brandon Rike adds, “I also think it’s an example of a band with a lot of potential, still trying to find their niche. This record completely blows the other record away, in our opinion. This record shows a confident band that has found their niche.”

And Dead Poetic has gained their confidence on the road – living in their van and touring with Unearth, Zao, THE-PITS, Alexisonfire, Beloved, and Silverstein, among others. I was able to catch the band near Dayton, Ohio as the crowd welcomed back their hometown darlings, excited to hear the new music mixed in with their old favorites. An evolution of sorts, New Medicines is definitely a leap in the right direction – a move that should garner Dead Poetic legions of new converts and impress those already on board.

By BRADLEY SPITZER

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Jerry Gaskill of King’s X has just finished his long-awaited solo album. Likewise, Ty Tabor has just finished another Jelly Jam album, and Doug Pinnick a new Poundhound.

At press time Norma Jean was scheduled to host Headbanger’s Ball. (Dang, I wish I had MTV2!)

Stretch Arm Strong is headlining the Made Clothing Tour, with Terror, Between the Buried and Me, and Day of Contempt.

Australia’s Rockin Rabbis reunited this past year for a series of shows, and are working on a new album.

Matt Kinne has written a devotional book called Reflections for Movie Lovers.

Namur just signed a licensing deal to Vulcain Records and will release a double-disc later this spring.

The Evanescence debut album (Fallen) has shipped over ten million copies worldwide.

3/30/2004 9:45:35 PM

Hard News Continued

Liberty N’ Justice’s Welcome To The Revolution album is finally being released.

Pennylane will be releasing its new EP this month, called Paradise to Parking Lots.

Trevor McNevan (TFK/FM Static) and Justin Smith, and Jeremy (FM Static) have started a new clothing company called Reakt Clothing.

Moya Brennan (Clannad) is releasing a new solo album, titled Two Horizons, on Decca Records.

“For lack of a better word, it’s a ‘solo’ project,” explains one-man-band, All Things Bright and Beautiful (AKA Lee Bozeman). Bozeman, you may recall, is also a member of Luxury. But Luxury isn’t the most active volcano in the mountain range these days, so to speak. “We (Luxury) don’t act as a band in any traditional sense, but I still want to do music and I don’t want to go as Lee Bozeman, the solo artist. So I wanted to create this image I could put music out underneath.” The result: both bright and beautiful.

But unlike those lovingly told animal stories by James Herriot, from his book of the same name, Bozeman’s All Things Bright and Beautiful persona has created an album that’s all about love, affection (and sex), instead.

This album is clearly not for animal lovers, nor is it for those who might be squeamish about frank sex talk.

For instance, the song “Post-Modern Love” begins with the line, “There is within me a life of pornography.” And later on, Bozeman uses a variation on the word that recently got Bono into trouble with the FCC. Nevertheless, Love & Affection is sonically beautiful, lyrically honest and an artistically crafted offering, right down to its CD booklet, which modifies various pa-

perback book covers by replacing book titles with song names, to smartly illustrate its contents.

The frankness of Bozeman’s lyrics is akin to what Pedro The Lion has done in the past, especially with its Control album. But whereas Dave Bazan told his stories through the eyes of various characters, Bozeman has taken a slightly different tactic. “I wanted to make a personal, almost confessional kind of statement,” he says.

But Love & Affection should not be misconstrued as Lee Bozeman’s personal confessions. “I wasn’t trying to get something off my chest that was weighing down on me,” Bozeman clarifies. “It was just a matter of experience. I wanted to write an album about love and affection, and obviously sex plays a part of that. I wanted to write a record about love, specifically, and I wanted to deal with it in an honest and open way – both the good points and the bad points. It tends to be a darker record; I tend to write darker stuff. Like anything else, I want people to say that it was an honest record and clever and smart and all those ways we like lyrics to be. But I’m not trying to push anyone’s buttons or anything like that. I’m just trying to be honest.”

– By Dan MacIntosh

Number One Gun has made a video for the song “Starting Line,” which was filmed by Shane Drake (The Beautiful Mistake, mewithoutyou). Drake also recently shot an East West video (“Vacant”) in Hollywood.

Bushbaby has really shown some growth and improvement these days. Their video for the song “Lipstick” has been getting some good reaction.

Junker Jorg is back together and working on a new album.

Torque Records artists Black Pajent and Blue Star Highway will both be performing at Cornerstone.

Thirtysixdead has also just signed to the label, who describes curiously them as “raging old school hardcore, in the vein of Extol (?), with post-hardcore sensibilities, not unlike Thursday or As I Lay Dying .” (what?)

Lujo Records has signed The Out Circuit, featuring Nathan Burke (Frodus). Look for an 8-song fulllength soon.

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ANDY ZIPF’S DEBUT EP, I STOLE THE MORNING SUN, DELIVERS PLEASING, SEN SIBLE POP. When asked why he plays music, his answer conveys the devotion and desperation of a serious artist: “Music is my sanctuary. It turns me on. It’s all I have to offer, and it’s all I have to lose. ¶ His dedicated mindset transfers to his thoughts on the most important part of playing music, which, for him, is the creative process. “[The] consummation of images, sexuality, emotion, rhythm, texture, and dissonance is essential. I don’t want to hold anything back, it’s all up for grabs.” ¶ While he was growing up, Zipf ’s mother taught piano and voice in their house so it is understandable that music is his passion. “Without the experiences of love and loss that I had in my childhood, I would not be who I am now... incredibly and comfortably out of place.”¶ Finding inspiration and influence in the “Good, bad and the ugly, new sounds that should be made, old standards that should be broken and the way I feel when I am lonely and in love” Zipf wears his heart on his sleeve. Throughout his EP, inspirational, heartfelt lyrics like “I know you’re afraid, but so I am / Hold on to me love / Don’t hide your face / Don’t shut your eyes / Look on to me love” are combined with lush layers of guitars, bass, drums and various keyboard and programmed elements, making I Stole The Morning Sun a solid, promising debut rich in emotion and melody – perfect for those lonely and in love. – By Christopher Wiitala

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TwoThirtyEight Almost an entire year has passed since TwoThirtyEight called it quits. Here’s what they’ve been up to… Chris Staples moved from Nashville back to Pensacola, Florida where he is constructing a studio in his home called the Snake Ranch. He also recently finished a collective CD called El Libro de Recuerdos for Tooth and Nail containing a bunch of early material from the first two albums Missing You Dearly and Matter Has a Breaking Point. The release will be available around November 18th, so mark those calendars. Chris will be filling in for Unwed Sailor’s former guitar player Nick, and will be recording with them around Christmas. The only other member to report on was Ben May. He has been working for a law firm in Jackson, Mississippi as a runner/courier. We hear he’ll be recording with Stephen of Anberlin’s side project. Hopefully, we’ll hear more from Ben and Chris in the future.

Any musical endeavors will be greatly appreciated. One can only listen to Regulate the Chemicals so many times. - Colin Hobbs.

Brother Danielson Secretly Canadian is releasing a new Brother Danielson album on June 8. Brother is to Son celebrates the creative solo output of Daniel Smith, who up until now has been collaborating with siblings as the Danielson Famile. While it is a solo effort, he is still supported by the entire Famile (siblings Andrew, David, Megan, and Rachel; wife Elin; friends Christian & Melissa Palladino; daughter Lilly) as are familiar co-conspirators (father Lenny, Sufjan Stevens, John Ringhofer and Ted Velykis). Taking a cue from Dylan’s Bringing it All Back Home, Brother is to Son opens confidently and intensely while slowly turning in on itself by its second half, on which Smith brings a vulnerability unmatched on his previous five albums. He humbly poses questions of the most personal sort, begging of the listener an openness of spirit.

HALO FRIENDLIES

MUSICIAN’S ATLAS

Was it just me or did the Christian media completely blow it and not cover the fact that the Halo Friendlies had their song, “Me vs. the World” in the Disney Freaky Friday remake? Not only is their song performed, but the DVD has their video (edited with select movies scenes in it) as a bonus feature. “Me vs. the World” was produced by Amir Derakh of Orgy and mixed by producer/mixer Jay Baumgardner (Korn, New Found Glory, Evanescence, Godsmack, Papa Roach). The Freaky Friday Soundtrack (which also includes Andrew WK, The Donnas, Simple Plan) has been certified Gold. This is big. Way to go, girls.

This little tool gets published every year with the latest updates on thousands of useful contacts.

Want to know who the booking contact is for a club in Austin, Texas? There’s 33 others listed besides Emo’s. How ‘bout Fairfax, Virginia? Providence, Rhode Island (No, the Station Club is not listed anymore)? Birmingham, Alabama? There’s a ton of listings in here. Also included are radio stations, press (HM is in here), retail stores, distributors, college venues, labels (with submissions policies), and all manner of business helps. We’ve used the atlas here to find a publicist contact at labels, among other things.

JESUS BEANIES

ANIMUSIC

These 9-inch cuddly toys are designed to bring comfort to children and be a “tool” for parents “to help children understand Who Jesus is.” Moses is also available, as are a limited number of browneyed Jesus Beanies (the standard model comes with blue eyes, of course). [JesusBeanies.com]

Like The Mind’s Eye video album before it, this computer animation put to music is compelling and a Prog Rocker’s idea of quality television. The self-playing graphical instruments are a trip. Special features include a Director’s Commentary, production stills, and multiple camera angles. Only 33minutes long, but a cool novelty. [Animusic.com]

LIVIN’ IT Born again actor Stephen Baldwin has teamed up with evangelist Luis Palau to digitally print to film the sports music festival PaulauFest. Production has been brought to beaches and other youth gatherings. [LivinItTheMovie.com]

Amy Carlsen (Hush Hush) is writing an album with Johnny Whitney (Blood Brothers). No name for this band/project yet, but Lujo plans on releasing it in the near future.

Suffering & The Hideous Thieves have released a new album, Rats In Heaven.

As of press time, Torn in Two announced a name change but failed to reveal the name. The lineup will remain the same, but look for the hardcore group under a different moniker.

Pony Express has a new EP out, Fraud, with 4 new tracks + 1 cover song.

A new full-length by Kat Jones, La Calvara, comes out this month.

The Calico Sunset album (Deep Deep Paranoia) has been described as “a bizarre girl-fronted mostly electronic band.” The CD was produced by Frank Lenz. Look for them on tour with Joy Electric in June.

The new Map record, Think Like An Owner, has been recorded and is being mixed now by Jason Martin.

Look for an early June release.

Ex Zao drummer, Jesse Smith has a new band, GODS. They have already been pushing a demo and look to tour soon.

Other Desert Cities is in the studio now recording their sophomore effort with Matt Wignall as producer.

LN has just turned in their new record Dirt Floor Hotel. Expect “twelve tracks of depressing, soul searching songs.”

Anah Aevia continues on after the departure of vocalist Daniel Gleason. Temporarily, “Truck” (of Beastiary) is out on the road with the band on vocals.

RoaringBands.com is helping artists with an auction-based website, where fans can support bands.

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Every year the world of music and art converges upon Austin, Texas. What started as an idea to bring labels and press to the Austin scene, has become one of the largest gatherings of independent artists and press.

SouthbySouthWest Interactive, film & music festival Austin, Texas

The “Best Party” award has to go to BBQFilm, who threw a fantastic shindig at the County Line BBQ joint, a live celebrity auction, and a screening of Barbeque: A Texas Love Story.

The “Coolest Gadget” award goes to MotionComputing.com, who were displaying their hot portable tablet/notebook computer.

MOVIES One night of the fest was particularly perfect.

First, there was the first full audience screening of the amazing (I’d give it 4 stars) Killer Diller. It’s not often that a movie brings big grins and laughs like this. A young, down on his luck car-stealin’ guitar player named Wesley Benfield (William Lee Scott) gets sent by a judge to a small Baptist school’s halfway house, led by a stiff and awkwardly prudish house supervisor, Ned Sears (played brilliantly by Fred Willard). A concerned supporter of the school asks him, “Are the criminals all Christians?” He smiles a goofy grin and replies, “Yes, they just don’t know it yet.”

Wesley discovers a special boy who drives around in an invisible Plymouth and can play the meanest blues piano he’s heard. He quickly turns the band playing hymnal dirges (formerly accompanied by Ned on piano) into the Killer Diller Blues Band. Awesome stuff.

Niki Crawford’s amazing voice drapes the solid tunes perfectly, adding to the hopeful underdog’s story.

Antones: Home of the Blues provided a perfect bookend to Killer Diller. An amazing documentary and a real history lesson about the founding fathers of rock and roll, courtesy the infamous Antone’s Blues club. Now I need to stock up on some Eddie Taylor albums.

Metallica: Some Kind Of Monster is an inspiring and very intimate documentary that picked up where A Year And A Half In The Life of Metallica video left off – up close and privy to all the arguments and horsing around.

Edited together with excellence and featuring lots of music, of course.

The highlight of the week for this magazine editor was getting a look at the Saved! movie that was co-produced by Michael Stipe. Last year I had signed a release form for a copy of HM to be used as a background prop. Thus the prominent thought for me was, ‘Would it show up in the film?’ The story revolves around Mary (Jena Malone), who believes God told her to have sex with her boyfriend to cure him of his homosexuality. When she turns up pregnant, her best friend, the most popular and evangelistically inclined girl in the school (coyly named Hillary Faye and played by Mandy Moore) turns her back, along with the majority of the Christian high school students. The film really pokes fun at the Christian subculture in America. While the caricatures are over-played and thus might offend many a believer; sometimes one simply has to laugh at oneself.

For example, it’s ironic to see another movie typecast a bafoon in the role of leadership, and the principal at American Christian High tries way too hard to use hip lingo to impress the kids, whom he encourages to, “Get your Jesus on!” When he starts the new school year with an altar call invitation at the assembly, every student in the room turns around to see if the token bad girl is going to come forward. Other humorous hints at the skewering of our subculture include: the announcement that Mary’s mom won the regional award for #1 Christian Interior Decorator; the t-shirts that Hillary and Mary wear while releasing their pent-up frustrations at a local firing range, which read “Emmanuel Shooting Range – An Eye for An Eye;” and what the endearing bad girl reveals the day after an attempted exorcism – “She made me listen to the whole Elms CD on her ipod!”

Macaulay Culkin and Patrick Fugit round out a stellar cast for this comedy. Unfortunately, no copies of HM were spotted.

Many upcoming theatrical releases are screened at SXSW, Blind Horizon being one that had its world premiere here. This noir thriller is another amnesia tale about a man (Val Kilmer) who awakens after being shot and not sure whom to trust, including the woman claiming to be his wife (Neve Campbell). Eerily similar to one of the conspiracy angles surrounding the JFK assassination, it’s an edge-of-your-seat thriller all the way through.

BANDS The Beautiful Mistake displayed all their energy and angst to good effect, although slightly hampered by a non-dynamic mix with little separation between frequencies. A quick trip via auto to the Sixth Street corridor allowed a brief but passionate performance of Bro Danielson to be digested. Once again performing in a tree, his encouragement to get the audience to sing-along with him at his high frequency tones were actually met with an active response by an appreciative crowd.

Hearing the tight performances of Slow Coming Day’s songs make it hard not to become a bigger fan. Emery put on one crazy live show, with lots of moving around and a rotating lineup of vocalists. Toby or Matt took the time to tell the crowd that, “God is important to us, and (thus) we have to sing about Him.” Watashi Wa’s Seth Alan showed his undeniable talent as a good frontman, and their quality songs help it look easy. Mae’s performance was as compelling as my new-found urge to listen to their album more. The piano solo/interlude during “Sun” was fantastic, and drummer Jacob Marshall is like a machine – solid and on top of it. MeWithoutYou looked a tad unfamiliar in their average Joe jeans and shirts, with vocalist Aaron Weiss sporting a trucker’s hat. Their tight set delivered aggression and energy with strong melodies. Anberlin, who closed the night, was a study in contrasts, with the first song alone melding chaos and riffage seamlessly with pop hooks. They spiced things up with a clever Cure cover of “I Will Always Love You.” Having a successful “T&N Tour” coming to SXSW sure caters to a tight and well represented showcase for the label, and the six hours of rock these bands provided sure proved that point. [For a fuller SXSW report, visit HMmag.com] / DOUG VAN PELT

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LIVE REPORT MXPX

Orlando,Florida Downtown Disney

away from early recordings, MXPX has recognized the solidarity within its collection. And it’s never just nostalgia. The band continues to play each song with enjoyment and the same sense of determination as they do the new ones.

Then came “Move to Bremerton.” Chris from Sugarcult (and Good Charlotte) came on stage with guitar in hand to join forces with the Bremerton trio. He laid low behind the guys, but filled in some spots pretty well. Everyone else in the House of Blues chipped in with singing along. During the pause between songs, Mike asked if anybody in the venue could play “Chick Magnet” well enough to come on stage.

Kids were raising hands randomly, but Mike scanned over faces and made a good choice. The fan, Carl, was led to the stage where Mike unhooked the strap from his bass and handed it over. Carl, looking both scared and excited, took the instrument and prepared himself. Almost overwhelmed, Tom noticed and stepped up to go over the bass line for the chorus (starting with an A chord). Mike stepped up front and From Autumn to Ashes was good. Sugarcult dropped in with grabbed the microphone to get things going. It was intersome power pop and Billy Talent proved to be worth the Atlantic Records signing. But the rest was all Magnified Plaid. esting to see him up front without the bass. There were no obvious signs of discomfort from the change. Actually, he Fueled by an eager crowd, MXPX started strong with a almost seemed a bit looser. The fan kept up with Yuri and Tom really tight performance of “Play it Loud.” Mike Herrera’s pretty well and the crowd loved it. As the song ended, Mike vocals were, as usual, dead on. His voice has matured thought about giving away his bass to Carl, but promptly through the years, providing less of that pseudo-punk rock remembered the outcome of the last time he felt charitable. accent and more of his own raw stylings. A quick example “Last time I gave a bass away,” he announced, “it was sold on is the undercurrent of gravel in his throat as he holds out a vowel… it’s incredible. The crowd, sensing Mike’s enthusiasm, eBay.” Up next was “Do Your Feet Hurt” and then a treat. Guitarist immediately responded with the same. What seemed like Tom Wisniewski stepped up to do vocals for a cover of The seconds later, Mike was talking with the crowd then looked Clash’s “Should I Stay Or Should I Go.” Tom held his own on over at Tom and jumped into “Well Adjusted.” Tom seems to lead. have developed an even stronger sense of security on stage.

Leaving the stage after “Responsibility,” the guys came His movements have become more visible and background back for an encore performance of Bryan Adam’s “Summer vocals were contributed with strength. of ’69.” Years ago, MXPX recorded the song on its album of And that brings us to Yuri. Easily deserving of his own covers (On the Cover), but never has it sounded as good as it paragraph, he has never sounded better. Sure, the systems did live. They finished off the night with two classics, “Chick are beyond the small venues of past, but he plays with a Magnet” and “Punk Rawk Show.” Everyone in the venue was resolute certainty. With such an incredible attention to detail, Yuri’s percussion represents a level of quality rarely achieved. screaming along and pointing fingers. There’s nothing quite like that.

He owns the beat while Mike and Tom continue on top with Many mainstream punk bands cite MXPX as an influence. simpler rhythms.

Even New Found Glory made a point to call the 12-year-old Now back to the show... the set list was big. Moving from band a legend. Based on this performance alone, I’d be song to song, no special preference was made for recent inclined to agree. / David Allen songs. For my money, there’s nothing better than being able to enjoy the new material and the old. While most bands shy

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Squad Five–O some simple things, like making sure a chorus raises the bar of the song.”

While this may seem a shift in direction for a fantastic live band, it will probably be judged in hindsight as simple maturity. A band this smart and performance savvy is not about to abandon what made them lovable to every audience they’ve played for, but only to improve on their output. “I’m not embarrassed about any of our earlier albums. They are statements of where we were at that time. I think back to some of the first bands or albums that I really got, and it’s music that I still carry with me today, like the Beach Boys. They wrote some great, great songs. I hope that kids will care. We want to make music that transcends beyond just what’s happening at a moment in time. We want to make something that’s not cliché or gimmicky.” Without stating so, it appeared that the last confession pointed a finger at Squad Five-O’s first couple of albums, which in some ways reflected a gimmick of its time (ska). The underlying assumption being that Squad is evolving. “We want to make music that connects with people.”

It would not be surprising if this band achieves this stated goal. As a frontman, “whatever that means,” laughs Fortson, he has a firm grasp on his particular gifts and talents. “I’m a people person. I think that’s my gift.” When people leave your shows and feel like they’ve hung out with you, goofed off with you, and feel closer WHEN CAPITOL RECORDS SIGNED SQUAD FIVEO, THE POWERS to you, then certainly this gift is in effect. While never being a preachy band, it THAT BE DIDN’T RUSH THEM INTO THE STUDIO TO CAPTURE was not too uncommon for a quote or two to come out that revealed the source of THE BAND’S MOJO. INSTEAD THEY ARRANGED FOR THE MEM all the innocent, naïve, and un-adultered joy that bubbled from any stage Squad BERS TO HOLE UP IN SOME REHEARSAL SPACE FOR ABOUT A Five-O played on – a matter-of-fact relationship with Christ. For their fans, MONTH. FOR A GROUP OF INDIVIDUALS THAT DON’T LIVE IN who’ve come to take this for granted, there’s always that suspicion that success THE SAME STATE, MUCH LESS SAME COMMUNIT Y, THIS SOUND with a mainstream label will spoil that identity.

ED LIKE A SUREFIRE BONDING TIME WAITING TO HAPPEN. While not wanting to be a band known to youth groups nationwide as an act “It was time for us to grow up,” explains frontman Jeff Fortson. “We’re a different to bring all the kids out for a wholesome alternative to the world’s music, some band now. We learned what it means to be a democracy. It was time to do away things aren’t likely to change. “My faith is my life. When we started out as a with the camps and the conspiracy theories – those paranoid feelings that can get band, we had a pure motive to tell other people what we found. It’s different now. between five guys, where something someone says can be taken the wrong way Going way back to bands that influenced us, like Op Ivy – they had a message. and rock your world.” It’s not surprising that five individuals, each with different They never told their audience what to believe, though. It was presented in a personalities, would occasionally have disagreements. “There was enough tension way to make you think. This new album will touch on politics, relationships, life to keep it volatile live, but it was different camps working together. Originally experiences, but it won’t tell you what to think. it was me and John that started this band and recruited the members, but now we’re a team. Being in a band, recording and playing live is fun, but the relation- “The Clash was the pinnacle of bands – they had a message, but people didn’t ships are the most important thing. We’re much more closer as people now.” This have to prescribe to it in order to enjoy their music. Over time, after playing thought was echoed by other band members and the first thing they described GMA conventions and Christian sales conference showcases, I began to realize when asked about what was learned during this month-long rehearsal/songwrit- that this whole thing is an industry. We have managers, lawyers, tax ID numbers. ing/pre-production time.

We are a business. This is what I do. I’m an entertainer. My faith colors what I do. My faith is my life. When I’m home, I wash windows. When I’m on the “We learned more about songwriting and using what’s best for the song,” elabo- road, I play music.” rates Jeff. “Everyone writes parts for themselves, where they’re playing what they want to play, but that part is not always what’s best for the song. I used to think While some youth pastors or radio djs might bemoan the fact that this band isn’t about song parts in relation to how it would feel live. ‘This part will make the a prepackaged curriculum to feed their flocks, they needn’t worry about success audience chant this or react this way.’ Now it’s more about the song. It’s less com- stealing the faith therein. There’ll be lyrical themes that’ll make sense to the curipetitive now. We’ve never made a good record before, where it stood on its own as ous believer, and it just may strike a chord within those outside the youth group, an album. I’m real happy with this album. We hope that people think it’s worth a too. And that ain’t a bad result after 30 days of hard work. listen even without the live show. This one’s more musical. I think we’ve grasped BY DOUG VAN PELT

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Mortal Treason

THIS IS AN INTERVIEW WITH SETH KIMBROUGH, OF MORTAL TREASON

Though unseasonably warm in Pennsylvania, nothing brings back memories like the sound of crickets in Alabama. While talking to Seth, singer from Flicker Records’ Mortal Treason, humility fills the evening air.

In a short time, his band has signed to Flicker Records, placed well on a BMX video soundtrack, and appeared on MTV2’s Headbanger’s Ball, all the while playing beside bands Seth himself thinks more worthy of attention than his own.

“There are so many good bands out there... I never expected to be noticed at all. We played with Underoath, As I Lay Dying a few times.

Those guys, they’re amazing. Gets better every time I see them.”

Getting noticed, getting signed, getting on Headbanger’s Ball – many bands might strive for these things, but for Mortal Treason it just

kind of happens.

“It’s been like that pretty much with the band, everything that’s going on. It all just seems to be falling into place,” said Seth.

Tooling around skate parks back in the day seems to have paid off as well. Not only have long hours on the bike landed him a spot on the Hoffman Bikes squad, but it’s opened doors through long-time friendships which eventually found the band on Flicker Records.

Sam Shiffly, an old skate park buddy, had connections with Flicker, and upon hearing that Seth had a band, asked for a demo. The folks at the label liked what they heard and asked Mortal Treason to come on board as the label’s first metal band.

“It’s been interesting. We’re their first metal band. I was kind of iffy about it, since we’re the first, but they’re really open and willing to do whatever,” said Seth.

Another family that is open and willing is Hoffman Bikes, a team that Seth is on because he spent more time outside as a kid then inside

playing video games. Evidence of this second family’s support is on their website, where in their news section they plug the new album, A Call to the Martyrs.

“Most of the guys (at Hoffman Bikes) are in bands themselves, so they know how it is, trying to get out there. They decided to help us out a little bit.”

In the Christian music scene much attention is given to how the bands associate with the secular – be it clubs, bars, or larger venues.

Volumes have been written about the Christian “music subculture,” but what about the Christian BMX crowd? The bio for Seth on the Props website (a video production company that puts out BMX films) says he’s the guy that “reads the Bible every night” – so how do the ‘secular’ bikers react?

“It’s a lot of the same with music, people either respect you for it, or… you always have people who are going to mock you or make fun of you. That’s just part of it.”

Getting your song included in MTV shows, or in video games is big these days. Recently we thought it was pretty cool that Marcos (formerly of P.O.D.) was included in the John Madden Football soundtrack on a Nappy Roots track. While quite an accomplishment, Seth is actually in Mat Hoffman’s Pro BMX 2, being asked to be in the game after his first X-Games appearance in Philadelphia, PA. While he has played himself in the game (“you just have to,” he says) being from Alabama and a bit “white trash” (his words, not mine) the reality of being in a video game hasn’t blown him away.

“I’m really not into video games. Kids always ask me how do you do certain tricks,” admitting to pulling off more tricks in real life than in the video game.

A refreshing tone from someone blessed to have his hands in so many forms of media.

Besides trying to stay healthy (a knee injury kept him from “working” his bike gig), the band hasn’t lost focus or allowed the attention to get to their heads.

“We’re just pushing ourselves, setting goals for ourselves,” said Seth.

Besides the band and his riding, Seth speaks dearly of his wife of eight months, and how he misses her when he’s on the road with the band or the bike. He talks less like someone who’s seeking rock stardom and more like someone just taking one day at a time and enjoying the ride.

BY SETH WORKHEISER

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Apologetix WHAT’S THE HARSHEST CRITICISM/INSULT YOU’VE HEARD IN REGARDS TO YOUR BAND? HOW DID YOU RESPOND? WHAT WOULD YOU ADD TO OR ALTER YOUR RESPONSE NOW? We get three types of criticism: The first is from certain Christians who hate all rock music and think it’s of the devil. The second is from kids who can’t believe we had the audacity to touch their favorite song. The third is from artsy Christians who feel we’ve violated their standards of artistic integrity.

TALK US THROUGH THE CONCEPTION TO COMPLETION OF ONE OF YOUR SONGS...

There are basically three ways we might end up doing a parody.

The first is the most common: You pick a song that’s popular and try to think of a good spoof – a biblical angle with words that rhyme with the original, especially in the opening lines, the chorus and the title that somehow captures an aspect of the original.

Being taken seriously in the music industry is an essential element to a band’s success, but what if seriousness wasn’t the point? For some listeners and musicians, the parodies of Apologetix are an insult to their art. For others, Apologetix has truly changed the way they think about lyrics and their meaning in relation to Christian life. No other band has had such a hard line drawn between their fans and foes, and it’s not hard to see why. You either love Christian parodies of secular songs, or you despise them for being cheesy. But what happens when people are getting saved by hearing these God-centered renditions of popular hits?

Doesn’t that change everything?

HOW DO YOU ANSWER YOUR CRITICS THAT THIS ISN’T MUSIC TO BE TAKEN SERIOUSLY? I guess we can’t expect our critics to take our “music” seriously when they think we didn’t even take the original music seriously. Whether you take a parody seriously or not, the words still affect you. Those parody words keep coming back to you when you hear the original song. When those words are based on the living Word of God they can be life-changing.

HOW DO YOU RESPOND WITH THE CRITICISM/BACKLASH THAT “CHRISTIANS ARE ALWAYS COPYCATTING SECULAR MUSIC TO PROVIDE A ‘SAFE ALTERNATIVE,’ AND APOLOGETIX IS THE WORST OF THE BUNCH!” Our lyrics are anything but safe. They may be funny or ironic but they’re in your face, and the salvation message is always loud and clear on every CD and at every concert. We always name the original artist, original song and original songwriters.

DO YOU REALLY CALL WHAT YOU DO AN ARTFORM? IS PARODY REALLY A SEPARATE AND UNIQUE GENRE OR ARTFORM? PLEASE EXPLAIN...

Parody has actually been around since the days of ancient Greece; it didn’t spring out of nowhere. Art takes many forms to suit many tastes. I don’t know many people who like both Rembrant and Andy Warhol. We’ve just found that parody is an excellent medium for teaching the Gospel and reaching the lost.

WHY DO YOU GUYS DRESS SO...CHEESY? Dressing cheesy? Isn’t this the magazine that cut its teeth on Stryper and all the Neon/White/Barren Cross hairspray spandex Christian metal bands of the late ‘80’s?

A good example would be “Enter Samson,” our parody of “Enter Sandman” by Metallica. The second way would be you pick a topic and look for a song that fits it. The third way is you’re minding your own business and this great parody rhyme just pops into your head, for example.

WHAT DO YOU THINK ABOUT THE ATTITUDE PRESENT WHEN SOMEONE ASKS ENTHUSIASTICALLY, “PLEASE COVER SUCH AND SUCH A SONG?” WHEN, IT’S MOST LIKELY THAT THEY WANT YOU TO COVER THEIR FAVORITE OLD SECULAR SONG SO THAT THEY CAN FEEL GOOD ABOUT LISTENING TO IT AGAIN, “GUILT-FREE,” SO TO SPEAK? We’re not here to sanitize secular music. We just use secular music coupled with humor and irony through parody as a tool to reach and teach others, the same way political parodists have been using it for years to get their points across. A few years ago, we did a parody of Papa Roach’s “Last Resort,” called “Life Restored.” It was one of those cases where I really hated the original lyrics and we changed “Plug my life into Jesus; this gets my life restored; such a cakewalk, no brainer, don’t need to fuss since I called Him my Savior.” That simple little Papa Roach parody has had some amazing effects. A Jewish twenty-something guy in Philadelphia became a Christian a couple of years ago and became a huge fan of ours, and he gives the credit to God working through that song. Another 20-something girl we met recently came to our concert in Nashville and that night we opened with “Life Restored,” which is not the norm. And we gave the salvation message at the end, which IS the norm. We found out from her boss the next day (He called us in tears) that she had given her life to Christ and said it was the Papa Roach parody that did it for her.

ANY LAST WORDS? I cannot tell you how many hundred or thousands of testimonies I have heard of how God has used our parodies for His glory: People have become born again Christians, recommitted themselves to Christ, led others to Christ, memorized Bible verses, been encouraged through rough times, and even averted suicide after hearing one of our parodies. And it’s not us; it’s the Holy Spirit choosing to work through us and our foolish little parodies.

But if they’re good enough for Him to use, why should we care if they’re good enough for the critics?

By Colin Hobbs & Doug Van Pelt

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the long-awaited guest vocal project from LIBERTY N’ JUSTICE featuring: Lou Gramm (Foreigner); Michael Sweet (Stryper); John Schlitt (Petra); Greg X Volz (Petra); Dale Thompson (Bride); Jamie Rowe (Guardian/ London Calling/ AdrianGale); Mitch Malloy; Scott Wenzel (Whitecross); Harry Hess (Harem Scarem); Ken Tamplin (Shout); Rick Florian (White Heart); Robert Fleischman (Journey); Bob Carlisle; Jeff Fenholt; Paul Q. Pek (One Bad Pig); Doug Phelps (The Kentucky Headhunters); Mike Roe (The 77’s); Mitch McVicker

Order online or via mail-order. $15 + $3 s/h 3 Chord Records | 1312 W. Forrest Hill | Peoria IL 61604 | www.3chordrecords.net

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The Deal

WHO SAID PUNK ROCK WAS DEAD? APPARENTLY THE DEAL HAVE HEARD NOTHING OF THE SORT, AND FRANKLY, I DON’T BELIEVE THEY CARE. It is this type of band that will rejuvenate the sparks from youth. When we were angsty teenagers sporting Converse and a wallet chain, tearing up the circle pit. At those shows, we were more than just punk kids making a mess: we were part of something stronger, something more unified.

Personally, I wasn’t sure how to approach writing about The Deal, since years have passed and my punk appreciation seems to have faded. But when I put in their new album, Cutthroat, everything raw came crashing back to me. I guess it’s something you don’t lose...like a scar from childhood that keeps popping up in conversation and you end up reminiscing about the good old days. Now The Deal has popped up with fists raised high, echoing the frantic pounding of the kick drum, singing anthem after anthem of “straight up, fast, (angry) punk rock,” as

vocalist Collin puts it. As punk as they may sound, being surrounded by a slew of hardcore bands on Facedown Records has had its effects on their new material. “This record definitely embraced our hardcore influences...It’s still the same DEAL but with the member changes and all, our harder undertones became our overtones.”

Don’t worry kids, the member mixing is no big DEAL...(come on, have a sense of humor). As Collin said, the touring became too much for a few members, which actually worked out to their advantage because, in turn, they have become better friends. But let’s not get too lovey-dovey here. We’ve still got a lot of gritty, punk rock ground to cover. This new hardcore persuasion is thick in songs like “Vultures,” which is about “the exploitation of the U.S. after 9/11 and how there were some who were making money by selling flags and ‘pride’ propaganda,” says Collin. A prime example of why I felt that sense of unity at the punk rock shows of my past. There was something to rally around, and it wasn’t this “middle finger-inthe-air” kind of rallying but more of a Spiritfilled one.

The Deal reflects that passion for truth and the opposition to injustice through Christ.

Being such a solid and aggressive hardcore / punk band with moral convictions can be amazing for straight in-your-face expression, but at the same time another approach has become clear to them, “...as a band we feel that God has shown us that it doesn’t have to be so difficult, in that I mean...it’s all about love—the love we show towards people, especially when ‘sharing’ to them.”

Forging a connection between the audience and the band, the Holy Spirit moves in the crowd as that same love is shared.

It enables a strength and stability within Christ. The Deal realize that God is not only their strength but He’s also in full control of where they are and where they are going and are “amazed to be counted as worthy to be used.”

So no, my friends—punk rock is surely not dead. It continues to live and with The Deal, it serves for an even bigger and better purpose.

BY COLIN HOBBS

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Eisley “WE’RE DEFINITELY DOG PEOPLE,” LAUGHS 21-YEAR OLD CHAUNTELLE DUPREE, THE OLDEST MEMBER OF THE SIBLINGS + 1 OUTFIT KNOWN AS EISLEY. THIS REVELATION SHATTERS MY IMAGE OF THE THREE GIRLIE-GIRLS DECORATING THEIR ROOMS IN LACE, WITH JEWELRY BOXES FULL OF ROMANTIC BOUNTY, AND A LONG-HAIRED PERSIAN KITTY PURRING AWAY ON A MADE-FOR-PETS BED SOMEWHERE. LOTS OF PINK AND PASTELS, OF COURSE, AND CANOPY BEDS… THE ENTIRE CINDERELLA LIFESTYLE, RIGHT? One can’t be blamed for imagining this sort of “Alice lives in Wonderland” interior decorating when one hears the dreamy and lush music created by this much-too-mature-for-their-age band. Soaring melodies that stack upon each other with the gentlest of angelic voices are buoyed up by smartly placed rock rhythms and atmospherics that’ll turn the ear of a Pink Floyd or Radiohead fan just as quickly as the Lilith Fair singer-songwriter fan of Sarah McLachlan. While the sounds they create are beautiful, don’t use the word “cute” to describe Eisley. It’ll miss the point. Visualize rock posters on their walls rather than ponies and unicorns. Instead of sharing recipes, the oldest DuPree is quick to rattle off her guitar gear (”I have several guitars – a Grestch G6131T – very similar to the ‘57 Gretsch that George Harrison played; an American Telecaster; a cheap, modified import we call the ‘Blotus,’ with vintage super distortion Demarzio pick-ups, a new neck, etc. I have a Fender Hot Rod DeVille amp and an assortment of pedals – vintage Tube Screamer, Full Drive, Line 6 Delay, etc.”). And when asked about her playing preferences, she answers like a true songwriter, holding the needs of the song higher than a predisposition to just jam.

The stereotype shattering doesn’t stop at musical skills and knowledge, either. As many a journalist covering this “hot new act” is quick to point out, all the DuPree siblings in the band (Chauntelle, guitar; Sherri, guitar/vocals; Stacy, keyboards/vocals; and brother Weston, drums) were home schooled by devout Christian parents. But, unlike the parodied characters in the movie Saved, these kids are easy-going and can honestly relate to those around them – whether it’s friends in the crowd, the soundman, or A&R reps vying for their attention. In other words, they’re well-adjusted and level-headed young adults. They just happen to have a record deal with Reprise/Warner Bros. “I don’t feel like I was over-protected,” explains Chauntelle, “and I’m sure I speak for all of us on that.

We grew up having lots of friends and life was pretty normal for us. We started playing shows in 1998 and by the time Stacy was 12 we were playing in clubs/bars in Deep Ellum in Dallas.” To explain their maturity, she points to her parents. “Being at home instead of trying to live up to our peers in public school... and then probably great reference books and great music, like C.S. Lewis, Tolkein, The Beatles, Pink Floyd, Radiohead, on and on...”

The band started about six years ago when Chauntelle started playing guitar for her church’s worship team (the Tyler Vineyard). “My dad just showed me a few chords and a few songs and I guess I just kept going.

Eventually, they bought an electric guitar and we all started messing around with it.” That same year her and Sherri kept holing themselves up in their bedroom for songwriting sessions with a friend, and little sister Stacy wanted to be a part of the fun, but her older siblings refused.

“She’s always been a persistent little girl. Probably because she was only eight years old, we underestimated her musical abilities.” Unfazed by this rejection, Stacy went back to her room and fleshed out a song that quickly changed her status. “A close friend of ours got strung out on

drugs and tried to commit suicide. Stacy was so affected by it that she went in her room and wrote a song that she later showed me. That’s pretty much all it took for her to be in the band,” Chauntelle laughs.

It didn’t take long for audiences to realize that this band had something special. Label courting ensued, resulting in a deal with Reprise, who put out two EP’s first: Laughing City and Marvelous Things. And, before their debut full-length album has been released (dropping this summer), the band has played at the Hollywood Bowl, Red Rocks, and Madison Square Garden, not to mention regional touring with Coldplay.

Not a bad start for a young band! That’s like hitting one of those chutes or ladders in that, ahem, child’s game. After signing with the WB distributed label, where sometimes a proud employee might pass out a stuffed Bugs Bunny clad in a WB embroidered leather jacket, one can only imagine the DuPree sisters casting one of those “Are they serious?” looks at each other before politely saying, “No thanks!” Old-time fans of the band already know about the potential legal problems that forced them to change names from the Star Wars inspired Moss Eisley to the shorter but more original Eisley moniker. “WB’s trademark attorneys thought that Lucas would sue and win. That’s pretty much the story. We never were that crazy about the name anyways.”

With only one more stereotype or narrow expectation to break, the band answers the simple “Why didn’t you sign to a Christian label” question that’s on the mind of a few: “We never really wanted to be in the Christian music industry, so we avoided signing with a Christian label, though we were approached by many. Since we weren’t writing songs for the church, it really wouldn’t have made sense. No disrespect to Christian artists; but, to us, Christian music is music for Christians.”

BY DOUG VAN PELT

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Embodyment AFTER MORE THAN A DECADE TOGETHER—SPANNING FIVE RELEASES, NEARLY A DOZEN MEMBERS, AND TOURS ALONGSIDE EVERYONE FROM MORTIFICATION AND LIVING SACRIFICE TO DEAD POETIC AND STAVESACRE— EMBODYMENT HAS OFFICIALLY DECIDED TO CALL IT A DAY.

“It felt like we hit our ceiling,” admits founding guitarist Andrew Godwin.

“Members were leaving, other opportunities were presenting themselves, people wanted to move on with their lives,” vocalist Sean Corbray adds.

Late last year, after the band had already parted ways with drummer/guitarist Derrick Wadsworth for what Godwin calls “personal reasons,” bassist Jason Lindquist decided to leave the band and relocate to California to pursue other endeavors.

“We decided it would take a lot of work to get it back to where it was,” Godwin says. “We also decided where it was wasn’t where we wanted to be.”

Around a week after Lindquist’s exit, Godwin says he and Corbray officially decided to lay the nearly 11-year-old project to rest.

“Some bands realize their time, some bands don’t,” he says.

Godwin formed the band, originally known as Supplication, in 1993. Lindquist and longtime drummer Mark Garza joined shortly thereafter. After toiling in the Dallas-Fort Worth hardcore/death metal scene for several years, the band changed its name, rotated members and recorded a handful of demo tracks that secured them a deal with Solid State Records in 1997.

The following year, Embodyment unveiled its punishing full-length debut, Embrace The Eternal – a record Tooth & Nail President Brandon Ebel calls “grindcore, super heavy metal.”

In 1999, as the band prepared its sophomore effort, vocalist Kris McCaddon parted ways with the group, citing an “artistic situation.” McCaddon, who now plays guitar in Demon Hunter and handles graphic design for Tooth & Nail, designed the cover art for both Songs For The Living and Hold Your Breath.

Just a month after Corbray, former vocalist of local

hardcore group Within, joined the band, they began work on The Narrow Scope of Things. A vast departure from their previous material, Narrow Scope only contained tinges of the band’s brutal sound of old. By most accounts, it was an emo/hardcore release long before the genre garnered widespread attention. “If we had released Narrow Scope about a year and a half ago, we’d probably be in a different boat,” Lindquist says.

The band’s 2001 release, the 10-song post-hardcore opus known as Hold Your Breath, contained not a single scream, making it blatantly clear that this wasn’t a band “to put out the same record twice,” as Lindquist puts it.

It was around this time that the band was contacted to record some material for a possible release with Universal Records. After recording several new songs and re-recording others, things fell through with the label. “They were wanting a nu-metal band,” Godwin says. “We were wanting to do a more Foo Fighters/hard rock thing.”

While the tracks from the industry demo eventually found the light of day on the band’s 2002 XS Records debut, Songs For The Living, the release itself barely got off the ground. Around the time of the album’s release XS was having serious distribution problems. “It was a big letdown for us,”

Godwin says. “It was just another sign that things were coming to a close before we had planned.”

After the decision to breakup was made, the band did play one final show in early December, although because they “didn’t want [any] heartbreak,” they didn’t tell fans before or after the show that it would be their last ever, Godwin explains.

The band has no current plans to release the five-song demo they recorded in April 2003 with producer Barry Poynter.

At present, Garza, who exited Embodyment in early 2002, and Godwin are working on material in the vein of the band’s earlier recordings.

In the end,Lindquist says he learned from his experience in the band that “it’s important to follow your heart ... regardless of how many odds are stacked against you.”

BY ERIC W ALEXY

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Morrow Metal Report

What’s going on in the world of Christian metal Antestor will be releasing their first release since 1998, an EP entitled Det Tapte Liv in mid-April. The track listing is as follows: 1. Rites of Death, 2. Grief, 3. Last Season, 4.

Med Hevede Sverd (With Raised Swords), and 5. Det Tapte Liv (The Lost Life). The first 1000 copies come in a black matte, heavy paper box with a special heat-embossed Antestor logo on top, with a place inside to later add the full length Antestor digipak.

Hybrid metallers Royal Anguish The nine latest metal played their first live show in 9 releases and what you years in St. Petersburg, FL. in need to know about each January. Footage of this show and one another was taken by a professional DVD company and the band Illuminandi (Demo II) - Polish band will release clips on their website that plays metal mixed with stringed in the near future. instruments. Very impressive demo with male and female clean vocals Frost Like Ashes has decided to and growled male vocals. Check dissolve their relationship with out http://www.illuminandi.kdm.pl/ Sounds of the Dead Records. menu.html The band is shopping around a 4-song demo to labels and will Encryptor (Sermon Decay) – This begin recording their next album, sophomore album shows a muchTophet, in March. Labels inter- improved Encryptor. Better producested in getting a copy of the tion, killer artwork, and death metaldemo should contact the band at a-plenty! frostlikeashes@hotmail.com. The band has also been approached Spirit’s Breeze (Eternal Suffering)

by Matt Bachand of Shadow’s Fall – This Brazilian band’s first full length about doing a song for his label, is very brutal and insane death metal Lifeless Record’s upcoming com- with two vocalists (one being a chic!). pilation A Treasury of Sorrows.

Production could use some work,

This summer, Fear Dark Records will release a new album by Immortal Souls called Once Upon a Time in the North. The album will feature 2 new songs, 4 demo tracks, plus the entire The Cleansing EP and their 4 songs from their Virgin Black was chosen as the OOP Divine Wintertime EP. main support for Opeth’s AustraFacedown Records will also be lian tour in late March for 4 of the re-releasing Immortal Souls’ lat- 6 shows. est full length Ice Upon the Night in the U.S. It will feature the same songs, but different artwork. This release will precede the band’s first U.S. tour this summer along with a Cornerstone appearance.

Momentum Scandinavia has signed Norway’s Frosthardr for a March 2004 EP release.

A previously unreleased Extol song from the Synergy recordings Bombworks Records has an- will appear on a new 2-disc comnounced that they are planning to pilation from Century Media called release the much sought after, but In the Eyes of Death: Volume 4. never officially released extreme The song is called “Dilemma Inblack metal album Dark End Times conceivable.” by the band Dark Endless. Those involved in the mastering process claim an album that will “blow away Horde”. The album is tentatively set for a limited run of only 300 copies.

all-around disc musically and vocally. Check out http://www.geocities. com/exousia_site/ Hearken (Nuclear Negligence) – Straightforward death metal with bold lyrics. Nothing flashy, but a good listen and a band worth keeping your eyes on. Check out http://www. members.tripod.com/~hearken/ Dissolve Being (S/T) – Technical death metal from the U.S. Death vocals are decent, but will take some getting used to. Production needs serious work. However, a talented band that shows promise.

Step Cousin (Innocence Before Oblivion) – Groovy thrash? Take a mix of recent Mortification and Faithbomb and you’re getting close. Horrible album cover!

but this is definitely an improvement over their first EP. Moriah (Where Death, Is Your Victory) – Debut release from Brazilian band that mixes death, doom, thrash, and black metal with a heavy reliance on keyboards. All these styles are combined to create an interesting extreme metal album. Check out http://www.moriah.cjb.net/ Clemency (Divine Legions at War) – Second album by these Brazilian death metallers. Very brutal music and excellent packaging. However, production is still very lacking despite being more consistent than Spiritual Domination.

Exousia (Conquer) – Third album

by Mexican extreme metal band.

Less heavy, but more emotional and melodic than past efforts. Excellent

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WHERE DOTHEY GOFROM HERE?PILLAR PILLER BY LEE HALEY The music industry is in a very volatile state right now. With a plethora of lawsuits ranging from peer to peer file sharing, to copyright infringement, and a daily changing paradigm, it’s safe to say that the brass ring that most of us try to grab at least at some point in our lifetime, may or may not be that attainable anymore. It is also becoming very apparent that the days of sending in your demo tape to a label, or bumping into that A&R guy in the airport and handing him your demo so he can discover you as the next rising star may be long gone as well. It seems all you have to do nowadays is show up at the nearest hotel lobby of a major metropolis such as: Nashville, Los Angeles, Chicago, Austin… take your pick. Simply stand in line for hours to audition and possibly advance to have your beautiful little mug showcased across millions of television screens across the nation so America’s finest couch potatoes can dial in to either catapult you to the glitz and glamour you’ve always dreamed of, or seal your fate with the assistance of AT& T via a push of a button. Heck, you don’t even have to have any talent at all anymore and you can have hundreds of fan clubs and websites dedicated to you! It’s fairly obvious that a very small percentage of people actually make it to a level that can even be considered close to being successful. Those odds are even narrower if you are competing in the CBA market (Christian). To add more confusion to the mix, you can count the non-pop (Rock) acts in the CBA market on one hand or less! So, how did a group of guys – from all places, Oklahoma – break through this otherwise impenetrable barrier?

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Enter Pillar: Pillar is Rob Beckley (V) Kalel (B) Noah Henson (G) and Lester White (D). Pillar was formed from a group of friends who met in Hays, Kansas in early 1998, when several original members were enrolled in Ft. Hays State University. They soon met up with singer Rob Beckley, who had just returned from the service and that formed the beginnings of Pillar. After the band released and self-produced two CDs, they signed with rock label Flicker Records, which released Pillar’s debut album Above in September 2000. The success of its debut single, “Open Your Eyes,” led to more than 60,000 in album sales. Soon afterwards their popularity grew and they inked a deal with Flicker/MCA (now Geffen Records). Their latest release, Fireproof, to date has shipped more than 350,000 copies.

As is usually the story, Geffen Records made the inevitable corporate changes within the label, and the band found themselves without their supportative A&R man, and asked to be released from their contract with MCA Records. Now back in the studio recording Where Do We Go From Here, their follow-up to Fireproof with legendary producer, Travis Wyrick, the band just confirmed Chris Lord-Alge (No Doubt, Everclear, Orgy, Barenaked Ladies, and Foo Fighters, among others) to mix two new songs for their new record. Pillar also co-wrote a song with Megadeth front man

Dave Mustaine, who also played guitar. On top of that, they recently inked a deal with Microsoft along with Sting, Ludacris, Peter Gabriel, Sheryl Crow and others for the new 5.1 Surround Sound for Windows Media 9.

I spoke to bassist Kalel about the highs and lows of the past year and what all they had experienced. “Man, yeah, this last year was crazy, dude. I mean Fireproof was still kicking butt. I mean, it exceeded all of our expectations. You know, we had hoped to sell at least 100,000, but never thought it would happen, and then it sold 200,000 and it’s still climbing.

It blew us away, you know. We kept touring our butt off this last year.

The label deal, you know, it basically turned our lives around. We were mainstream. We did a lot of great stuff. You know, we played with Korn, we did a show with Sevendust, a lot of big, huge festivals, and we got a lot of radio play. We were just in Hit Parader Magazine last month and even in Rolling Stone Magazine. You know, it was like a whirlwind. Then, this label change happened and we were back on Flicker and, it’s like, it all just worked out for the best. We are set up for this album to go out of the solar system. MCA had spent nearly ½ million dollars on us, and weren’t working the record, and they were used to working with these new bands

PILLAR

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coming out of nowhere who wanted to be signed.

It’s like, dude, we’re in our prime right now, we don’t need you guys. We even told that to the president and we had our lawyer say, basically, ‘These guys don’t need you. If you’re not going to work them, let them off so they can go get on with their careers.’ They let us go. We were completely free and clear, which was actually amazing. You know, at the time, we were like, ‘This kind of sucks,‘ you know,” Kalel states.

The band, according to Kalel, has always had 100% support from Flicker Records even from the beginning, which is why Pillar stayed with them. ”Flicker has always loved us and supported us and they loved our music. They are a great label, and that’s why, when we were free, we took offers from a handful of labels, mainstream and Christian, and decided to go back with Flicker, because they offered basically the best record deal that anybody could get, and they had a passion for our music. They also have a new CEO, named Troy Vest. He is a marketing mastermind.”

we’re not fans that want to bug people. But, after awhile, when we were working on this record, I was like, ‘Man, dude, that would be great, to have him do something with us,’ and we didn’t ever think that he would think about doing it. We just called him out of the blue one-day and he was like, ‘Yeah, man.’ The tour was last spring, so we met him in May, I believe. We just called him a few months ago, told him we were working on new stuff. We sent him our new EP. After he heard that, we brought it up. He was interested, we talked to his management, and he came down, and wrote that song for fun. It was really cool, man. He flew down to Knoxville for a day, hung out with us all day, we jammed, wrote the song, recorded it, went out to eat, and he left the next

day. He played guitar on it and played a ripping solo. He may sing, but we don’t know yet because the song’s not done yet. We’ve got to see where it goes. We don’t want to throw him on there just because. We want the song to be a good song. We are going to save the song we wrote with Dave Mustaine for the re-release of the new album. We have several mainstream labels looking to license the new album to the mainstream market. We want to save that track for the mainstream release and that world.”

The band since the very beginning has had to endure the whole “dated” rap rock tag, but is currently developing, stretching and growing in a new direction. On the subject regarding the influences that helped inspire their new direction and sound, Kalel states, “The coolest band that we’ve come in contact with lately, that we actually played a show with, we met, they’re really cool guys, we’ve watched them several times since then and they’ve blown our minds is a band called Sevendust. We couldn’t believe just the power and how tight they were, so there is some influence of them on our new record. It’s not like our record is going to sound like them in any way, but just watching them play and hearing how tight they are has influenced this new record a bit. I mean, the rap-rock thing is definitely gone.

We almost knew that while we were writing Fireproof. “We put a bunch of all-singing stuff — and then we released the EP with all singing stuff so we could do whatever we wanted — rock singing powerfully, putting some killer screams in there. On some songs, you hear a little bit of Tool influence, Sevendust influence on a couple of songs, some Foo Fighters influence on other songs. You know, we really mix it up a lot.

When asked on how Megadeth founder Dave Mustaine became involved with the new record, Kalel quickly interjects. “We were on the See Spot Rock tour with Reliant K last year, playing in Phoenix, and I guess that guy, what’s his name, the big guy with the SuperTones, who met Dave and brought him to the show, or they came to the show, and when me and Noah heard about him being there, we wanted to meet him. You know, we listened to Megadeth and Metallica and all that growing up. Yeah, so when we met him he was really cool and spent time talking to us, backstage, he talked to us, told us his testimony and stuff. He gave us his phone numbers, you know.

We never really called him or anything. You know,

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Vision In Analog : The Story of Ronnie Martin

By Jason Dodd

Very few pop Artists (and it is important to realize this distinction when approaching Ronnie Martin’s music) have demonstrated an ethos as peculiar and strident as Ronnie Martin’s. That Martin was cursed to shine in a dim subculture that burns its exceptional and bows to its mundane is equally tragic and exciting

-- not to mention very Old Testament -- and it made the pursuit of transcendence a necessity. Regardless of one’s current perception of Martin, it is safe to say that there is much we can learn from examining the development of such an extraordinary life.

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1970 : On June 6th, Ronnie Martin is born in Inglewood, California.

1972 : On December 17th, Jason Martin is born.

1975 : Ronnie first notices music.

“I had a little 45 player that my parents got me when I was five years old, and I used to play little 7” novelty records they’d buy me of jingle songs.”

1977 : Ronnie hears the first Keith Green album, For Him Who Has Ears to Hear, and decides he wants to make music.

1978 : Ronnie starts piano lessons and riding motorcycles.

1981-1986 : Ronnie races moto-cross.

“I won races, I didn’t win championships. At the time that we really could have used money to get a little further [with racing] my family was going through major financial problems. I decided to stop for a little while and see what would happen, but it turns out that my focus just changed.”

1986 : December 31st, Ronnie sees Mad At The World play its first show.

“Daniel Amos was playing what was to be their last ever tour, for the Fearful Symmetry record, and they played at the big municipal auditorium in Riverside, California. The Choir was opening up, and there was literally thirty people there … and when we walked through the door they were handing out flyers for this thing called Knott’s Berry Farm Jubilation, which happened every New Year’s Eve. Frontline Records had just started, and they had a bunch of new bands playing at this thing, and one of them [pictured on the flyer] was this group called Mad At The World. We saw them, and they were really just unlike anything that had ever happened in the [Christian] scene before.”

1987 : Mad At The World releases its self-titled debut on Frontline Records.

1987 : Ronnie writes his first song on piano, “We’ll Last So Long.”

1988 : Ronnie buys his first synth (digital) for $1700.00, which he saved up working for his father during his senior year of high school.

“It was an Ensoniq. This was actually the world’s first workstation synth. It had a built in sequencer, which meant that when you got this synth you could learn how to program and sequence and do a whole song just with that synth. Yeah, it was digital, because analog was about as out of fashion as it could possibly be at that point in the 80s. I didn’t even know the difference between analog and digital [at the time].

“My original [musical] intention was to learn to play guitar and learn how to write songs and find a band, but then I was exposed to electronic pop music. It wasn’t so sorted in my mind how to [make music], and it didn’t really get sorted in my mind until I got the synth. I knew exactly what to do after that.”

1988 : Ronnie sees the Pet Shop Boys on Britain’s “Top of the Pops.”

“They were on there doing ‘It’s A Sin.’ They had Chris Lowe with his big bank of synth, and Neil Tennant just standing there singing, and I looked over at Jason and said, ‘Why don’t we just do that? That way it can just be us two, and we don’t have to get a band.’ And he’s all, ‘Yeah, alright.’”

1988 : May, Ronnie and Jason play their first show, as 2Lads, at a school banquet.

“We kept the name 2Lads for the rest of 1988, and I think we did play a couple more shows. That led us to the [fall] of 1988, and that’s when things started to change a little bit.”

1988 : Late fall, Ronnie and Jason form Morella’s Forest with Randy Lamb.

“He played guitar, but we had him play bass. I bought a guitar and started learning guitar, and then on the weekends he’d come up to the house and we’d just sit there and play LSU covers all weekend. We were just jamming and writing our own songs, and we actually started getting shows.”

1989 : Spring, with the help of Lamb’s parents in recording a demo, Morella’s Forest signs to Narrow Path Records.

1989 : Late summer, Morella’s Forest records with Chris Colbert.

“We actually started to play a lot of shows at that point. We started getting to open for Breakfast With Amy, who was actually signed to Narrow Path, and we got to play with the Violet Burning, which was just starting to make a big splash. We went into the studio with Chris Colbert … but it started turning into a weird thing, because the label was having financial problems … which we didn’t know about until much later -- we were so young and ignorant.”

1990 : Early in the year, Morella’s Forest disbands.

“When [the record] was finished it was just sitting on the shelf … and I just wasn’t satisfied with the project -- it just wasn’t what I wanted to do musically. And Jason and I probably got into a lot of arguments around that time … and I just sort of lost it. I had thousands of dollars worth of synth and drum machine sitting in the studio that I was still working on … and I just determined at that point, I really don’t want to do [Morella’s Forest]. But it didn’t matter anyway, because the label folded and that was it.”

1990 : Winter, Ronnie catches the attention of Mike Knott.

“I had bought a new 6-track recorder, and I recorded what I thought was my best demo ever with all the electronic stuff. And it just so happened that I accidentally bumped into [Chris Colbert] at Guitar Center in Orange County, and he goes, ‘Ronnie, are you still doing that electronic pop stuff?’ And I go, ‘Yeah, we’re not even doing Morella’s anymore.’ And he’s all, ‘Well, Mike Knott started a new label called Blonde Vinyl, and I told him about that stuff you’d done … if you have a demo or something I want to show it to him.

He’s signing five bands right now to put out with this new label, and I’d like to get you on board, because we want to have five really different sounding bands.’

So, I got him a copy [of my demo], and he called me about a week later and said, ‘OK, Mike wants to do it, you guys are in.’”

1991 : February, Dance House Children is formed and signs to Blonde Vinyl.

“I did that whole demo by myself, and then after we got the Blonde Vinyl deal … there was actually a little bit of tension, because Jason and Randy had a falling out. I said, ‘We gotta bring Randy over into this thing,’ and Jason said, ‘No way, if Randy does it I’m not doing it.’ So, Jason’s the brother, so I had to stick with that and say, ‘OK, but you have to tell him.’”

1991 : June, the first Dance House Children record, Songs and Stories, is released on Blonde Vinyl.

1992 : Spring, second Dance House Children, Jesus, is released on Blonde Vinyl.

1992 : Fall, Jason leaves Dance House Children.

“We probably did a total of ten or fifteen shows in the lifespan of Dance House Children. It lasted until the end of 1992. Dance House didn’t really break up.

Jason and I just couldn’t get along anymore, and he just didn’t want to do that kind of music … and, actually, I didn’t either. We’d gotten sort of trapped in a style of music that we were both unhappy with. (It was all digital, more or less.) He started learning how to play guitar in ’92 … and so he started getting more interested in that.

1992 : Winter, Ronnie buys his first analog synth, the Moog Prodigy (for $125) that would later be featured on the cover of Joy Electric’s Robot Rock.

“I just totally got immersed in all of the analog stuff.

The beginning of 1993, I did some demos.”

1993 : Frontline offers Ronnie a deal as Dance House Children which is foiled by Frontline’s chaotic internal politics.

“After Frontline offered me the deal, something like 80 or 75 percent of the staff left Frontline. This huge thing happened, and the guy that offered me the deal, and almost everybody else at the office besides the big guys, had left the label.”

1993 : Ronnie signs to Mike Knott’s Siren Records and releases the third Dance House Children/first Rainbow Rider record, the first album he would make with analog synth.

“It wasn’t completely analog. It was probably 50% analog. But it was basically getting analog textures. It came out in October of 1993. ‘Rainbow Rider’ was written so big on the record that everybody just thought it was the name of the band, and it was actually just the third Dance House record. We just decided to go with it and call it Rainbow Rider. We did a Mortal tour, and that’s when Jeff Cloud jumped into the picture, but as far as doing the record, it was just me. Siren Records was Mike Knott’s attempt after Blonde Vinyl folded to start a new label, and only two records came out on the label. One was Rainbow Rider, and the other was LSU’s Cash & Chaos … both in 1993.”

1993 : Ronnie meets Brandon Ebel at a Frontline Records “rave.”

1993 : Late fall, Brandon Ebel starts Tooth & Nail Records.

Joy Electric - Visions in Analog

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“Brandon had started T&N, but he was still kind of working for Frontline before he totally cut off from them. He was kind of in an in-between state at the time, but I met him during the time of that rave thing he put together, and then I ended up seeing him a little more after that.”

1994 : Spring, Ronnie produces the first Echoing Green record for Frontline.

1994 : Late spring, Ronnie signs to T&N as Joy Electric.

“And at the same time, the regrouped Frontline was offering me a deal [with a] $7,000 cash advance. It was the one time in my life that for some reason I saw the writing on the wall. [Frontline] just looked out of control. And I saw Brandon in this little office … I just liked his enthusiasm, and it just seemed right. So, I literally took seventy percent less money than this bigger, more established label was offering me and I went with the little guy. I was one of the very first groups he signed, but the record ended up not coming out until November of 1994, because he was just doing other things and putting out other releases.”

nights and having these shows, but they would never book me with it … because of how we sounded, and everybody just sort of laughed at it. There was just no breakthrough with it, and it just seemed like things kept getting worse during that whole year. We were going on tour, but what was most frustrating was being in Southern California where all this big stuff was happening and us saying, ‘Well, you know, we are on T&N, we’ll open up the whole show. Can we just open up for Starflyer and Plankeye and Wish For Eden and Havalina?’ And it was just like they wouldn’t even give us the time of day.”

1996 : May, Joy Electric releases We Are the Music Makers.

“I don’t know why, but Music Makers sort of changed everything for some reason. It’s such a weird record – it’s probably the weirdest record I’ve ever done. But that’s when it seemed like we acquired a fan base, right when that record came out.

From 1996 on, the musical career of Ronnie Martin is well documented. He would go on to release at least ten more official full-lengths, singles, and EPs on Tooth & Nail and his own label, Plastiq Musiq. The biggest shift during the last eight years being when Martin recorded The White Songbook, the first in an ambiguous, ongoing series that to the outside observer would seem to be his attempt to finally perfect his vision of mastering the pop craft with only analog synth. The third installment is titled Hello, Mannequin and will be released on Tooth & Nail Records in the summer.

1994 : Ronnie introduces Brandon to Jason’s new band, Starflyer 59.

1994 : Summer, first Joy Electric recording is released unofficially in limited capacity at Cornerstone Music Festival.

“We played Cornerstone that year for the first time, under Dance House Children. We got booked for it for Dance House, and by the time Cornerstone came around Dance House was no more and I had already signed with T&N under Joy Electric. But I didn’t want to tell them Joy Electric, because nobody would have heard of the name and nobody really knew what was going on at that time. But nevertheless, Brandon printed up a 3-song cassette promo that came out at Cornerstone that year that we were able to sell. It had the Joy Electric name on it and a couple of the songs that were going to end up on [Melody].”

1994 : November, the first official Joy Electric album, Melody, is released, still not completely made with analog.

1994 : December, Joy Electric joins Mortal’s farewell tour.

1995 : Summer, Ronnie finally goes 100% analog and records the Five Stars For Failure EP and releases it in the fall.

“With an analog you can get so many bizarre sound effects, and if you concentrated those kind of effects and those kind of weird sounds … to me, I just wanted to create something that didn’t sound like anything else at the time. And I’ve always had this fear of people tagging what I do as this 80s thing, but if you’re writing pop songs and you’re using a synth it’s automatically how people are going to tag it. So, it was almost like rebelling against all that and saying, ‘Look, I don’t sound like some old Depeche Mode record.

I’m using these weird old synths, and it’s like a style unto its own.’ And that’s what I wanted to do.

“That first year, 1995, was literally, literally horrible. I mean, we were like the ugly ducklings on T&N. And it was a really important time, because Southern California had a resurgence in the scene, and all the bands on T&N were enjoying all of this modest success. Just to be associated with T&N was becoming this huge thing, because all these promoters were booking T&N

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Underoath Tour Journal In February of 2004, HM was asked to jump on the road with Underoath. The band had recorded a preproduction demo and was preparing to enter the studio with James Wisner (Dashboard) to complete a new release (They’re Only Chasing Safety). The three day stint served as preparation for an upcoming tour. But, more importantly, enabled us to step into the lives of six young men. During those days I was met with joy, acceptance and brotherly love. Th is is a journal of those events; written and photographed by David Allen.

Th oughts, questions and emotions, while lacking spatial organization, are a wonderful tool for quick insight. So, within certain time-lined elements, descriptions may shift from a visual explanation to a quick description of thought. Maybe it’ ll make sense; maybe not. Whatever the outcome, here’s more information than you’ ll ever need to know about Underoath.

Time

Event Description

Image

Friday 9.32am

A couple of the guys stood by the airport baggage claim to get me, the journaling tag along. After spotting each other from the escalator, we met and headed outside. The rest of the guys were waiting in the van. Introductions were quick and the general feeling was intrigue.

Would the band feel comfortable with a visitor, and what would the visitor write…

9.40

After jumping in the van, we spread out and talked it up.

10.18

Food was on their minds before the trip to the airport, so the decision to eat Mexican led us towards Los Compadres. The small restaurant outside of Birmingham was the exact place Underoath had signed its contract with Tooth & Nail Records (Solid State). We drove around to find a parking spot for the van and trailer. The waiter was cool, but the cowboy statue with gold teeth was even better. Queso was the appetizer of choice and our discussions were still fringed with curiosity.

10.45

Jump in the van. The exhaust on that thing was crazy. It had galvanized the area surrounding the chimney exhaust pipe. Later we would spit on the spot for fun. Watching saliva bead up and drip off is surprisingly amusing.

11.06

Ah, Wal-mart. Heading towards the rear of the store, Spencer, Aaron and Chris decided to buy duct tape. They almost went with the tape sporting a fine camouflage print, but the consensus decided that regular duct tape works the same and is actually cheaper. Then suddenly Spencer and Aaron looked at each other and vocally decided it was time to use the restroom. It was both odd and hilarious. As Chris and I went to the electronics area, he drew me near to speak of the unconscious competitive nature between Aaron and Spencer regarding the necessity they were off to complete. Whoever could “contribute” the longest… well, that person won the round. We caught up with James and kept walking. The opportunity seemed open, so I asked the question everyone has wanted to know: What really happened with your last vocalist? A

11.22

By his response, the subject had been brought up many times, but an easy answer remained distant. Walking towards the checkout lanes, Chris revealed that there were differences that the band could not ignore. For Underoath to remain as a band – as one single unit – each member had to adhere to the purpose that has bound them together: Jesus Christ. My assumption is that mistakes may be common, but disregard was a threat. It was a hard decision, but they collectively approached the situation with hopes for a positive outcome. As difficult as it was, the result left Underoath without a vocalist for some time.

11.36

The mood was lightened as a small room with arcade games was spotted. After checking out, we hit up that yellow and purple arcade.

Somehow, in about five minutes, all of the guys came from nowhere and were playing games. Grant and Chris threw down with an intense round of air hockey while Spencer tried to kickflip a beat up TopSkater board. The game didn’t respond well, so he jumped on the Arctic Snowmobile seat and James slid behind just to hold on.

11.57

It was hard, but we managed to leave Wal-Mart. With time to spare, the local mall was next. Sure enough, the restrooms were first on the list of activities, followed by the upstairs arcade. Chris is a natural. The guy can kill criminals and dodge bullets for hours. James and I stuck out the weird Uncle Fester hand shocker. After such rigorous gaming, every last one of us enjoyed the deep kneading pressure given to our backs by the massaging chairs at Brookstone. We’d all like to give a shout out to that chair.

1.14pm

Back to the van and onward towards the venue. On the way, Aaron put in the pre-production demo of the new album. At first I was shocked. Sure, it wasn’t the Underoath I knew from 2002’s The Changing of Times, but what caught me off guard was the new voice. I could hear stretching and yawing behind Spencer’s screams. Then Aaron’s vocals came in steady… you know, to extend tension after the bloody scream. What excited me was his control. It was as if he was absolutely pleading with God one moment, then turning to swear at mankind the next. I caught myself in wonder, so I pulled my mind away for a second to look at the guys. To my surprise, they were just as captivated. It was like a father staring at his newborn child, knowing full well he played a vital role in the creation, but still trying to comprehend the significance of such an unknown. Well, it was something like that. Most of their mouths were open – a good indicator of intense thought – so I jumped back into the fold… right back into the middle of a breakdown. The tightness of the band echoed in contrast to Spencer’s aching and ripped up vocals. Soon a build up was brewing. It was felt with Aaron’s doubled hits and the subtle force created after a shifting to a weak beat. Then, to preface the swelling tide, Spencer transitioned the crackling whine into a forceful and mature declaration.B

1.43

Before anyone could formulate a good response to the album listening party, we arrived at the venue: Cave 9. Finding a parking spot took some time, but then pulling the van to the front of the place made life easier to help unload equipment. But that took time. The promoter

A. The topic was Dallas. He had been the band’s vocalist since the beginning. An enigmatic character, his personality drew people in. So when fans discovered he was gone, the internet lit up with curiosity. Part of the interest behind this journaling was being able to catch an insight into how well the band works together with its new singer, Spencer Chamberlain.

50

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wasn’t around yet so we messed around on the sidewalk. Tim figured out that everyone should learn to fly. So him and James squeezed into a tiny jacket and spread wings. Nice. Shortly after arriving, one of the opening bands, Anam Cara, showed up. A new hardcore band on Strike First Records, Anam Cara features former Underoath guitarist, Octavio. The Underoath guys were excited to hang.

2.16

Time to load gear. It started with the big stuff near the main door of the trailer. The process was relatively consistent from show to show.

Cases and amps. Pretty much everything needed to go inside. Then, closer to the back, we brought in the merch containers. Those Rubbermade type boxes hold a ton of shirts.

3.40

Hurry up and wait. We sat with the likeness of Burt Reynolds surrounding us on the venue walls. Photocopiers are useful.

5.15

During our time of wait, preparation and chatting, I took a few moments to speak to Chris, Spencer and Grant individually about the new album. First of all, the three guys were excited about being able to record the new album. Just getting the planning and practice laid down in the studio was going to be a pleasure. There’s nothing better than watching and hearing a creation go from idea to actuality. And they knew having James Wisner (Dashboard Confessional) to help shape those ideas - as producer – would actually enhance the final product. It was a display of confidence but with a disclaimer: it will be different than before. Their tastes had changed… as would the music.

6.33

Pardon the missed entry, but this writer took a much needed nap in the floor of the van.

7.06

The kids hanging outside were getting rowdy. I awoke to some 15 year old kid shaking the van for giggles. Inside, the first band, Anam Cara had just finished its set and Celebrity was getting prepared. Most of Underoath was hanging out upstairs near the merch tables. We sat around and talked it up with everyone around. The guys were happy to see that Brad (ex Norma Jean) had traveled to catch the show with his wife and child.

7.49

Everyone spoke highly of the guys in Celebrity. They went on stage and played a good set but it was hard to make out the vocals. Either the mic was jacked up or the singer shied away from other people’s germs… no matter, the rock was quality.

8.30

The members of Underoath were brought together for group prayer. Many artists hold a quick prayer right before a show, but right away this seemed to be more than that. Able to see each person, we sat in a circle in the back of the van. Then we started by finding out how everyone was doing that day. Some responses were quick, and some were not. The point wasn’t to break some sort of ice, but to truly listen and hear what each guy had to say. Next was an open forum to see if anybody had learned anything new or paid attention to God communicating that day. Later, it was fascinating to see the different responses and watch how one person would be silent, then the next day pour out something profound. Things were summed up with spoken prayer requests then one guy would take on the responsibility of praying for both the requests and the show. The time was peaceful. It was a brief sanctuary on the side of the road… you know, next to the venue and that same 15 year old kid shaking the van again.

9.00

File out and head inside. Minutes later the guys began pulling their gear from nearby and setting it up on stage. During the transition, those who hadn’t heard Spencer on vocals were talking about the “new singer” and wondered “how well he’d perform.”

9.12

Okay, now here’s how the first show went down. Underoath opened each night with a clip of the chorus from Outkast’s “Hey Ya.” In theory, it sounds odd, but in effect they managed to lighten up the crowd and build for a quick opening. Right when everyone started to clap with the song, Underoath paralleled the rhythm and dropped into their own track. It was their first show in months, but the uninformed would have never known the difference. As much as everyone enjoyed Celebrity, its style of rock was almost relaxing. But Spencer was trying, with everything in him, to burst a couple blood vessels in his neck. The new singer questions were laid to rest and the crowd followed suit: popping blood vessels all over the place, it was gross. Well… not really, but everyone up front went a little crazy.

9.34

During the set a speaker pulled too much heat and started smoking. Part of the crowd close to the band started hacking up lung stuff so we managed to part the sea of sweaty people and carry the black box outside to cool off.

9.48

Minutes later Spencer was screaming into the crowd and made one of the most awkward faces imaginable. Then he just kept going. We found out later the ball from his lip ring came loose and he swallowed it in the middle of a scream.

10.31

The performance was great and met with overwhelming support. Everyone roots for the band they enjoy. So when that band gets shaken up, and the outcome proved to be just as solid – if not more concrete – the kids left the place with smiles and anticipation for the new material. After the set, the band spread out around the venue. While everyone made their way out of the doors, a couple guys headed up to the merch table to talk to some fans and the others chatted for a few minutes before tearing down equipment.

10.45

During teardown, everyone was chatting with old friends. A few fans were still upstairs buying merch and Aaron plopped down on the couch next to the table. His face was red and muscles already sore. He was tired but ready to tour again. He said it was always that way.

After taking some time off, they found themselves sore for a few weeks when starting it back up. So the mini tour was a good exercise to get them all back in shape to hit the road for months.

11.07

This was interesting. A transaction most people don’t even think about, Tim had to approach the promoter to get paid. The way it works is pretty simple. Either a band gets a specific amount of money for playing or a band gets a smaller amount plus a percentage from how many people show up. The money the band makes usually goes right back into standard expenses. It keeps them alive and on the road.

Think gas, food and pocket Yahtzee. Or it’ll go into a small savings to provide luxurious amenities, like an engine that doesn’t overheat, blankets without holes and the dream of all dreams: air conditioning. I started to feel bad for all the times I’ve worked my way into a show without paying. I thought I was stiffing “the man,” not the ones entertaining me. Anyway, a lot of people turned out for the show, but many of the kids snuck in. The promoter discussed the situation with Tim and paid them. I couldn’t imagine having to mess with that stuff.

B. All immediate opinions were withheld. A discussion would have been interesting, but it needed some time to digest. Actually, I used that exact word becauseTim chimed in about waiting half an hour before I go swimming. Swimming? “Yeah, maybe we can sneak into the hot tub when we get back home… we do that a lot.”

Underoath - Tour Journal

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Time

Event Description

11.24

As the gear was being placed into containers, Octavio noticed a guitar bag on stage. Wondering whose it was, he opened it up and discovered a familiar looking guitar. He immediately yelled for Tim. Everyone around was curious, but obviously Tim was the center of attention. After looking and discussing back and forth, they both felt that it closely resembled an old guitar Tim had “lost” (or was stolen) about two years back. Expressing doubt, Tim scanned over the guitar again. Octavio dug into the bag and confirmed their suspicions by pulling out some identifying picks. We eventually concluded that either someone felt guilty and used that date to leave the guitar behind, or somehow had grabbed it years ago and accidentally left it behind. Tim was excited like a TV evangelist discussing the book of Revelations, except Tim wasn’t shouting and he doesn’t have a wife with big hair.

11.45

And we’re off, new found guitar and all.

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Saturday 12.10am Everyone was hungry and Aaron’s stomach was growling. So we went to a place called Al’s Mediterranean Palace of Edible Love… or something like that. It stays open late and the hallway type diner setting was fun. Cramming into two tables, we ate up the goodness and people from the show randomly stopped by to give love and compliments.

12.46

Wrapping it up, we headed over to their friend’s house. Kevin grew up with them in Florida but had moved to Alabama to attend school.

We found a parking spot by his house and walked up a back trail that spit us out next to the porch. Preparing for sleep, Spencer went upstairs to say goodnight to Kevin’s pet pig, Blaster Master 3000. About ten minutes later we were claiming spots to sleep.

1.13

Spots were mapped out. Most of Underoath spread out all over the floor. Sleeping bags and backpacks were spread throughout the house and the lights were shut off. The TV was in the living room, so – obviously – most everyone was situated near it. Aaron put in The Family Guy DVD and we nodded off to an episode.

2.39

The Family Guy DVD menu repeated about 300 times before Aaron finally got up and turned the dang thing off.

10.30am Cell call on Chris’ phone. The vibrating on the coffee table proved to be less invasive than evil alarm sounds. Make note.

10.55

Shower turns. Oddly enough, it’s easier to wake up when two other guys are brushing teeth and getting ready in the same bathroom. Last one in enjoyed cold water.

11.42

Load luggage/personals in side of trailer. If you don’t know how it usually goes, here’s the Underoath breakdown: the big door is the entryway for band equipment. A ramp connects the back of the trailer to the ground so they can haul the gear needed to play. On the right side is a small door to access from the side. The guys keep the merchandise towards the back and on the bottom. Their clothing bags and hair irons are placed on top of the merch. This way everything is more accessible when needed – it eases tension when Spencer and Aaron have trouble functioning without their hair irons (joke).

12.17pm Stop for food. Park near a few establishments and split up.

12.42

McDonald’s was the way for Spencer and Aaron. Ordered, sat and I revealed a more open assessment of the new songs. They were happy to hear of my enjoyment. One particular song haunted me for days. There’s this sudden build up and a full choir drifts in suddenly. It was both unexpected and powerful. They too loved the idea of having a choir on a song. The hard part was going to be figuring out how and where to get a big enough choir for the recording. It sounded like an interesting problem to have. Spencer went to take a bite and he kept reaching for his lip. Turns out he was still missing the ball from his lip ring. Without the closure, the ring slid in and out of his lip while eating. Aaron, randomly, digs into his back pocket and pulls an extra ball from his wallet. Spencer tried to pop it in, but it didn’t fit. And just as the topic appeared, it drifted away. Those moments of conversational lull when most people feel awkward doesn’t really happen with these guys. I’d venture to say there probably was a time each member felt self conscious around each other, but close quarters and months on the road help to squelch all that. We finished our burgers and walked over to where the van was parked… behind Taco Bell.

12.55

Nobody was there yet so we checked in Taco Bell. Aaron and I went over to the donation game on the counter by the registers. The one where you drop in a coin and if anyone can catch it the little Latino girl in the picture gets help of some sort and the manager has to fork over a month’s salary (not really). I started the chain by rolling big. Yep, we skipped the big bills and threw down quarters. Something strange happened, because Aaron and I kept winning. The manager made us stop and tried to send us off with cinnamon twists. The girl we were donating towards didn’t have a name. At McDonald’s they at least have a reputable charity. Taco Bell was running some sort of community tip jar for the manager’s weekend Bingo fund; or so we imagined.

1.10

Looking around we noticed that everyone had taken off. Arms full with fried cinnamon desserts, we set off to get gas. As exciting as having a bushel of cinnamon twists can be, two minutes after settling down, we wanted to get rid of them. Chris seemed eager so we threw them all his way. Sporting an adolescent grin, he collected the twists in his shirt and wrapped his hands around the wrappers in delight.

Mmmm, cinnamon speckles.

1.14

Get gas.

1.26

Hunker down for a little road trip. The back seat of their van is spread back into a bed of sorts. If anyone sits towards the rear of the seat, it’s either Indian style or like a hippie girl without shoes. Comfortable. Comfort also meant that shirts and pants quickly became optional.

You see, one man’s transportation is another man’s home. So Spencer and Aaron rested in more comfortable attire under a sheet on the back futon-like thing. Big Chris and I talk a little more. He’s completely infatuated with his cell phone and the camera on it. After drooling with cell envy, I asked about his role in the band. His take on being the lunatic keyboardist/mad electronic programmer guy. That and how he gained the position. The quick version went like this… Chris was the Slayer kid in school. His mom was scared of the music and wasn’t too keen on the devil either. One day, Dallas (former vocalist of Underoath) gave him a tape of Living Sacrifice. Somehow Chris’ mom got word and offered Chris a deal. She’ll give him a ton of cash to go buy new CD’s with Dallas if he throws out the evil Satan ones. He agreed and it ended up affecting him. Chris quickly discovered more out of the content being yelled in his ears and became a

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Time

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Event Description

Christian. However many years later, he was asked to be in the band. And there we were lying in the floor discussing his past and present.

Aaron chimed in to second the story. I think I heard Spencer’s “I” then Tim could have concluded with a well fitting “so moved.”

3.10

Then the topic moved to marriage. Because I had been using my cell to call my wife, the lovely Mrs. Allen, they wanted to get my opinion on marriage. “How is marriage?” Great. “Is it as cool as you thought it’d be?” It truly is, but in a way I never expected. “Dude, how about sex... I bet you love that.” Woah. Um... Why were these guys staring at me so intently? For a split second everyone felt odd. Then it hit me. They weren’t being perverts or dirty guys. Instead, they were truly in awe and curious about married life; about married sex. You see, each member of Underoath has remained chaste. I had no clue, but it become clear as each of my replies was met with complete attention.

Suddenly I was the enlightened one possessing some sacred knowledge and this band, my students. After tactfully expressing the beauty of two becoming one through marriage and sex, every one of the guys had a grin on their face. Ha, ha, it was awesome. There was an incredible beauty within their innocence. The subject changed and we talked for half an hour or so. Then everyone started dozing off.

5.27

Dang if someone didn’t have a bowel movement in their pants. It stunk so bad the smell was waking people up. Seriously. But fifteen minutes later we were asleep again. Well, except for Tim. He’s the man. That guy drives on and on. And when he gets calls about the band (be it Tooth & Nail calling or a promoter discussing directions), the area around Tim was transformed into a little business center.

7.15

Waking up… well, coming back to consciousness, Tim informed us that we were close to our next destination: Valdosta, Georgia. During our arrival, Aaron enjoyed playing air guitar and I think Spencer took up some sick (air) drum solos.

7.48

Spencer’s fiancé, Jessie, and Chris’ girlfriend, Dawn, were to meet us at the show. They beat us to the location so a quick phone call from them helped with direction. Arrive at Vito’s Rock and Roll Pizza. Chris’ parents came out for the show also. They were there to spend some time and support their son and Underoath. Love all around folks, love all around.

8.03

Going into the pizza place, a couple of the other bands were already eating. Pizza was free for the entertainment, so musicians were scattered around eating and waiting for more. To the left was Comeback Kid and to the right was part of Evergreen Terrace. Underoath checked upstairs to get a feel for the place. Nobody was up there yet, but the appetizing smell of pizza was quickly overshadowed with a splash of male body odor. The stage was the size of a medium walk-in closet and about 10 feet back was a little dance floor. Think dark, sweaty wood and you’ll have an accurate picture.

8.15

Unload gear and setup merch table on the outside porch.

8.33

Not wanting to mooch from the pizza Underoath had coming, I asked two of their friends if they wanted to split a pie. Both were down and we found a corner table to sit and talk. Kevin Wilder was the guy who owned the house from the night before. When his eyes squint to listen he looks exactly like Joseph Fiennes from Shakespeare in Love. Kevin has known Underoath for years and traveled with us for the upcoming show. Matt Binnie has also known the guys but this was his first time on the road. It was an interesting experience for him. He dresses like a frat boy and is absolutely hilarious. Matt used to live with guitarist James in a really small apartment. We talked about the guys. How they enjoyed watching Underoath evolve from an idea to a band with a following.

10.29

Peeking upstairs at the Evergreen Terrace set, we realize that the place is packed. There was little to no room for the bands to get on and off of the stage. Crazy. Everybody walking away from the area was soaked with sweat. James and Grant were outside by the merch and a fire truck pulled in front of the restaurant/show. Everything seemed peaceful, but word had gotten out that Vito’s Pizza place was overflowing with people. Two more firetrucks pulled up and blocked the road. Due to fire regulations, they had to put a grip on the show.

Capacity was way overcrowded so they forced the pizza place to restrict access. Anyone who went outside to look at merch or get a break from the humidity were stuck. Marked hands wouldn’t work. The only way in was when someone else came out. Tim came and informed us of prayer time. We walked to the van and Aaron was already there getting rid of the preshow jitters by spending alone time with God. Everyone formed a circle and took time away from the world to invest in God and each other. Open forum, communication and prayer.

10.58

Squeeze through the crowd to setup. Everyone was ready but Grant couldn’t find his bass. Hidden behind the crowd, he eventually found it. Chris queues “Hey Ya” and then drops in. The crowd was feeling it. The moment they let down their guards to start clapping someone yanked the cords to the keyboard. The song cut out cold, but Underoath didn’t miss a beat. Spencer let loose again and spit was flying everywhere. The crowd was so close that we had to continually figure out ways to keep them from overrunning Chris, Spencer, James and Tim up front. After taking photos, I headed towards the people to find some action. For some reason, the pit was weird. Maybe it was a small-town thing, or maybe the mix of hardcore kids and Slipknot fans had the circle guys confused. But in the middle of an already sweltering crowd, a handful of America’s finest insisted on swift kicks and flailing arms. It was no visual achievement but it was a good go.

12.11am

After the great response, people all over were wringing the humidity from their clothes. Kids hit up the merch tables and we slowly started to gather gear and take it down to the curb. During the process, each of the guys have their own thing going. Be it a fan coming to chat or friends catching up, the process gets stretched out. It doesn’t seem as though they mind it at all. Rather, each member has developed forward personality traits to meet the public head on. They love people and part of what they do involves being able to communicate outside of the music.

12.38

While Chris was taking apart his keyboard, the area had cleared out and an all together different set of twentysomethings were dancing to old school 80s music. “Footloose” came on. “Instead of tearing down, why don’t you break it down?” So I busted it with some shoulder drops and head throbs. Chris thought about joining in, but he just giggled…

1.13

As if they were getting ready to be released back into the wild, this short tour to boost spirits and inflame muscles was already preparing them for a much longer bout on the road. Immediately after the show, Underoath was straining a bit. Muscles were sore and eyelids were droopy. The trailer was loaded and we longed for sleep.

1.20

Chris’ parents decided to bless us with two hotel rooms to share. The idea of grabbing a bite to eat at Denny’s was discussed, but as soon as we hit the hotel elevator nobody wanted to budge. Winding down, Tim was spread out on the floor, couches held the majority of us and Grant was laying in the back bedroom watching trampoline basketball. Lights were killed and sleep fell all over us.

Underoath - Tour Journal

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Without further hesitation, may I present to you:

The men of Underoath Sunday: concise and brief.

10.34am Woke up, showered. Morning TV: Antonio Banderas in Desperado.

12.11pm Meet outside and head to Old Country Buffet. Everyone relaxed in rocking chairs during the wait.

1.23

Eat meal and compete in the Golf Tee game. Tim spills Coke on himself. Returns rocking cutoff jeans and pretty ankles.

1.45

Done eating. Enjoyed OCB clothing in the in the shopping section of the Buffet. Chris in a lovely moo-moo and Tim was looking saucy in faux fur.

2.02

Off to Jacksonville.

4.42

Arrive in Jacksonville. Nobody there yet so we hung out. Headed to Panera to use the restroom and sit (in that order).

5.27

Load gear.

6.41

Tim, Spencer, Chris and I hit up Subway. Lady was mean and her hand tattoo was throbbing. Tim asked for light sauce, she gave extra. Lady lightened up after being asked how her night was. Minutes Later, the meatballs passed through Tim and the bench we were sitting on. It shook the whole store and we laughed and laughed.

7.16

Back to the venue. Hang behind the merch booth.

7.43

James’ Aunt came to hear Underoath for the first time. Her good looking daughter comes with. Suddenly Mike (friend) is caring and lends an ear. Ha. Tim and Grant film Hong Kong Underoath flick. All 25 seconds captured in stunning detail as Tim busted Grant in the face (not really) and Grant struck back with precision. Then circle for prayer.

9.07

Show. Smaller, but great.

10.19

After show. Band love. Even James was signing autographs. A couple members of local band offer admiration and gear was torn down. Caught Tim practicing more Ninja skills.

Grant was chill, Spencer and Chris headed off to drive back with their ladies. Aaron was dead tired.

12.15am Head out. Gas and food. Fast food closed so Aaron and I threw down Ultra Slim Fast dinner. Blah.

12.39

Back on the road with Grant driving 500 mph over the speed limit. Aaron sat shotgun to keep him awake.

5.35

Home. Pulled up to their apartment and zombied towards the door.

Brushed teeth then crashed for hours.

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Aaron Gillespie

Grant Brandell

Christopher Dudley

Percussion, Vocals ¶ Aaron speaks

Bass ¶ Grant enjoys life and lays low.

with a hint of uncertainty. His humor is quick and his mind jumps around even quicker. It works well as he plays drums and contributes to the vocals back and forth. The tendency to over-analyze certain situations creates for interesting moments and, because he’s aware of it, good conversation. Right before a show, he gets crazy nervous. But, when the music begins, he loses all reservation.

Quick version: creative, compulsive, extends a hand and enjoys a good response.

Gentle. Quiet at times, but only for the heck of it. He doesn’t stand out right away, but after spending time with him, one will notice his subtle ways of making sure everyone feels included.

It’s easy to feel comfortable with Grant in a matter of minutes. All of the guys have little pretense, but Grant has absolutely none. Also, his rhythm is dead on. So solid, he’ll pound his torso with every pluck. Quick version: Behind the scenes, big hearted, caring and thoughtful.

Keyboards ¶ Think of McDonalds’ Grimace but cooler. Yep, he’d be fun to hug… if you can pull him away from taking pictures with his cellphone.

Funny but not hilarious. He seems to truly pay attention and his responses are sincere. Chris enjoys long walks on the beach with his woman, but only because of the woman (the walking part bores him). On stage, his arms flail and he turns red. It’s great to watch. Quick version: warm, descriptive conversations, genuine and his eyes listen.

Spencer Chamberlain

James Smith

Timothy McTague

Vocals ¶ Talkative at times, but quickly

Guitar ¶ Think classic rock. In world

Guitar ¶ Tim cares about people and

pulls back. He reserves himself. It’s as if he travels the trails of thought all the way to the end then decides to speak.

His pauses aren’t really uncomfortable because he jumps to other interests quickly. With a small stature, the scale of his voice seems tremendous. His screaming is really good, but his deadon singing will be the draw. Soon to be married, most of his off time is spent with his fiancé, Jessie. Her presence immediately pulls out a sweet and lovey side. Quick version: collected enthusiasm, capable, careful and kind.

of black clothing, he’s one of the few that pulls off brown. James was raised on music. When your mom was humming to the Chipmunks, his mom was blaring Led Zeppelin. Watch him for five seconds and the way he moves will stand out. His mannerisms are fluid and his mind works the same way. He opts for silence. Which, with James, happens to be good judgment rather than timidity. Live, he simply enjoys being able to play. An appreciation shines from his face. Quick version: content, easy-going, serving, simple (in a good way), people-watcher.

shows it by directing conversations towards God. He’s the contact guy for most band related happenings. Maybe he was a jock at some point, or possibly his stocky frame is deceiving. Whatever, he plays the guitar with an open mouth and stretched out stance. It’s fun to watch. He can put on a business head and talk to a promoter after a show about payment, then immediately settle back into enjoying life. Almost sounds like a surfer, but it’s just him being chill.

Quick version: genuine, outgoing, drives in the middle lane and on top of things.

4/5/2004 2:12:13 PM

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3/30/2004 8:52:08 PM

With Pedro, the Lion

By Brian Quincy Newcomb A conversation with Dave Bazan—who puts the Pedro in Pedro the Lion—tends to spiral out from a very specific situation to a broader reflection on life and art and relationships and the purpose of existence. Much like the songs on the band’s latest disc, Achilles’ Heel.

We’re chatting by phone, Bazan on Kauai in the great island state of Hawaii for a family wedding, and me back in the cold Midwestern winter. He sounds warmer than I feel, and laughs when I bring up the lyric that’s bound to upset whatever Christian listeners that he has left, considering that his last disc Control was focused on acts of infidelity, distress and murder.

Bazan writes in “Foregone Conclusion” of the Holy Spirit telling

someone to be quiet in words that can’t be printed here. It earns the response that, “you don’t believe it could be the Lord, because He doesn’t talk that way.”

The song—which if it doesn’t make you mad may cause you to laugh—he says, is a response to attending “college for a couple of years at a Pentecostal liberal arts college. I’ve really changed a lot from what I understood evangelism to be, growing up. That song

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represented my awareness of a growing number of voices that have suggested that Christians have ruined Christianity.”

The song was inspired, says Bazan, “from being at a show with a friend, and talking to this guy. It was awkward because this guy’s body language kept edging my friend out of the conversation. I’m really bad in those kinds of situations; I just don’t know what to do. Afterwards, what I ended up saying in jest was, ‘I’m sorry, I was too busy steering the conversation toward the Lord to think about steering it towards you.’ That was funny for us, because that would have been something folk would have commonly tried to do.

“I was picturing, almost cartoon-like, the Holy Spirit running around and going ‘No, no, no! Don’t say that! You’re ruining it for everybody!’ That’s really what it was. Every now and then, I’ll meet someone who didn’t go through that whole born-again thing.

And he’ll tell us that we are some of the first Christians that he’s met that aren’t just complete [insert term for rear end], and there’s something to that.”

Bazan expresses irritation with the “bait and switch kind of evangelism” that gets exposed in the film, The Big Kahuna. Of the process of sharing something as personal and uniquely powerful as one’s faith, he’s looking for something more organic, more natural than singing songs on a stage for strangers.

“It’s not important that people understand where I’m coming from,” he says, “but for those people out there who are trying to add it up, I feel that songs like that one, and ‘Bands With Managers’ and ‘The Fleecing,’ are a pretty decent representation. They represent the faith that is there, and the doubt that is there. The strained relationship that I have with Christianity and the faith in Christ that still has me, so to speak.

“It seems weird to deal with people that you really know, and don’t intend to invest in personally, and try and interact with them about something with the depth that spirituality requires if you’re going to understand the Gospel. It just really seems bizarre.”

But by now, Bazan is convinced that it would be bizarre for someone out there who buys totally into the values and interests exhibited in the contemporary Christian music industry to have any interest in Pedro the Lion.

“With Control, we started to wipe away a lot of that,” he says.

“There were a lot of people that sent that record back.”

However, he does express some sadness over younger fans who expect him to be something he can no longer pretend to be. “There’s a lot of disappointment when kids find out where I’m coming from,” he admits. “This one kid came up to me after a show, and said ‘I just want to tell you that I’ve been praying for you and that I think you’re a really great witness on stage.’ And I felt a need to explain to him, I just didn’t want to walk away with the wrong idea.

“So I said, ‘I really appreciate your saying that, it’s really encourag-

ing, but just so you have all the info, you should know that I was a little drunk when I was playing, because I’d been gambling with my buddies and had done a few shots of whiskey. While I hope that what you’re saying is true, you need to know that other stuff.’

“I didn’t want to hurt him, but I also don’t want to lie to people, and I didn’t want him to leave with a false impression. The kid was bummed. I wasn’t trying to be mean. I just wanted him to know who I really was, and not to walk away with the assumption that I was something I’m not.”

Pedro the Lion is all about the music, says Bazan. “What I’m trying to do with the band is just make rock & roll the best that I can.

And that’s going to take me a while to figure out. I’m not going to change what I do naturally that I enjoy, simply because there are people out there who might not understand. More and more, I just want to make rock & roll that’s pleasing to me, and that I can enjoy going out and sharing with other people.”

Achilles’ Heel is a strong follow-up to Control, a more relaxed, fun effort. Bazan acknowledges the standard The Beatles influences before coming up with more expected connections: “In the top 5 would be Fugazi. And then, bread & butter indie rock, like Pavement, Guided by Voices, and I really like a lot of the slo-core that came out in the mid-90s, like Low and Bedhead, they had a big impact on me as a writer and musician.”

Of Pedro the Lion, which he named for a character in a children’s book that has yet to be developed, “We’re in this first of all to express ourselves and enjoy one another’s company, and enjoy playing rock & roll.”

To that effect, he says, Pedro is now more of a band effort, including a more active role and participation for Tim Walsh. On Achilles’ he says, “I tried to take a little less deliberate approach…

Probably more so with Winners, but still with Control I was writing songs more deliberately. This time around, I’d just make up words, and let the songs dictate where they were going to go. I enjoyed the process a lot more, and have become a lot more prolific just doing that.

“Achilles’ Heel is a much more loose collection of songs. On this record, there’s a lot more people doing stuff. All the basics, drums, guitar, bass and vocal, went down live. So there was a lot more band activity on this record.

Asked if he’s really as pessimistic or depressed as his songs suggest, Bazan laughs again. “I’m sure people do wonder, with Control there was murder and other darker things. I think on this particular record, it’s more believable. It’s a little less far-fetched, so people might presume it’s more of me on this record. But in general, people do worry. I have had a lot of people be really disappointed, actually, when they would talk to me and find out that I haven’t lived every experience I write about.”

And some of us are bound to be a little relieved.

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3/30/2004 9:27:36 PM

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3/30/2004 8:52:43 PM

What Cannibal Corpse Says

Cannibal Corpse are close to being kings of death metal. While Soundscans didn’t count a lot of the early speed/death metal sales (Slayer and Morbid Angel albums, for instance, might tip the scales), they point to Cannibal Corpse as the #1 best-selling death metal band of the Soundscan era; with combined platinum sales. They could also be tapped for kings of gore when it comes to their album covers, of course, but let’s not get ahead of ourselves. Listen in after editor Doug Van Pelt and vocalist George “Corpsegrinder” Fisher exhaust the topics of football and video games.

Doug: So, what are your favorite video games and why?

George: Um...well right now I’m playin’ Final Fantasy, X 2. Final Fantasy, the old series of games, are my favorites. I’ve always loved fantasy-type stuff. Final Fantasy is probably my all-time favorite. I play Madden a lot, too, of course. Also, the Grand Theft Auto games are totally killer; and I like wrestling, too.

D: Cool. Well, how fun was it putting that, uh, that big package – the Cannibal Corpse 15-Year Killing Spree package together?

G: Oh, it was cool. The booklet has the collage, with the photos in it... Mostly we just all got together and had old flyers or old laminates, old pictures and sorta put ‘em all in there. It was cool.

I hope everyone’s really happy with it. There’s a lot on there, especially with the unreleased stuff.

With the comic book, the pics and everything, I think it’s a good deal. We don’t really have much other stuff that’s unreleased that we coulda put on there. You could always put more on there; but, you know, I think we’ve searched high and low for a lotta stuff…

D: Yeah, it’s loaded, man. Cool, well how do you feel about uh...not writing lyrics and the other band members doing almost all the writing? Is that weird for you at all?

G: Nah, it’s fine with me. When I first got in the band, I wrote more lyrics than I have been (lately).

I thought maybe that I would have written more, but a lot of times it was me and Alex or me and Paul and Alex writing ‘em; and I get too critical on myself. I’ll write some stuff for the album, I’ll take it in and show the guys and then I’d wake up the next day like, ‘No way! Throw it away.’ But ei-

ther way… I don’t have a problem with what they write. If it’s not broke, you know, don’t try to fix it. I mean, they write good stuff, and everything was turning out great – all the albums we’ve been doin,’ and it doesn’t bother me at all. Some people get more mad, like, ‘Why, don’t you wanna write lyrics??’ I say, ‘Dude, calm down.’

D: (laughs) G: I’m alright with it. The lyrics are good. They’re not bad, you know. They’re really well done, so – as long as that’s the case – I don’t have a problem with anybody writing.

D: Cool. On the subject of gore, uh...artists that have kinda gone over the top and extreme have often thought about it and have some real intelligent thoughts going on and aren’t just adolescent boys trying to shock people. What do you think about the influence of gore and the desensitizing of violence and any of that ...subject?

G: Well, look at it like this: basically, what we’re writing about is pretty much short stories with music to ‘em; short stories that can be turned into any . . . or used as the root for any number of horror movies. I mean, that’s all it is, you know.

It’s not even being desensitized to violence. Some of our songs are about zombies and otherworldly creatures that are carrying out, you know, these ‘vile deeds…’ If people can’t really read our lyrics, if they refuse to read our lyrics and really look at it and can’t chuckle at it… I mean, come on, man!

Loosen up. There’s really nothing. When we were doing ‘Blunt Force Castration’ and, you know, I’ve had the lyrics, I’ve been looking at ‘em, goin’ over ‘em for however long and they were just . . . I’m laughing. I’m laughin’ at the first line: ‘Smash

his scrote bag.’ That’s just hilarious. I don’t think there’s anything wrong with that. If you get too serious, then I think you go, ‘Grrrrr, cool. Crushing balls,’ you know? Then maybe there’s some real problems, you know? We take it serious as far as we want the, uh . . . horrible lyrics to be. Intelligent and well written, you know, grammar-wise and what not. There’s nothing ever serious. We’re not thinking of anybody in particular that we’re trying to kill, or harm or anything. Like I said, as long as we’re about zombies and whatnot, I find it really hard to believe that people can be that upset about zombies ripping flesh when zombies don’t even exist, you know?

D: Yeah.

G: How can you say we’re promoting violence with imaginary creatures? The people doing the killing in our songs are zombies. And, then again, there’s a song called ‘They Deserve to Die,’ which is about any zombie or whatnot. Like I said, uh...’I spit on your grave.’ You know, that’s a revenge song, so you can translate that to… You know what movie I’m talking about right?

D: No. G: There’s a movie called, I Spit On Your Grave.

Have you heard of it?

D: No. G: Well, this girl gets raped by these guys and she gets revenge on ‘em. So, you could say, ‘Yeah, they deserved to die,’ or somethin’ like that. It’s not about that movie. It wasn’t written with that movie in mind, but, there you go. That’s all it is. It’s a story. It’s something that could be in a movie.

What Cannibal Corpse Says

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3/30/2004 9:12:08 PM

We don’t sing about religion. We don’t sing about politics, and so, we really find it hard to believe that people take everything so seriously. The music’s brutal, and aggressive, and so the lyrics should reflect that, you know? I really find it hard to believe anyone would take us seriously if we sang about, uh... planting trees and having picnics! I don’t think that if I sang in the manner that I sing (growls about planting trees); I don’t think that that would come across really good. I think that it would come across as a joke, and we don’t wanna be taken like that. We’re serious. The music is the most important thing. Even if I had sang no lyrics whatsoever and just growled, grunted, and screamed across the album, then it would be just like another instrument. Obviously, you know, we feel it’s good with the music. It fits the aggression. That’s all it is. It’s really hard to believe that people take it so serious, or certain people do. I think that fans, they feel the same way we do; and that’s all that really matters.

We don’t give a (bleep) about the opinion of these other (bleep) peckerheads, you know?

anything other than, you know, suits and church – they’re gonna get all those people to be against us and vote for them so they can stop the evil machine that is death metal. That’s all it’s really about. I’m sure they could give two (bleep) cents less about us or Deicide or any of these bands. They use us for the scapegoat. They use us for the reasons to get people thinking about them and that they care about them and their community. Of course, they’re just lying scumbags and they just want your vote.

That’s all. Or these bored housewives who have nothin’ better to do than just (bleep) sit around and think that every single thing in every magazine is bad for their children. I used know this kid in school whose parents were so religious that he couldn’t even watch the Wizard of Oz.

D: Yeah, tell me about it.

G: This is important, and we love doing this. Writing, half the covers we have… And, if anybody else don’t like it, they can kiss our (bleep). To put it bluntly. (laughs.)

D: Alright.

G: The witch is the bad guy in there, you dumb fool!!

D: Yeah, I find most often (that) times when you have somebody that’s done something that maybe, is extreme or crosses the line; when you talk to them they don’t take themselves too seriously and they see beyond…

But people that get shocked by things like that, they don’t even wanna get close to it.

They don’t take the time to even think about it.

G: They make it worse than it really is.

D: Yeah.

G: They take it to the next level. They see it how they think we see it, and they’re looking at it going... Or maybe not how we see it, but they look at it like this: they’re mortified. They’re like, ‘Oh my God!’ You know? And they think that we’re like…

Well, you know. They probably do think that we’re laughing about it, but they must think that we’re laughing about, like we’re sittin’ around thinkin’ about a buncha girls in a room and shovin’ pipes and knives in their (bleep), you know, and that we think that’s cool. You know what? There is no way that anyone that’s thinking like that, hasn’t acted on it, or anyone that’s thinking like that that has acted on it is not in jail and if they aren’t they got away with one, you know? And my point is, stop them.

They’re the ones really doing it. We’re singing about it and I would think if you were going to grow up and be like that, then we would have to have been around a little bit longer than fifteen years.

D: Uh huh.

G: For us to influence all these killers... What I’d like to know is: Did rape and murder start right when Cannibal Corpse first did their first demo? Is that when rape, murder, torture, um . . . persecution of people for whatever reason – is that when it started? Is that when people were burned at the stake for being witches, when it was just because Missy McScore didn’t like Sarah? Did that just start happening now when we came about? Are we Satan, the creator of all evil? Gimme a damn break. These people are idiots. They have no common sense. All they want is to start a big uproar and they’re gonna get all these religious people – who are afraid of

D: Huh? G: Because there was a witch in it. And the witch was evil and that movie must have been made by evil people, because why else would they put a witch in there?

D: (laughs) G: God, I get so (bleep) fired up when I think about it. It’s the lack of common sense. Then again, some of the common sense is (bleep) up some of the people that are using the fears and prejudices of people that aren’t in a better position than they are and they’re using ‘em to get votes. That’s all it is.

Those guys are scum.

D: Pretty crazy, huh?

G: I’ve never voted in my life. I never will, ‘cause I don’t trust one of ‘em. And that might be stupid on my part, but I haven’t seen anything since I’ve been born to make me believe that every single thing that they say they’re gonna do, they try to do.

I mean, some of it’s just a load of b.s.

D: It’s weird sometimes. Well, what do you think about Jesus?

G: Huh? D: What do you think about Jesus?

G: Not very much. (laughs) Well, let me put it this way: I think religion is a bigger scam. It’s definitely a bigger scam. These people are using that as well.

I’m not into religion at all. Um, some of the other guys might be. This is my opinion, so don’t equate this with just the band – don’t, ’cause you asked me about it. I’ll tell you about it, if anyone knows me they’ll tell you one thing: I tell it like I see it. And I believe what I believe. Maybe the man was real, maybe he wasn’t. But I don’t think he was waving wands, walking on water – you know – doing any of the things that they say he was. And, um . . . the Bible was created by man – and not for man today.

It was created by those people to manipulate people and used over centuries to manipulate people.

That’s all it’s ever gonna do. You look at all these Catholic priests. Look what they did. You know?

And you know who covered it up? The church. Lying scum. You know who satan is? It’s those people.

Satan represents all the bad in this world. It’s definitely those people. More people died in the name of religion and, of course, you can’t blame that on Jesus or God, but gimme a break. I don’t believe in none of that hullabaloo or whatever you wanna

call it. I’m not into that at all. I think it’s a scam.

There’s lots of reasons... You see tons of tv shows that can . . .that, uh, disprove certain things… And, obviously, you can’t disprove if there’s somebody sittin’ up on some gold throne, you know, watching everybody do everything. But I think you’re real good when you allow such, you know, all the things that happen… I think, ‘How good of a person can you be, or being, or creator or whatnot can you be if you can allow all the things that have happened on this earth that have been allowed to happen? You know? I don’t believe in all that (bleep).

D: Yes, it’s a valid question when you think about certain things that happen, like, uh, Hitler’s atrocities and, you know, uh . . . think about, ‘Okay, if there’s a God, why did He just sit up there and let it happen?’ You know, ‘Why did my puppy die?’

G: You know what they’re gonna tell you? They’re gonna tell you, ‘That’s not for you to decide.’ I mean, this is the Being that created everything – all it is and all that – that everything is Him, we’re all part of Him, you know. What I would like to say is, you know, man created this, created that. We think for ourselves. Now, you look at the advantages we have. Or are (we) just saying it’s all guided by Him, and that’s what these people believe? Look at all the football players – they believe all that. ‘Oh, I would just like to thank God for giving me the ability.’ Man, get outta here! God didn’t train in that room, you know! God didn’t lift those weights, run, run, run track, go through the hell you had to go through in the off season. He didn’t do none of that. But that’s up to them. I don’t care. When that stuff gets . . . sort of pokes its nose into, uh, you know, the world of metal and its business. ‘Oh, you guys shouldn’t be doin’ this and this…’ And the Bible says, uh, that no one is fit to . . . you know, I don’t know what the exact words are, but no one else is... So, there you go. ‘Let he who has no sin cast the first stone.’ Who the hell are you to sit here and judge me and what we’re doing? If you’d read your Bible you’d know better. Take that! (laughs) D: Do you think the Bible is like a PR, uh... book? Do you really think it was a book that was written in the day of Christ to control the masses?

G: Well, you know what? I look at it like this. Men, you have to control. Who knows, maybe someone wrote it, you know, because… Look, I . . . I don’t want to talk about this. Like, I went to school and learned everything I wanted to learn about it; but I’m sure it was written in some form or another as a guideline, but I’m sure that other people that wanted it done, it’s been used to manipulate people. Whether that was its original purpose, I don’t know, but it has definitely been used to manipulate people and, uh . . . and it works. More people have been killed by religion, or because of religion than anything, you know? Maybe you can’t blame that on the Bible, but you know, there are people that have heard Jesus talk to them before they killed people. I heard a story of a guy who beheaded his son in front of a buncha people ‘cause you know, they were on a fishing trip in Mexico somewhere and on the side of the road he beheaded his son because God told him to. You know what, that you shouldn’t be able to blame on the Bible. That guy’s just a psycho. He’s got a mental problem.

D: Right.

G: So, if that’s the case, and you can... I’m willing to sit here and say maybe you can’t blame it on the

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3/30/2004 9:12:41 PM

Bible and you can’t blame us for for some of the problems that have happened in this world, or for kids being bad, you know? It ain’t our fault, it ain’t all the other bands’ or the music. It ain’t video games.

It’s bad upbringing, or it’s actual mental problems.

D: Yeah, you can’t blame Marilyn Manson for Columbine.

G: No, how can you? It’s ridiculous. I don’t think so in the least bit.

D: Yeah. I’ve got a question about the whole . . . the concept of the Bible being a PR piece.

Because, uh, if it was a PR piece, I think it was a pretty crappy one, uh . . . because, like, some of the heroes are just, uh . . . you know, idiots. And there are certain . . . there’s a couple of addresses in the Bible, and there’s some salutations where he’s saying, ‘Oh, next time you come visit, bring my coat,’ and, uh . . . if I was writing a PR piece, I would not include any of that extra baggage. So I’ve got some serious questions about that concept.

G: Well, the thing is, there’s so many different books or parts of the Bible and whatnot, you know? I used to really sit around and try to think about it and whatnot and I used to think about the Bible, you know? I don’t know, the people who read it and they follow it, that’s great, you know? It just bothers me every once and awhile. It kills me when you see these athletes, ‘Oh, I thank God for giving me this,’ you know? I mean, if you say He gave you the strength, I believe He gave you the strength, cool. But you know what, He didn’t train and work out for ya. So, fine. Come on, use some common sense. It’s a convenient way, to you know... Maybe they’re just being humble. ‘Oh, I’m just being humble. I don’t wanna believe...’ You know what, man? I know that the reason that we’re here, like the band, is because of our fans, because, you know, they bought our albums. I also know that we worked our (bleep) off.

All of us worked hard to develop whatever our instruments we play, to develop and hone that instrument, whether it’s my voice or Alex’s bass playing.

D: Right.

G: We worked our (bleep) off to be better musicians and that’s a part of it, too. And, in the end, the biggest part is the fans. If they don’t buy our albums, then you’re not talkin’ to me and no one gives two (bleep) about what I say. I’m not gonna be totally the one to say that, you know? I didn’t do anything.

Because I know I did my part by working my (bleep) off. We do our parts by practicing, and we put out a hundred percent every time we play. But the fans, if they don’t show up, if they don’t buy the records, then we’re nothin’ but a fart in the wind, you know?

But these guys who are in sports... It’s their choice.

It’s up to them. It just kills me, every time I hear it. At the Super Bowl: ‘Thank you, Jesus.’ (growls).

Yeah, He threw that touchdown. That throw was kinda cool when He cocked His arm back and let if fly.

Gimme a break! You know? It’s ridiculous. It’s just that . . . I just wish that they would take a little bit of credit, you know? Hey man, you won that (bleep) thing. You worked your (bleep) off to get to where you’re at. Just take a little bit of credit, and not . . . not totally arrogant, just say, ‘Hey, I put time into it.’

D: Right. I think in some cases it all boils down to balance. You’ve got people sittin’ on extremes when, uh...you know, there’s a little bit of truth in these people who think that they’re giving credit to the person who gave them the right to breathe or the air around them, but uh...you’re right man, they put in the time in the gym and they beat their bodies into submission to learn how to do this stuff.

G: Yeah, of course, you know? Hey, I’m not saying

it’s wrong to, uh...you know, you gotta believe what you believe. I mean, as much as like I said, I think the Bible is just, you know . . . people used it to manipulate people. You can say it’s a joke if that’s what you believe. You can revere it if that’s what you believe, and that’s all good. We’re all livin’ in the world, we’re all just tryin’ to make our way in the world. Some people think that they’re going somewhere, some people know where they’re going. Some people are already there and we don’t even know what their experience is, or if there is life beyond death, you know? I just think, like . . . listen man, you know... You don’t wanna take any credit for it? That’s fine, but you have to at least believe that you yourself have done something to help yourself get that way. You make a left turn or a right turn. You decide not to rob that store. You decide not to punch that guy in the mouth. You walk away. You never know. Just imagine if you go into a bar and somebody starts some (bleep) with you and you decide not to fight ‘em. And they go fight somebody else and that person ends up getting killed ‘cause they shot ‘em. There you go. I mean, I don’t wanna believe that that’s God’s plan for me and He just decided to make me walk away. Bullcrap. You know?

Bullcrap. It’s my choice.

D: Right, it goes along the lines of taking responsibility for stuff, too.

G: Of course. I mean, what about these guys who are doin’ whatever in their lives and then turn into crack heads and they come back and they get off of drugs and they’re like, ‘Well, I found God.’ Why don’t you say He found you in the gutter with a needle in your arm, you (bleep), you know? No He didn’t.

It’s like you totally forget that – that most of these

constantly in everyone’s affairs, and the message that they’re sending to me isn’t just about God, but everything around is totally (bleep) chaos. Especially these people that survived, you know, avalanches or got through terrible drug addictions, or anything like that. Usually most of them are like, ‘It was all Christ.’ It’s almost like a vulture was waitin’ at a tree and they see these sick people and they go, ‘Boom!’ They swoop down and go, ‘Here’s God and He can fix all this stuff,’ and then it gets fixed and these people believe in God, but some of ‘em fall back off the (bleep) wagon, you know? Or they’re back doin’ crack. Was that God’s plan? He wants you to do crack, not do crack, do crack, not do crack and then come to Him? Or, you know, what is it? Please tell me! ‘You found God and you obviously talked to Him. Tell me what He said. Get the (bleep) outta here.’

D: It can be pretty convenient sometimes, can’t it?

G: Yeah, it is. It’s very convenient. It’s up to those, you know... They’ll use it for whatever they can. Some people I think truly believe it and in their heart they believe it and they’re just living good lives and they think that they’re going to heaven and, you know what? More power to ‘em! That would be great, you know? But, uh . . . you know, I mean. I don’t know what I believe. I don’t know if there is a heaven or a hell or there’s something else, but I’m just gonna...

I’m just gonna have fun while I’m alive. I’m lucky I’m able to have this much fun, and to do what I’m doin’ now in this band – playing for people and then playing the music I love. I’m very lucky. There’s a lot of people who are a lot less fortunate, but I’m not gonna say, ‘Thank God,’ you know? Yeah, I’ll thank

“You know what? I don’t care. I don’t care if the man really walked on water, because I’ll never believe... I am who I am... no one’s gonna tell me what to do.”

people that do that, someone has to help them.

They don’t sit at home and decide not to (bleep) do smack anymore or smoke rock cocaine, you know?

They don’t just sit there by themselves. Someone helps them. You know, ‘You found God, but then you walked into a clinic and you found Joe and he (bleep) helped you through this, because you got no family that care about you.’ Or you run home (and) you tell your parents, ‘I’m (bleep) over this, please help me!’ And they helped you. God didn’t help you, your parents did. Give them the credit. Give your loved ones the credit for sticking with your dumb (bleep) as you ruined your life and ruined theirs, cause most families are heartbroken when people do stuff like that. I just have had it when people are so down on themselves that they just, you know, they just instantly make a decision and get out of bed, ‘Yeah, I found God and now I’m better.’

D: Yeah, I think some churches probably could use your help in preaching some sermons from the pulpit about work; instead of this easy belief-ism.

G: You know, I’m just talking, man. I’ve had a genuine dislike for religion – a genuine hate for it over the years. Sometimes it just seems like they’re

people that stuck by me – friends, family, my wife, you know? Those are the people I thank. I’d thank myself if I wanted to thank myself. I would go, ‘You know what, I sat up in my room singing the (bleep) Slayer and Destruction albums and tryin’ to get my voice to sound like those guys and Deicide and all those bands and just trying to emulate all those singers and I did all that and obviously they helped me.’ Inadvertently, they helped me. They didn’t know they were, but um, you know, I’m not gonna thank anybody who didn’t stick by me and help me.

I’m not gonna say, ‘God helped me through all this.’

If that’s what it takes for some people, that’s great.

But I just think about the leaders of all these organizations and churches or whatnot… Some of them may be just genuinely God fearing people and that’s their whole deal, but I think a lot of times there’s people like some of these churches, these pastors or ministers or Catholic priests or whatever, that are just using ‘em to get their (bleep) wet. From some little kid… Those (bleep) outta be hanged.

D: I think there’s a sense of justice in everybody that uh...gets angry about stuff like that.

G: Yeah, man.

What Cannibal Corpse Says

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3/30/2004 9:13:13 PM

D: I was having lunch today with some metalcore band, and a question came up that was a good one, and I’ll ask you: ‘If Jesus was in a metal band today, what would He sing about?’

G: I don’t know. I really don’t care, ‘cause I wouldn’t listen. I’d probably listen, but then, you know…

Hey, it would depend. There’s a lot of Christian metal bands out there, you know, and there are some that have good music and whatnot and, um...you know, just like death metal bands, there’s good, there’s bad. I mean, I listen to a lot of straight edge stuff, you know, from the eighties?

D: Uh-huh.

G: But I’m not really… I wouldn’t consider myself straight edge by any means, but I still can listen to it, you know, in terms of the music – the progressions, and the passion with which they’re singing.

So, I don’t know anything about it. I would assume if the man is what he’s supposed to be in the eyes of Christians or whatnot, he would be trying to better the world. ‘People, be better people,’ which isn’t a bad message, you know? If that man existed and that was what he really believed, then great. I don’t know, and sometimes I care and sometimes I don’t, but I would assume if he is what he’s supposed to be, he’d try to bring people together, I would guess, you know?

D: Uh-huh.

G: I mean, we bring people together and they hang out and we sing about, you know, all these violent stories, but we’re all there to have fun. That’s the main thing – we’re there to have fun. We’re not there to really sit around and mold what it would be like to (bleep) someone up with a knife.

D: (laughs) G: We’re just sitting around and we’re having fun.

Everybody comes to the show, headbangs, sings, drinks a couple beers, goes home – hopefully with a smile on their face from having a good time. And that’s what it’s all about.

D: Right. Yeah, I think that it’s a really good question. I think that when you strip away a lot of our assumptions and whatnot it, uh . . . it can be an interesting question to ponder.

Have you ever heard . . . uh, or seen a documentary or heard anybody talk about one of the cruxes of Christianity is the resurrection of Christ. If the claims that He was resurrected are true, then people could take this thing seriously. If it’s just a story, then you know, great. ‘Nice little story, I’ll read it to my kids before they go to bed and that’s it.’ But, um . . . the night Jesus was arrested, the disciples, according to the story, uh . . . just freaked out. They split. They didn’t wanna get arrested. They didn’t wanna claim to know Him. In fact, they denied Him three times and, uh . . . then, when Jesus supposedly rose from the dead and appeared to ‘em, uh . . . they got back together and even though it was against the law to be a Christian, even though their other fellow disciples are being killed, they all said that Jesus really rose from the dead. And so the conspiracy angle of saying they made up a story . . . doesn’t really make sense when these people, all twelve of ‘em, died martyr’s death’s, except one. Would they have really done that for a conspiracy?

G: There’s a lot to think about there, you know? But, um . . . you know, I don’t know. I think about different things like that… I used to go to church when I was a kid, when I was younger. A friend of mine’s grandfather was like a minister or something. I don’t know, what the hell. Minister Baptist bigot (bleep). Anyway, I remember just sitting in there...

I never was really comfortable in a church. I never thought of it as this place of refuge or whatnot, you

know? We would read over the Bible verses in the morning and whatnot; you’d hear all these things and nowadays you’ve got The 700 Club reading all this stuff. I used to watch it at night sometimes when I got older, when I stopped going to church. I just stopped going to church. I said, ‘This is not me.

I am not into this bogus bullcrap,’ you know? But I used to sit up, man… I used to scream at the tv.

Some of the things they would say, I’d be like, ‘You (bleep) liars!’ I don’t even care anymore, you know?

Sometimes, when I hear about it, I get fired up and then I calm back down and go, ‘You know what?

It’s a man. I don’t care. I don’t care what they did. I don’t care if the man really walked on water, ‘cause I’ll never believe in that stuff.’ I mean, if he did, and it’s all real, I’m still never gonna believe all that. I’m who I am. I’m my own person. Don’t tell me that I’m forced to believe or I’m gonna burn in fire for the rest of my life, ‘cause I’m willing to do it. No one’s gonna tell me what to do. If I’m down in hell, Satan’s gonna tell me to (bleep) you too, you know?

I’m my own person; if there is an afterlife, then you just crush me and wipe me out of existence; then it’s better off than to be somebody’s slave. No way.

No way.

D: I guess some classic Satanists would say that’s what a Satanist is – they worship themselves.

G: You can look at it like I believe in the Satanic Bible. Anytime of day, you know, the animal in man…

It’s not about Satan as a person, you know? ‘Yeah, Satan, I kiss your (bleep) everyday,’ you know?

D: Uh-huh.

G: I ain’t into that. You be my partner? Cool, somebody to give me a break. I’m not following nobody.

No one’s giving me orders. There’s enough rules in this world... Obviously, if you look at the Bible and you look at the Ten Commandments, yeah, you shouldn’t steal, you shouldn’t kill people. I agree with all of that, but I don’t think that you need the Bible to teach people that, you know? I used to think about it like this, too. Angels and all this stuff in the Bible and whatnot... it’s no different than if you look at Greek mythology. Most people worldwide accepted Greek mythology, Norse mythology – all the mythologies of the world – and they’re just that. They’re fairytales. They’re stories and that’s what the Bible is to me. Obviously it’s a story that every person or billions of people throughout the world are buying into… Then hey, whatever. I guess that makes me not so stupid if I can say, ‘Hello!

What’s wrong with that?’

D: Uh-huh. Yeah, it’s weird that we’re kind of about two thousand years removed from it. Cause the farther and farther away we get from a document, no matter how historical it is or how much criticism there is against it or disproves it or how much lack thereof there is, the further you get away from something, the harder it is sometimes to believe. You know, if you did something miraculous and a buncha people in the room saw it, and we all told everybody about it, that would have some credibility, but fi fteen years from now, pretty soon the story starts to get muddled and, of course, two thousand years later...

G: Well yeah, of course. You know, old wives’ tales and whatnot. There’s this show on tv about people, like Fact or Fiction Tales, like spiderwebs in people’s hair. You know, different stories about sinking in a grave under a certain headstone or whatnot.

There’s all these different kinda old fairy tales and whatnot and they’re everywhere and somehow . . . you know, with the power of the Roman Em-

pire, Christianity spread to be what it is, you know?

It’s obvious. If someone’s pointing a sword in your (bleep) face, tellin’ you, ‘You better believe in this,’ you’re gonna more than likely agree, you know, believe in it. Whether you do whole-heartedly or not, at that point you’re going to. That’s part of the reason it’s taken such a root. It’s powerful as hell now, you know? I think that some people truly believe in it and there are some people that are in the power or whatnot, if you will. They’re living in the lap of luxury off of everyone else. It’s outrageous.

D: Yeah, it’s kinda weird when you think about feeding the poor and all the needs that can be met with wealth and see it spent on a Mercedes.

G: Look at the Vatican. There you go. All those places are total blood money. Look at the Spanish Conquistadors and whatnot.

D: Uh-huh.

G: Look at South America. Did those people (originally) speak Spanish? No, but they went over there and took those people that were infidels and so they (bleep) ‘em up and now... I’m not saying anything bad about South America at all. I’m just saying that there’s history and history has shown that Christianity or any religion with the right force behind it can spread and affect the minds of anyone that is fool enough to listen. And it can obviously force people to listen, too.

D: That’s a weird way to convert somebody, by force, huh?

G: It’s probably the most effective way. At least if you know you’re gonna be able to keep tabs on ‘em. Very effective. I’m not saying that that’s the way it is now. I think people are more civilized, but I wouldn’t be surprised, you know? I grew up in a small town, and you’re afraid to step up and stand out and say you’re not going with the team, so to speak, because that’s not what you believe, you know? Some people don’t have it like that. In a small town everyone’s against ‘em. If you speak out, you wear the wrong shirt, you know, you’re an outcast. You’re either getting your (bleep) kicked everyday, get tired of getting beat up and you just decide to play ball with the team. It’s ridiculous.

D: It always blows me away how people can call Jesus a prophet when He told the Jewish people, ‘Before Abraham was born, I Am,’ and you know, basically, ‘I am the Way, the Truth, and the Life, no one comes to the Father but by Me.’ He said some things to Jews in the context of, ‘You’re not supposed to say these things, because you’re making yourself out to be God,’ so it was apparent that He knew what He was saying and He was making a claim that if you call Him a prophet and what He said was not true, He’s not a good prophet. He’s not even a good teacher. He’s a liar. So those claims are pretty heavy, especially in the context that He made them in. You don’t go around to Jews telling people, ‘Yeah, before Abraham was born, I Am’ and, ‘I’m the Way, the Truth, and the Life, no one comes to the Father but by Me…’ And so I’ve seen people kinda blow Jesus off as a prophet and that whole . . . these claims don’t seem to make sense when you hold ‘em up and look at ‘em. It’s like, if these things are true, He’s more than a prophet and if these things are not true, He’s not a prophet at all.

G: I just know there’s a lot in religion that doesn’t make sense. Like I said, It’s good to honor your mother and father. I mean, come on. What’s the rest of it? There’s all kinda stuff. I don’t know. I think it’s all hogwash.

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In a society where nothing is shocking and most mediums push the limit simply because they can, pornography may slip by with minimal concern. Of course, looking from a Christian perspective, pornography is certainly sinful but rarely do we consider it actually damaging, physically and mentally. We too, have become complacent on the subject and this is where XXX Church puts its foot down and redraws the line between the purity that Christians should experience in their life and the sin that has slid its way in.

How did your organization start? What led to the vision?

How did the original vision change or how did what you do evolve from the original idea?

Mike and I were not porn addicts, but saw so many people in and out of church struggling with this topic and none addressing it in a relevant way. We set out to talk about a problem no was talking about. We wanted to raise awareness on porn and find a way to work with the industry to try and create some real solutions, not more problems.

ready made up their mind about us. But there are many who understand that the church our parents grew up in is not the church that is going to reach this next generation. XXX Church is not a building; we do not hold Sunday morning services. But that does not mean we are not a church and the body of Christ. XXX Church has had an incredibly easy time reaching people with our message because we have stepped out of the building and gone to where the people are.

We’ve met them there.

How do you respond to the idea that your name xxxchurch. org (and .com) and your subtitle, “the #1 Christian porn site,” evoke curiosity/arousal/expectation of something entirely different? I’m sure you’ve been asked this and have undoubtPorn is fantasy, not reality. So many people we meet can’t separate edly wrestled with that. What are your thoughts in this rethe two. That is where many problems begin. Masturbation is a self- gard?

What sort of effect does pornography have on the minds of males? Females? What are the dangers and lingering effects that you believe porn brings?

ish act that pleases no one except you. Porn makes sex become just an act. It cheapens it rather than enhancing. People even use porn as an aid to their sex life and it has become a replacement for it. The images never go away and eventually you will act out what you see.

Porn leads to more porn and the end... is a dead end.

The name works... it’s shocking, it’s controversial and it’s memorable.

There was no such thing before us, so we came up with our take of a Christian porn site and many understand it. And many don’t.

XXX Church is a non-profit ministry. We are funded through our parent company – Fireproof Ministires – and receive support from churches, individuals, and businesses. Ninety percent of churches and Christians are supportive of what we do once they realize what we are all about. Many jump to conclusions after hearing our name and will not give us the time of day simply because they have al-

connects with a lot of the bands and many of their listeners. We sponsored Pillar’s Fireproof tour a few years back and since then have worked a lot with them. We just recently started a year-long campaign with Flicker Records. Flicker will be releasing a CD in May that will have our X3Watch Accountability software on the disc.

By Colin Hobbs & Doug Van Pelt

You are currently involved in working with some rock bands and labels. Tell us what you’re doing with these organizations; and tell us why you are reaching out to the rock comDo you consider XXX Church a ministry? Why or why not? munity to spread your message.

How did you get or attempt to get support from other We need to help promote this message and many Christian bands churches, other ministries? gravitated towards it. They started talking about it on their own. It

• • • • • • • • • • •

XXXCHURCH OPENED ITS DOORS JANUARY 9, 2002 ON THE FIRST DAY OF THE ADULT EXPO. XXXCHURCH ATTRACTS 50,000 VISITORS A WEEK AND HAS RECEIVED OVER 40 MILLION HITS THESE PAST 2 YEARS. 3000 PEOPLE COUNSELED THROUGH ASK CRAIG AND MIKE. THE RELEASE OF X3 WATCH ACCOUNTABILITY SOFTWARE WAS RELEASED AND HAS OVER 50K PEOPLE USING IT. FIRST EVER ANTI-PORN COMMERCIALS AIRED ON MTV, COMEDY CENTRAL AND HOWARD STERN. EXHIBITED AT FOUR PORN SHOWS AND INVITED BACK TO ALL. AT ONE SHOW THEY DISTRUBTED 1,000 BIBLES. PENTHOUSE MAGAZINE RAN A SIX PAGE ARTICLE ABOUT XXXCHURCH. GQ MAGAZINE WILL BE ALSO BE RUNNING AN ARTICLE IN THE JUNE (04) ISSUE. A PORN PRODUCER WORKED WITH THEM TO FILM THEIR SECOND ANTI-PORN COMMERCIAL. THIS YEAR THEY ARE ABOUT TO LAUNCH A HELP LINE AND A 10-WEEK HELP AT HOME PROGRAM. THE GUYS HAVE RECENTLY SHOT A SEGMENT FOR THE DAILY SHOW WITH JOHN STEWART.

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Joshua Lickter Elektra Records http://www. blindsiderock.com

500 years ago, a man named Martin Luther boldly challenged the religious status quo. His actions helped usher in the Protestant Reformation, an event that forever changed the course of history. The Reformation accomplished many things, including abolishing the division between “sacred” and “secular” callings. Luther argued that artists did not have to make “religious” art in order to make art that glorified God, a concept the established church had long forgotten.

Musicians today are faced with many challenges. Against the status quo of cookie cutter “nu-metal” bands and over-produced “boy bands,” a rising number of artists are rising up to break new musical ground. Perhaps by an act of divine providence, many of these groundbreaking artists are Christian believers who realize, like Luther, that music does not have to be explicitly “Christian” in order to glorify God. The fire of this movement is spreading. Enter one of Sweden’s hottest musical exports, Blindside, and their second major label release, About a Burning Fire.

Though many would place the album in the aforementioned “nu-metal” category, several listens reveal an eclectic mix that helps the album rise out above the norm. The strongest and most artistic track, “Shekina,” places the operatic guest-vocals of Emma Hardelin (Garmarna) against a passionate description of being “naked and new” after an encounter with God’s glory. Transformed, Blindside allows their art to express what mere words cannot.

Songs like “Swallow” demonstrate that they can compete with the best post-punk bands out there, yet they also display some strong progressive influences. “Follow You Down” has a driving bass line reminiscent of King’s X’s Faith Hope Love, and “Where the Sun Never Dies” has harmonies that could have been heard on Queensryche’s Rage to Order album years ago. Fans of their last album, Silence, will love the debut single “All of Us,” while the laid back, bluesy “Roads” steps into new territory. Billy Corgan (Smashing Pumpkins) plays guitar on “Hooray L.A.” While his guest appearance doesn’t really stand out, it may help the band earn some new listeners.

About a Burning Fire may reflect a sentiment once expressed by Luther when explaining why so many people were drawn to him. “When you are on fire, people like to gather to watch you burn.” And burn it does.

The album’s title cut powerfully describes the state of fallen man, “There’s no peace outside/ if there’s nothing within…” and then offers hope, proclaiming that the Spirit of God (symbolized by the fire) “whispers with a roar” and then “rises up/ refills” the one it has touched.

If this CD is any indication of what Blindside has to offer on the road, this is one band you will want to watch burn.

Album reviews: Rating System

05. Classic 04. Fabulous 03. Solid 02. Suspect 01. Amiss

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OFFICER NEGATIVE THE DEATH CAMPAIGN PROJECT After all the drama of vocalist Chad Wiggins getting ousted and the upin-the-air future of the band called The Death Campaign, it’s good to finally have this album out.

I love how the keyboards (courtesy of Roger Bell) that add a doomy, gothic sound to the solid rock backbone and sometimes death/black metal vocal stylings (of Chad Wiggins). The brilliant musical flavorings that this outfit so deftly displayed during its short-lived live performance era are reproduced well. Adjectives like vibrant and heavy go well with “haunting” and “melodic.” The rhythm section (Casey Wisenbaker on bass; Daniel Osborne on drums; Joey Buli and Taylor Allender on guitars) effortlessly keeps a consistent vibe going from beginning to end. A great thematic story can be found interwoven in the lyrics – pain, love, darkness, hope, beauty, light, restoration. An epic journey is to be had, even if unintentional. It’s a shame that this project could not live on beyond these 10 songs. [TOOTH & NAIL] DOUG VAN PELT

STARFLYER 59

listeners can rest assured that they need not wait long for a follow-up. One can only hope, though, that it manages to break thirty minutes this time around. [TOOTH & NAIL] JOSHUA HYNES

MORTAL TREASON A CALL TO THE MARTYRS Intense metal that packs bricks into its fighting gloves is not something that is hard to come across these days, as it seems that almost every metal band seeks to take their craft “over the edge.” While Mortal Treason may not make it into the finals for the Extreme Metal Crown, they are definitely at the top of their class – being featured on Headbanger’s Ball and going on tour with As I Lay Dying testify to this. I have to admire any band of this genre that has the guts to jump into the ring, because there are just so many similar bands and it’s gotta be a hard field to play. Regardless of this, Mortal Treason has their game down and their songwriting and execution is close to flawless. The simple testimonies in the lyrics and the acoustic “invitation”closer song shows the listener that the band is not just bent on creating some of the most intense music around – they also want to share what has changed their lives. [FLICKER] CHRIS FRANCZ

I AM THE PORTUGUESE BLUES My current love of Starflyer 59 started with Leave Here A Stranger and only deepened with their Old release, making me realize how I just couldn’t get enough of their shoegazing rock and roll. Yet if Leave Here A Stranger spawned my love for SF59 and Old fostered it, then it is their new album, I Am The Portuguese Blues, that has brought it into full bloom.

The album that wasn’t supposed to be, when SF59 headed a different musical direction after their Americana album, these songs were canned and left for dead. Yet here is SF59 revisiting the ghosts of their past with a more gutsy, bluesy rock direction than ever before. Jumpstarting the album with the opening track “Wake Up Early,” SF59 reinvigorates a saturated genre and overused rock song format with the hope that, yes, rock and roll truly does still exist. With explosive tracks like “Worth of Labor,” “Teens In Love”, and “Destiny”, SF59 orchestrates a musical landscape that will have any hardcore rock fan begging for more. By far the best musical track on the album is “Sound On Sound,” which showcases Jason & Co. going full-force in a two and a half minute musical excursion that will conjure memories of Pink Floyd, The Black Crowes, and the early Rolling Stones.

All in all, with their latest release SF59 has pushed the bar up one more notch of what we have come to expect from the band. While stunning in its creativity and immaculate in its execution, Portuguese Blues does tire at times. With little deviation from its driving rock direction, the listener gains little time to take a breath on the album’s full-on rock march, which isn’t a bad thing if you’re looking for an album that will test your rock endurance. At only a mere twenty-seven minutes, though, it leaves the listener wishing for more; but with SF59 heading back into the studio this spring,

DEAD POETIC NEW MEDICINES With Dead Poetic’s Four Wall Blackmail, I was in this middle ground with the band. They weren’t bad by any means, but, at the same time, they weren’t rockin’ my face off. I put them in the category of “extremely ok.” Now is the time for them to step up to the plate, being that their sophomore release New Medicines has hit.

After spinning all eleven tracks of solid rock ‘n roll, I can stand up and declare that Dead Poetic has broken free of the chains of extremely ok-ness.

No longer will they hold a lukewarm position in my musical rolodex. This quintet has composed a solid rock album with hardcore extremes and gentle lows, all strung together with the ebb and flow of Brandon Rike’s soaring vocals. I suppose you would compare them with the likes of Finch or Thursday, but in my opinion, Dead Poetic has the potential to rise to the level, if not beyond, of peers such as these. The guitarists Zach Miles and Todd Osborn have also risen to the occasion by stepping out of the mold set by their genre and experimenting rhythmatically and sonically, all the while being backed by the equally inventive percussionist Josh Shellabarger. So, when all is said and done, the Poetic have staked their claim as a rock ‘n roll force to be reckoned with. I’ll rock to that.

sound tired; it seemed that he wasn’t really branching outside of the signature Pedro sound. Sure, at times he toyed with distortion and heavy guitar and drum lines, mostly on Winners Never Quit (2000) and Control (2002), but he never really expanded his musical vision beyond that.

But on Pedro the Lion’s Achilles Heel there’s new direction and new life heard in his songs.

Fantastic melodies – especially vocally, interesting arrangements and memorable choruses show us a seasoned songwriter reaching new heights. Don’t get me wrong – there are still Pedro-isms, it is the same band, but songs like “Transcontinental” and “I Do” with their great melodies, offer something else than the expected.

Bazan has forsaken following the concept idea of the last two records for a looser approach: “Without pretense, I wanted to un-concept things a bit. I think I had a bit of a musical identity crisis,” Bazan laughs, “So I just returned to what I knew, which meant making a record that was not so heavyhanded, and not about spending a year on it. I just wanted people to be able to hear how much fun TW (Walsh) and I had making it.” And perhaps it was the addition of TW Walsh to his musical landscape that gave him the needed push in the right direction.

It’s funny because the term Achilles Heel is usually used to describe a weakness, and in contrast this is their strongest work. If for some reason you’ve been living under a rock for the last eight years and haven’t yet heard a Pedro the Lion record, then do yourself a favor and start with their best.

[JADE TREE] CHRISTOPHER WIITALA

ACE TROUBLESHOOTER NEVER ENOUGH With every album it seems that the Ace Troubleshooter train stops to drop off and pick up a member or two only to keep chugging down the

Editors’ Ratings DV | DA *1/2

04

04

Blindside

About A Burning Fire

Negative 04* 02* Officer The Death Campaign Project

04

59 03* Starflyer I Am The Portuguese Blues

03* 03

Mortal Treason

02* 03

Dead Poetic

(SOLIDSTATE) COLIN HOBBS

03

A Call To The Martyrs

New Medicines

Troubleshooter 02* Ace It’s Never Enough

PEDRO THE LION ACHILLES HEEL As you know by now David Bazan writes compelling songs, and these songs have gotten better and better with each record. There did, however, come a point in time where his songs were starting to

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railroad. On Never Enough, Ace’s third release, Minnesota’s favorite Tooth and Nail band picks up a new guitarist and bass player to add to the John-and-Josh show. In typical Ace fashion, the new record features anthems like “Ball and Chain,” “My Defense” and “Hoping.” The two vocals-andguitar-only ballads, “Seaside” and the bonus track, also bring a nice change of pace to the album. But “Don’t Do it Again,” which would fit on a mix tape with “The Boys are Back in Town,” takes the cake for best song on the disc. The downside of Never Enough is its abundance of filler and lack of a signature song like “Don’t Trust That Girl” or “2:00 Your Time.” In comparison to the rest of Ace’s catalog, the record is not as classic as Ace’s self-titled album or as catchy as The Madness of the Crowds, but it manages just enough rock to keep the kids coming back for more. Still, the train ride may soon be over for Ace, as they are one of the last in the dying breed of Tooth and Nail pop punk bands. If indeed Never Enough is the end of the line, at least the guys can say they had a good run.

[TOOTH & NAIL] MATT MODRICH

ANDY ZIPF I STOLE THE MORNING SUN This solo debut is a smart breakaway from Andy Zipf’s former status as lead guitarist/vocalist in Gotee Records’ alt worship flop, Circadian Rhythm.

The comparisons to Coldplay, Starsailor and Jeff Buckley can be heard. But Zipf’s lonely, brit-pop sound – vocals included – could almost be mistaken for a younger Andy Stochansky (Canadian singersongwriter). The amount of producers credited on Morning Sun lends to an inconsistent overall sound, but who cares? Andy Zipf’s thoughtful melodies, standout guitar, and unique vocals – with a falsetto most singers only dream about – more than make up for a few production annoyances. Occasionally,

Editors’ Ratings *1/2 DV | DA Andy Zipf 03* 02*

I Stole The Morning Sun

Bloody Sunday 02* 03 They Attack At Dawn Charlie Peacock 02

02

Various Artists 04 Come Armageddon

04

Full Circle: A Celebration of Songs And Friends

Five Iron Frenzy 03 The End Is Here

02*

he adds a lazy quality to his voice that, aside from a few flat spots, is almost certainly purposeful; especially when compared to moments of impressive control. A few listens and he also proves to be a relevant psalmist. Zipf unashamedly declares that, from time to time, everyone loses sight of the hope in Christ. It’s a message his target demographic (the world outside of church) needs to hear. And then songs like “Stay (With Me Now)” and “Step Into Me” will surely help point the way home. My personal favorite, “Where You Were Not,” affirms God’s omnipresence with lines like “Where can I go now to be where You were not? I cannot find a place that does not speak Your Name.” It’s a bold reminder that God exists in both “the shadow and the shine.”

So what’s my advice? Buy the album, and let it grow on you. [MONO VS. STEREO] SCOTT PHILLIPS

BLOODY SUNDAY THEY ATTACK AT DAWN See band play fast. See band play furious. See band capture an authentic traditional eastcoast hardcore sound. See band impress Chris Francz. This is not a cheesy old school wannabe band, this is a band that has steered clear of all of the trappings that so many “hardcore” bands seem content to cloak themselves with and the result is great. Bloody Sunday is not out to recapture an old school hardcore feel, they are simply carrying the torch and I find that refreshing. No metal, no scary intros and no spoken parts – just the essentials. They’ve kept it simple and in doing so they should be applauded. Good job.

[STRIKEFIRST] CHRIS FRANCZ

CHARLIE PEACOCK FULL CIRCLE Everything else he’s done lately has made it almost easy to forget how Charlie Peacock first caught our attention as a singer and songwriter;”almost,”as the voice is so warm and the songwriting so astute. Full Circle reminds longtime Peacock fans of those qualities and draws in newbies with star cCm duet partners (and his son, Sam Ashworth). Sara Groves makes “In The Light” more pleading than either Preacock’s or dc Talk’s; Phil Keagy and Bela Fleck on guitar and banjo enhance the mastery. The (ex?) members of dcT have become possibly overly familiar on tributes like this, but all justify their presence, especially Kevin Max (suavely funky on “Big Man’s Hat”) and Michael Tait (expansively funky with “Down In The Lowlands”). His Sacramento roots get fed on a reuniting of Bourgeois (and) Tagg for “Almost Threw It All Away” and-sit down for this, chill’un – The 77s’ Mike Roe for a heart-wrenching run through “Monkeys At The Zoo.” Streve Taylor and Margaret Becker help the host revisit his new wave past on a caffeinated take on “Lie Down In The Grass” that sounds like Lene Lovich gone electro-clash (an OK thing). MercyMe’s Bart Miller provides the set’s most surefire general market hit with “No Place Closer To Heaven,” and Leigh Nash, sadly, the weakest link with a slightly overpro-

duced “Every Heartbeat.” Two new tunes reaffirm Peacock’s gift for writing intelligently and confessionally to his church kin and a broader listenership, too. [SPARROW] JAMIE LEE RAKE

VARIOUS ARTISTS COME ARMAGEDDON This compilation is a two-disc release that was given away to visitors at Nordic Fest 2003 to celebrate Endtime Productions’ fifth birthday. Disc one of this release is still available from the Endtime Productions website, but disc two was deleted from the Endtime catalog after Nordic Fest. The label only made 300 copies of disc two and there is no more planned. Disc one is basically a compilation that includes one song from each of the first nine Endtime releases. The bands include Extol, Anaemia, Antestor, Lengsel, Vaakevandring, and Vardoger. The song selection is great, although most fans probably already have most of the releases. However, this digipak’s sweet artwork and low price make it tempting to buy anyway.

Now, disc two is the very special treat if you are fortunate enough to find a copy. The disc includes pre-release songs from Antestor and Absurd2, a demo version of a new Vardoger song, and previously unreleased songs by Extol and Anaemia. All I gotta say is the Antestor song is worth the price of the disc alone.

Well, Endtime Productions has done it again. All metal fans should support the label by picking up disc one. And if you can find a copy of disc two on Ebay or somewhere else, it’s definitely worth the effort and money. [ENDTIME PRODUCTIONS] MATT MORROW

FIVE IRON FRENZY THE END IS HERE If you’re just now discovering this band, you’re too late. This double-disc documents the final show in the band’s career. As one might expect on the last night of a tour, the band was “on” and kept the energy going, only to let up at appropriate songs for personal anecdotes that befitted the occasion.

While funny, the rock is serious enough never to bow to cliché or parody. Many of the band’s most memorable songs are here (“Canada,” “Blue Comb ’78,” “Every New Day,” and “American Kryptonite”), minus the visuals that are partly responsible for the beloved connection this band built with its audience. The other element – the raw spiritual fervor of down-to-earth rock nuts – is present throughout, completed by a cappella worship, prayers, and thanksgiving at show’s end. Nothing spectacular, just a good, solid rockin’ performance and a band bowing out on their terms. Much respect. This release features a fine bonus disc, which is The End Is Near studio album that was previously sold while on tour (only). 1,128 words were used to describe that one in our Nov/Dec issue.

[FIVE MINUTE WALK] DOUG VAN PELT

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IMMORTAL SOULS ICE UPON THE NIGHT The screampuke vocalizing of black/death metal extremity, melodic power riffing that borders every so often on grooving in a fridgid manner befitting their Scandanavian heritage, crisp production that brings out the most in the pummeling cascades of drumming and subterranean basslines. Lyrics with enough nature imagery to attract the most pagan National Socialist black metalhead, infused with godly spirituality in metaphors of cold, heat, dark and light. It all makes for Finland’s Immortal Souls’ right stunning and accessible Facedown debut, Ice Upon The Night. “You” and “Man Of Sorrow” find vocalist/bassist A. Sarkioja varying between his usual, more regurgitory larnyx attack and a purer tenor that should woo broader-minded power ballad lovers, and on one strange plane, brings to mind a converted King Diamond (minus falsetto operatics, natch’). Immortal Souls don’t occupy the musically darkest and most cacaphonous depths of their genre (I sometimes crave those depths), which gives them appeal for the hardcore lovers to whom their label normally caters. Sterling stuff, this Ice. [FACEDOWN RECORDS] JAMIE LEE RAKE

IN DUE TIME BACK TO BASICS Maybe I am just too out of touch with the hardcore scene, but it seems like this label pulls bands out of its hat (or from up its sleeve). One minute they don’t exist and the next minute they’ve got a slick-looking, slick-sounding, shrink-wrapped CD on the shelves at Hot Topic – not that I’ve ever been to one of those stores (I’m serious, I haven’t). This band hails from Florida and the title of their record reflects their approach to making hardcore – and I like it. I like it a lot. They keep it simple, they keep it real, put the CD in and you feel as if you are at their show. No studio trickery here, just real-sounding guitars with a little flange on them, gang vox, simple chanted vocals (you can understand most of the words) and a positive message. This is what hardcore is supposed to sound like. [STRIKEFIRST] CHRIS FRANCZ

OFF THE RECORD NOTHING NEW These guys take me back to about four or five years ago; back when I listened to punk rock and was just getting into hardcore. It was Cornerstone and I wandered into a tent that was filled with this strange amalgamation of punk and….could it be? METAL?!?! Yes, my friends, it was, and they called themselves Off The Record.

OTR has been through so much since then, from member changes to getting signed to T&N and then dropped, all to end up in my hands with their new EP. Even though it’s been awhile, I gotta say, they’ve still got it. Adrian Cendoya is an amazing guitarist and is backed by the rhythm machine that is Greg Gonzalez and Chris Ozorio. Keith Allen sounds a bit more mature but he holds up his end of the bargain none-the-less. The EP Nothing New

also has a CD enhanced feature where you get a couple OTR videos and an interview for all you kids who want the in-depth scoop. As for me, I hope these guys go far because they certainly deserve it.

U2 GO HOME (DVD)

[NEW SCHOOL RECORDS] COLIN HOBBS

If I was to complain, my question would be “Why?” Why attempt to follow-up near perfection? Elevation 2001 DVD was, in this writer’s humble opinion, one of about 8 monumental events and defining moments in U2’s unbelievable and long career (the other 7 being War, Live Under A Blood Red Sky, The Joshua Tree, their performance of “Bad” during Live Aid, Acthung Baby, the Rattle And Hum movie, and the overblown extravaganza known as the ZooTV Tour). It could be argued that it’s not all about bettering yourself or going from one monumental moment to the next. Sometimes, as Pearl Jam so faithfully proved with dozens of official live bootleg releases, it’s just about delivering more output when it’s available in quality doses. This explanation sounds best.

12 of the 19 tracks here were recorded on the Elevation DVD, but the performances differ greatly in this homecrowd show with its stunning outdoor setting. The true U2 fan knows that a show in Ireland is something special for these guys (including older songs, like “Out of Control”), and this one does not let down. Just days after the passing of Bono’s dad and days before 9/11, this snapshot captures U2 in that fabulous tour’s prime. Seeing Bono rattle off the names of the victims of Ireland’s Bloody Sunday after the song of its tribute now serves as a precursor to the list of names projected behind the band of all the 9/11 victims.

Hearing the mix is 5.1 surround is amazing and full. Loud or soft, it’s a knockout listen.

Like one of those fill-in-the-blank credit list-

PIVITPLEX UNDER MUSEUM QUALITY GLASS Pivitplex has created museum quality power-pop music with this album of eleven melodic gems. It’s hard to pick just one artist or band in particular to compare this group to, but the nasal-y vocals of “Rosetta Stone” give the track a distinctively Fountains Of Wayne-esque vibe. And while there aren’t many mentions of “Jesus” and “God” in its lyrics, Under Museum Quality Glass is clearly a spiritually inclined release. “Feeling Fear,” for example, speaks about the Christian’s continuing struggle to live up to God’s high standards, and “Overshaken” appears to be adding up the wages of sin. “Here I am, rolling round the dirt again/Just the kind of pain I like to endure,” sings Scott Brownson, in a most St. Paul-like fashion. “Clarity” speaks directly to the unsaved person, with lines like, “You look crazy on the treadmill you’re running/ When you give in, redemption begins.” Pivitplex’s lyrics are smart and subtle, for the most part. But on the closer, “Lullaby,” with its lines about praying for “the people in the bars,” and later, “your pastor and his wife,” seem geared more toward a junior high school campfire sing-along, instead of a pop album proper. In the end, however, great tunes oftentimes cover a multitude of sins. And since Pivitplex will mainly make you hum, rather than wince, its few faux pas moments are easily forgivable. [BEC RECORDINGS] DAN MACINTOSH

KUTLESS SEA OF FACES The big K on the inside of this packaging communicates more than just a band’s logo. This band is the thousand dollar bill in the label’s wallet of tens and twenties. While last year’s self-titled debut may have been a surprise, this one had to be one big calculation. Absolutely no time is wasted here, as a familiar crunching chord comes marching out only to quickly part the ways for the sweetly scarred voice of John-Micah Sumrall, which doesn’t have to plead to keep your attention until the chorus. Formulaic rock or not, this kid’s got the goods that keep ‘em coming back for more. While your mom’s cCm has been hooked on the Bruce Hornsby sound for the past decade and a half, your little sister’s bands have been listening to those x-radio stations. While not in the same league, Sumrall’s got the stamped vocals we’ve been hearing since Cobain, Weiland, Rossdale, and Stapp for that long. Throw in some piano a la Linkin Park (see “Better For You”), a worship song like “Sea of Faces,” and Kutless has done made themselves a second album that’ll take them one step higher than before. If a band like Nickelback can keep on climbing, look out for Kutless. [BEC] THE KERN COUNTY KID

Editors’ Ratings DV | DA *1/2

03

Souls 02* Immortal Ice Upon The Night

Due Time 03* 02* In Back To Basics

03

02

Off The Record

02

02

Pivitplex

03

02* Kutless Sea Of Faces

Nothing New

Under Museum Quality Glass

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LADYSMITH BLACK MAMBAZO RAISE YOUR SPIRIT HIGHER You may have heard these guys on Paul Simon’s 1986 masterpiece, Graceland, or perhaps saw ‘em on Sesame Street (one of the show’s top 3 requested segments). Known for their beautiful harmonies, this large troupe has long ago crossed the imaginary boundary between secular and sacred.

Without a lady in the group, their name refers to a hometown (Ladysmith), the color of the strong farm animal – the oxen (Black), and the Zulu word for axe (Mambazo). With just their voices and the occasional clicking tongues, these 10 guys create an aural tapestry as soothing and intricate as their beautiful native tribal shirts and robes. A story of tragedy and strength underlies this world music release and inspires its title, as band leader Joseph Shabalala’s wife was murdered by a masked gunman outside their church in South Africa. No conviction has been made. “At the time that this happened,” the singer relates, “I tried to take my mind deep into the spirit, because I know the truth is there. In my flesh, I might be angry, I might cry, I might suspect somebody. But when I took my mind into the spirit, the Spirit told me to be calm and not to worry. Bad things happen, and the only thing to do is raise your spirit higher.” [HEADS UP] DOUG VAN PELT

-ings, there’s even a special thank you moment that is directed at the true U2 fan. After thanking various parents of the band members for a couple 500 pound loans that kicked off the band’s recording career, Bono turns to the crowd and issues thanks, “cuz you’ve no doubt spent 500 pounds on us over time by now.” Some of Bono’s infamous profanity is present, albeit in the form of a prayer (in the song “Wake Up Dead Man”).

In another thoughtful gesture for fans, they stuck the Unforgettable Fire documentary on here, as well as a bonus clip of “Mysterious Ways,” which only adds to the rich serving. I’m not complaining now. [INTERSCOPE] DOUG VAN PELT

DISCIPLE LIVE, AT HOME, & ON THE ROAD (DVD) Producer Matt Leonetti (HM Stage, Vol. 1) did a great job of capturing the personality of each of the members of Disciple, as well as the entity they become collectively. Whether it’s early band photos, Tim spoofing Robert Sweet, Kevin diving into a pond for a special golf ball or re-enacting the streaking scene (with shorts on, of course) from Old School, or Brad just shooting the breeze, this thing is full of laughs.

The full set of live footage of Cstone NC 2003 is quite good, too. What’s truly lovable about this is the director’s commentary and bonus footage.

SAINT IN THE BATTLE

[SLAIN] DOUG VAN PELT

Editors’ Ratings *1/2 DV | DA Ladysmith Black Mambazo 03 Raise Your Spirit Higher

03*

Saint 03* 02

In The Battle

Transatlantic 03 Live In Europe

02

Shockwave 03 Ultimate Doom

04

Level 03 Denial

03

If at first you don’t succeed…try again, dang it! The year of 2004 sees this over 20-year-old band making a second try at a comeback and this time old Saint fans should be more than pleased. This is easily the most enjoyable Saint album so far. The previous albums were good, but nothing I could listen to more than once in a day. In the Battle has me listening 3 or 4 times a day in the week I’ve had it and it doesn’t get old and dull after numerous spins. The sound is the same, but they seem to have more energy and life than on earlier albums. And when many “comeback bands” try to sound more modern, this album sounds like it easily could have been the follow up to Too Late for Living. A great headbanging disc with 9 songs full of straight forward, Judas Priest influenced heavy metal with bold, Christ-centered lyrics.

Vocalist Josh Kramer doesn’t seem like he’s lost any edge off of his vocals here. The rest of the band...founder, Richard Lynch and new recruit, Jerry Johnson also sound great. Unfortunately, the drums done by new member, Larry London are kinda hit and miss. For the casual fan though, the strength of the songs themselves will overcome the inconsistencies that sometimes pop up. There are other negatives in addition to what I just mentioned, including one of the most horrible album covers of all time and one of the most typo-filled booklets ever. However, old Saint fans will be rejoicing that they finally have a new album by this classic band.

Despite the age of the members and the years that have passed, they still know how to rock hard and they are not ashamed of the God they sing about.

For that alone, I applaud them.

[ARMOR] MATT MORROW

VARIOUS ARTISTS SEE SPOT ROCK (DVD) Steve Taylor’s wit is woven throughout this 47minute documentary about Pillar, Relient K, OC Supertones, Sanctus Real, and John Reuben on the See Spot Rock Tour. While the glaring omission is any real live footage, the goofy interaction is pretty funny. Most worthy of mention, however, is the brilliant mockumentary, “Life of a Dreamer,” which was first shown on the jumbotron screens at Cstone 2003’s 20th Birthday Bash last year.

[GOTEE] DOUG VAN PELT

TRANSATLANTIC LIVE IN EUROPE (CD + DVD) This side-project/band of the great Neal Morse was quite notable for its progressive noodling in the classic sense (like Yes without the excess, or Dream Theater without the ”Metropolis” crunch) and they were able to craft some memorable melodies amidst all the technical prowess, too. The newfound faith of Morse is documented here, as is some profanity from DT drummer Mike Portnoy, so it’s kind of a mixed bag in the moral category. The performances are fantastic, with a good combination of relaxed looseness and straight-up synchronicity. The DVD captured these fine performances with all the access one could want. A bonus disc includes a nice long version of “Shine On You Crazy Diamond” from a NAMM show and an insider’s tour diary documentary filmed by Roine Stolt. [RADIANT] DOUG VAN PELT

SHOCKWAVE ULTIMATE DOOM Being the eighties kid that I am, I inevitably grew up playing with Transformers and creating epic battles with my Autobot and Decepticon action figures in the yard.

But apparently I didn’t have the genius to meld my childhood imagination with my current love of hardcore like Shockwave has. Honestly, how could you not appreciate raw, fiery hardcore that’s all about the Transformers?!? But if you don’t, you will now with the release of Ultimate Doom. This crew of masked maniacs plow through crushing guitar riffs and macho, fist clenching vocals that are interlaced with sound clips from the cartoon. I know I was excited as all get out when I was led into the mayhem by a Decepticon yelling, “This is your world now; tear it apart!” Let the core ensue. These guys don’t joke around. Well, at least not about their sound. Every song is as intense and double-bass pounding as the last. What more could you ask for?

(TRIPLE CROWN) COLIN HOBBS

LEVEL DENIAL This band is quietly building a resume of solid electronic music. Melodic, ambient without being too quiet, subtly heavy with slow but dynamic swings of passionate vocals juxtaposed with wandering instrumentals. Best served with strong coffee.

[FLAMING FISH] DOUG VAN PELT

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SOLSEEKERS HALFWAY THERE It’s to the point where race doesn’t connote authenticity in gospel hip-hop, but the same holds true for the general market, especially indie-wise, too. Can’t even quite tell what the ethnicities of Solseekers’ Capture The Elusive and DJ DNA are, but their intuition for for cross-pollinating class of ‘88 influences (Capture sounds like he’s expanded upon absorption of his share of Rakim) with the sonic oddities that have only come about now that rap is divided into commercial and underground camps. Halfway There boasts one of the few recent examples in sanctified hip-hop of pure turntablism and sample-craziness in “Balance,” and the the disc’s intro’, “All the way fro...” sounds to be doing something similar with an old, live Southern gospel album. “Still right here” offers minor-key sentimentality about life and death and might be their label’s big radio pick. However, the equally dark titular cut and maybe even moreso “Substance Abuse” (not about drugs, lest they’re about pushing Jesus) have as estimable hooks. Inteligent wordplay that integrates Christ easily and non-preachily as the main ingredient in hip-hop culture, and life overall, make Solseekers an act easily embraced by God-fearing rockers. [SYNTAX] JAMIE LEE RAKE

dab in the middle of this same weather-tossed spiritual cruise ship. And unlike a certain island-based sitcom, he won’t ever let his S.S. Minnow become permanently lost at sea.

The best line on the album comes from “Fallen,” which is also this recording’s finest ballad. On it, a spiritually-seeking woman, “wants an alternate ending.” It’s as if she’s caught in a movie where the script foreshadows an unhappy conclusion, and she just wants to have a heart-to-heart with its screenwriter. And in contrast to typical chick flicks, this woman is falling in love with The Savior, instead of some predictable male lead.

This album’s loudest moments are found on “Numb,” where Tait is joined by Pillar’s Rob Beckley.

It’s a noisy rap-rock call for an end to spiritual lethargy. A similar amount of energy is expended on “Reconnecting,” which speaks about getting plugged back into the supreme power source, so to speak. Eddy Grant’s “Electric Avenue” is this album’s lone cover song, and it has a bit less crunch, and is much more keyboard-y than is the original. The disc closes with a jazzy cover of “The Christmas Song” (Yeah, that one, where chestnuts roast on an open fire and such), and is totally out of character with the rest of the album. It may lack the variety that the three-member DC Talk brings to its projects, but Lose This Life by Tait is nevertheless a winner. [FOREFRONT] DAN MACINTOSH

SUBSEVEN THE EP In trying to sum up everything that SubSeven threw at my ears, I came to this: rhythmatically driving pop rock that’s got glimpses of hardcore influences and yet still insanely catchy. I can disect pretty much every song into drastically different pieces that all come together to create an almagam of musical styles. Some pieces I would be prouder to claim that I enjoy than others, but none the less they are all well written. Now maybe I say this next statement too much, but I can’t help it. I appreciate the level of talent that these guys display, but I’m left wanting more creativity. While the changes are quick and well delivered, they are still changes into a basic four chord spine. Likewise with the vocals: they are well done but don’t really stand out or strike me as anything special. Once again, more creativity. Don’t get me wrong, none of this is gonna stop the kids from nodding their heads. It’s way too infectious. Come on, they use a talk box in one of their songs. Just like Bon Jovi.

[FLICKER RECORDS] COLIN HOBBS

TAIT LOSE THIS LIFE On Lose This Life, Tait mostly sings about removing the kinds of sinful behaviors that so easily beset mankind. On an album primarily comprised of aggressive pop, with a sound that sits somewhere between R&B and hard rock, Tait seems to be directing much of his insight toward those who are either near to The Faith, are weakly existing in The Faith, or have fallen some distance away from their first love. But instead of pointing his finger at these struggling ones, Tait has placed himself right smack

THE HOLMES BROTHERS SIMPLE TRUTHS The Holmes Brothers have followed up their previously more church-centered release, Speaking In Tongues, with Simple Truths, which seeks out basic spiritual principles in everyday life situations. There is an overall somber feeling to this collection of songs, since lost love is one of its primary themes.

But in its defense, this is an album of comforting soul music that is both simple and true.

These brothers in soul (Popsy Dixon, Shearman and Wendell Holmes by name), more often than not turn to country lyrics to help express their lovelorn state here. For instance, Hank Williams’ classic, “I’m So Lonesome I Could Cry,” and Willie Nelson’s biting, “Opportunity To Cry” are both included in this set. And on a more positive note, Townes Van Zandt’s “If I Needed You” is given a slow and thoughtful reading. This trio even tips its Western hat to alt.country with a performance of Gillian Welch’s “Everything Is Free.” But whenever Wendell Holmes reaches down for that distinctive John Hiatt-ish growl of his, anything he sings is immediately transformed into gospel-soul.

There’s very little straight gospel music on this disc, by the way, if that’s what you happen to be looking for. The group does cover Collective Soul’s “Shine,” for instance, but not much else is truly congregation/choir-ready. Instead, this outfit turns Bob Marley’s “Concrete Jungle” into an almost unrecognizable acoustic blues workout, and it even has a little fun with the lighthearted oldie, “Hey Baby.” In other words, this album is one eclectic offering, as usual. When you get right down to it, much of God’s truth isn’t all that complicated, and The Holmes

Brothers’ music rarely fails to get straight to the plain n’ simple heart of things. Simply put, this stuff is soul deep. [ALLIGATOR RECORDS] DAN MACINTOSH

TRAUMA SOLIDARITY From the first track, this SoCal band had me hooked with its refreshing guitar stylings. I was expecting a typical metal sound but I got something totally unexpected and it really pleased me. The sound reminded me more of a faster Roadside Monument or Kerosene 454 (post hardcore with a tinge of “emo”) type of trip with some dreamy, innovative parts here and there.

The vocals are great (harsh and better than average clean mix ups – some are done by a woman!), but for the most part my ears are drawn to the guitar work which colors me impressed. It’s refreshing to hear a band go for a different sound. Best thing I can say? “This doesn’t really sound like any other records that I own.” [STRIKEFIRST] CHRIS FRANCZ

VAN MORRISON WHAT’S WRONG WITH THIS PICTURE? The extra tinge of jazz and finger-snapping chill bring to mind the styling of Sinatra. He’s cool and matter of fact. But the extra dose of self-indulgent (albeit miserly) content begins to reveal an aging disconnection. Well… maybe. This is the same Van Morrison that hailed a comeback in 1985 with “A Sense of Wonder” as “A New Kind of Man.” Sure, his spirits began to fade with time: see 1999’s “Golden Autumn Day” (from Back on Top). But this trodden, old man of a voice takes the listener towards a darker level of concern. His voice has taken on a deeper, more mature tone. It’s more blue, a darker blue with slight tones of brown. It may be easy to question the enthusiasm behind his

Editors’ Ratings DV | DA *1/2

03

03* Solseekers Halfway There

02* 02* Tait Lose This Life 03* 02* Trauma Solidarity 03

04

Van Morrison

What’s Wrong With This Picture?

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vocals – seemingly less concerned about moments than about complaining – but it’s the brown that leaves no assurance for a resolution. Those slight tones of warm, genial enlightenment never completely disappear. As if he could care less about anyone else – “you got problems, but I got problems too...” – but can’t refrain from sliding back towards the listener in an undercurrent of concern: “… but that doesn’t necessarily mean there’s something wrong with you.” This implied urgency traces back to Van’s beginnings. For twenty something years he has sought to convey specific moments and/or feelings by enlisting the help of verbal convulsions and repetition. He uses them to twist and turn around intriguing pictures: introducing a subject close enough to spark familiarity, but too blurry to actually identify (leaving the listener able to create a conclusion more personal). I think – and it’ll be your call to disagree – What’s Wrong with This Picture continues on the tradition. Mr. Morrison has layered us with self-indulgent griping, and that might just direct a path to his purpose. When we start to question the validity of his “trivial” concerns, we immediately deem our problems more significant; caring more about ourselves than those around us. Maybe the point is for us to answer the title question for ourselves – about ourselves. Or… maybe not. We could always chalk it up as another trip down existentialism lane. Whatever the case, Van Morrison provokes yet another round of much needed conversation. [BLUE NOTE] DAVID ALLEN

VARIOUS ARTISTS IN THE NAME OF LOVE In the name of however much you like U2, you may do as well to save the money as you would spend on this tribute album to Ireland’s most beloved rock band and send those dollars to charities combatting the AIDS pandemic in Africa directly than to listen

Editors’ Ratings *1/2 DV | DA Various Artists In The Name Of Love: Artists United For Africa 03

03

Various Artists 02* Veggie Rocks!

02

The Subject 02*

02

Christina’s New Hope

All Things Bright And Beautiful 03 Love & Affection Leviticus 03

Live At Bobfest

03*

to so many of these cCm big guns cover Mssr. Vox and Co. Still, In The Name Of Love:Artists United For Africa contains pleasures enough to MAYBE justify the purchase. Even then, they’re from unlikely sources. Jars of Clay getting all bottleneck bluesy on “All I Want Is You”? You bet. Tait understatedly drenching “One” in understated soulfulness and Sixpence None The Richer – who could make an EP from all their cover versions by now – being their usual inventive selves through the “Love Is Blindness” number, among the few others. Even Dove Awards fave Nichole Nordeman acquits herself respectably remaking “Grace.” Of the mediocrity, mimicry and redundancy filling the rest of the album, hip-hoppers make especially egregious moves. TobyMac sings “Mysterious Ways;” how could a rapped version have gone? Grits, unfortunately, don’t even get to rap on “With Or Without You” as much as they just shout out the title a lot while pretty (singing and looking) newcomer Jadyn Maria sings the thing, even though Grits have top billing! I’ll blame some suit somewhere for that one. Would have made a fine EP, this album.

[SPARROW] JAMIE LEE RAKE

VARIOUS ARTISTS VEGGIE ROCKS! The Veggie Tales produce have had a long enough shelf life for a generation of kids to have been raised with the evangie subculture’s coolest cartoon creations. Considering the sometimes-incestuous marketing nature of the subculture, the Veggie Rocks! tribute might have been a foregone conclusion. Fortunately, it generally does its source material creative justice. Bookending the salute are cuts that go to unexpected extremes. Normally stridently prim Rebecca St. James kicks the orchestral-goth-chamber-rock jams in a vampy “Veggie Tales Theme Song,” fun as it is ridiculous (very).

Skillet concludes by revisting their industro-metal incarnation with a stomping beat on “Stand.” Audio Adrenaline’s, Reliant K’s and Newsboys’ contributions have been issued before (should the third’s movie theme even count?), but the first of them provide credible dementedness by turning “The Hairbrush Song” into a crowd control rock operetta.

Most inventive of the other newies? Superchic[k]’s acousti-sampledelic silliness on “The Waterbuffalo Song,” though Michael Tait’s preening earnestness on “His Cheeseburger” makes for a hoot, too. Also, Steven Curtis Chapman’s sons have formed a band, Stevenson, but if their rendition of “I Love My Lips” is any indication, they’re as power-poppy as their dad is mellow. FOREFRONT JAMIE LEE RAKE

02

THE SUBJECT CHRISTINA’S NEW HOPE Bringing me back to my high school days when I couldn’t get enough of punk rock, The Subject reminds me of all the Christian punk bands I used to blast out of my stereo. If you’re looking for an accurate comparison, I’d say think if Squad 5-0 teamed up with The Dingees and they started using more effects pedals. I say Squad for the obvious

punk rock, but the reason I pull The Dingees on you is for the ska/reggae influenced parts. Everything seems very sectioned off, though. To explain: The Subject is punk rock when they want to be punk rock, encompassing that sound, and they are ska/ reggae when they want to be ska/reggae, almost pulling a one-eighty. The weird guitar effects come in here and the vocals turn from gutter punk to new wave. Also to be noted, The Subject has a little trick they like to pull in almost every song: they’ll make you think like the song is over and actually stop, but then come in two seconds later with the same riff and repeat it until they’re sure you’ve got it in your head. Maybe I’m going too in-depth on a style that had its day eight years ago? Either way, The Subject seems out of place to me in the light of the current advancement of musical styles.

(ACCIDENTAL SOUNDS) COLIN HOBBS

ALL THINGS BRIGHT AND BEAUTIFUL LOVE & AFFECTION I have been known to judge books by their covers, and upon first glance at the cover of Love & Affection, I was impressed by the beautiful simplicity and attention to detail. My judgment was reflected in the music tenfold as a warm piano line welcomed me into the world of vocalist Lee Bozeman (ex-Luxury). Honestly, words can’t describe my excitement over this band, and as I hate to do this, I feel I must to give you an idea of what they sound like. Try to imagine a piano-laden Radiohead with twinges of Starflyer 59 that is led by a vocalist so honest with his life and faith, and you might come close. Love & Affection flow from calm piano-led melodies to dark, driving rock and then back down to a simple piano/vocals combination, all with painfully honest lyrics about love, lust, life and death.

This band reaffirms my conviction that there is still beautiful music to be made out there and All Things Bright And Beautiful are creating it.

(NORTHERN RECORDS) COLIN HOBBS

LEVITICUS LIVE AT BOBFEST In an age of Darkness (and retrorenewed interest in 80s metal), come these Swedish masters of the old craft. Pastor Bob Beeman has been integral in a few metal festivals in Europe the last few years, most of which featuring extreme music along the lines of Extol, Crimson Moonlight, etc; but veterans like Leviticus still get prominent billing. A few production misgivings aside, this performance finds Leviticus ripping through the motions, breathing life into these almost two decade old songs.

Peo, sans the mop of hair that used to live on his head, sounds slightly reserved but comfortable, as if avoiding some of his prior vocal histronics.

After thirteen years of silence, Bjorn and company picked the right songs to highlight and rock out: “Flames of Fire,” “Saved,” “The Suffering Servant,” and “Majestic in Power” all benefitting from this reunion. [BTS/BRUTAL PLANET] DOUG VAN PELT

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BARLOW GIRL S/T Music is all around us in the Western culture (especially), but there are usually well-defined stages that a listener will go through as they grow up. Barney is a big hero for the first 4 years or so; then pop goes the musical universe (Zoegirl, Jump 5, N*SYNC, Aaron Carter) for another half decade; and then something attracts them to rock right about the pre-teen years.

Decades ago, it was The Bay City Rollers and Kiss.

This is where a band like Barlow Girl will undoubtedly garner its biggest fanbase: too safe and cute to capture the aggressive boys whose testosterone starts to demand heavier sounds (power chords and distorted guitars), but energetic enough to coax young girls out of ballads and dance tracks.

So, if you get this album handed to you for your 9th birthday, unwrap and allow these chaiste young ladies to help define your rock and roll worldview and encourage you through those tumultuous late Elementary School years. If this arrived for your 14th, smile and check to see if a gift receipt was enclosed. [FERVENT] DOUG VAN PELT

THE DEAL CUTTHROAT One look back to where we came from can not only create a deeper appreciation, but most certainly enhance an understanding of the genre. (Ever see Jack White play live?) For years, The Deal has showcased a respect for punk beginnings and ska/oi pick ups. With this new release, Cutthroat, the efforts have come full circle.

Where most “dirty” punk sounds rehearsed, The Deal lay it out raw. It blends (yes, blends) with Cutthroat’s stronger hardcore influence – think early Agnostic Front, maybe even Minor Threat’s “Bottled Violence” with discernable vocals. Alright, so, is it contrived? Nope. It fits as well, dispersed within some sick, sick rhythms. And, real quick, there is no punk rock fixation with rebelling. Rebellion was fitting when the National Front was headed to English office in 1977. Collin deserves to be noted for rather impressionable lyrics; addressing issues with certainty, but managing to refrain from the clichés of yester year. Nicely done. [FACEDOWN] DAVID ALLEN

band that sounds a whole lot like the Scott Sillettafronted Plankeye, which is a good thing. Its album includes big and bold rockers, such as “In Stereo” and “Not Gonna Change,” which bring to mind that SoCal band’s roaring glory days. But not all here is infused with a punkish-rock spirit, however, as “What If I Doubt” has a Delirious? quality to it and “Where Did You Come From?” closes the album on an undeniably quiet note. One song is called “My Anthem,” and anthems – like this one -- are just the kinds of songs Sky Harbor excel at. Ironically, one line from “My Anthem” sheepishly states, “Sorry if it’s too loud.” But it’s also a line that ought to make every honest listener guffaw profusely, because this group is one loud and proud unit; one that should never have to apologize for any high volume.

THE OVERFLOW Marrying a singer-songwriter with producers that understand what makes a good pop song can be a match made in heaven. This 23-year old is matched up with a few pro’s (Dave Perkins, Matt Slocum, Sam Ashworth, to name a few), who know how to wrap a great melody around a strong or witty lyric.

Taylor Sorensen sounds like he’s being torn into two pieces by Bill Mallonnee and Kevin Max, but that isn’t meant to describe a split personality or anything. He actually achieves a cohesive sound that’s both smart and slick.

His voice, which takes center stage on top of a stripped-down sound quite often on The Overflow, is captivating in a Thom Yorke sort of way. There is depth there that creates atmosphere without accompaniment necessary.

Couple that with some good songs (like “Love Somebody Else,” “What Love Is” and “Gloria 34”), and you’ve got something special. The surprising thing, frankly, is how something this cool could come right out of the confines of Michael W. Smith’s Rocketown Records.

For once those Nashville folks beat us all to the punch. Since Sorensen went to Belmont College, he was able to build a following in and around the mecca of cCm. And, with plenty of college circuit touring under his belt (along with his backup band, The Free Doves), now the rest of the country can benefit. This would be a New Artist of the Year Dove Award that would keep the snobs and critics from complaining. [ROCKETOWN] DOUG VAN PELT

[INPOP] DAN MACINTOSH

MENDING POINT S/T Walking into Standard Rock Club in Anywhere USA and you’d expect to hear a band like this playing. Nice melodic rock with a seasoned voice that draws you in. A tight rhythm section held together by solid drumming. Nothing world-class or, ‘We’ve got to come back and hear these guys again,’ but one that you’ll enjoy for the duration of your visit. They do everything right and please the ears, but your life isn’t changed the instant you hear them or even after their 45-minute set. Likely to get an ovation if opening for Jars of Clay, but polite applause if opening for Anberlin or Mae. [WORD OF MOUTH] THE KERN COUNTY KID

FALLING UP CRASHINGS If you’re all fired up about the glut of modern pop rock radio friendly music being cranked out right now (Kutless, FM Static, Mending Point), then Falling Up will be a new friend to add to the listening library. If you’re tired of the music by numbers bands that seem to be multiplying like rabbits, sample the track “Jacksonfive,” with its heavy beats and guest vocals from Ryan Clark of Demon Hunter, Benjamin J, Paul Wright, and Kutless vocalist John Micah Sumrall; or else just dive into some garage rock or aggressive screamo instead.

[BEC] DOUG VAN PELT

SKY HARBOR WHO WOULD HAVE GUESSED The album Who Would Have Guessed

by Sky Harbor includes a few basic lessons about the differences between ‘wants’ and ‘needs.’ On the track “Welcome,” for example, vocalist Garth Bostic explains how the world, “…doesn’t need another love or rock song/We need love.” Later, on “Who Needs A Girl,” he asks sarcastically, “Who needs a girl when I’ve got this guitar?”

(Of course, he ultimately admits his need for a girl before the song’s end). I guess you could say that when an equation, almost any equation, involves that crazy little thing called love, than it belongs squarely in the necessity column. Everything else, for the most part, is simply a luxury. Sky Harbor is a

TAYLOR SORENSON

XLOOKING FORWARDX WHAT THIS MEANS TO ME Let’s make this one quick. It deserves it. Each song is as short as can be, but filled – absolutely loaded – with a ton of content.

Laid over a quick, old school beat, the vocals are enunciated with a spitfire precision. Somehow, all lyrical decency is retained and each two minute song ends with about five minutes worth of words. Dang. Hopefully this hardcore pack can help to revive the spirit of a wavering genre.

Good job Blood & Ink, because this is, without a doubt, one of best hardcore releases this year.

Editors’ Ratings DV | DA *1/2

02* 02 03

Barlow Girl S/T

Deal 03* The Cutthroat

02* 03

Sky Harbor

02

02

Mending Point

02

02

Falling Up

Who Would Have Guessed

S/T

Crashings

03* 04

xLookingForwardX

04

Taylor Sorenson

03

What This Means To Me

The Overflow

Taylor Sorenson BootlegLive.Com Series

[BLOOD AND INK] DAVID ALLEN

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DVDS Entertainment reviews

06

01 RUNAWAY JURY | FOX VIDEO This thriller offers what you’d expect from a John Grisham novel – suspense, mystery, good guys, bad guys, and the thirst for justice. It also underscores the importance of approach and emotional angle when communicating a cause (political or otherwise); as aligning with the side of perceived truth is usually a big rallying point on any given issue. Both sides of an debate can and often do this, but it’s mostly the one that can tug at your heart that wins prevailing opinion. Many side stories are evident here, not the least of which is the first pairing of Dustin Hoffman (prosecuting attorney Wendell Rohr) and Gene Hackman (jury selection expert Rankin Fitch). It’s a fascinating peek “behind the curtain” of the world of jury selection in a high profile case. Unforgettable lines include: “A trial is too important to be left up to juries.” Wow! Deftly written and edited, it makes the viewer wonder if this kind of activity really goes on, much like another Hackman thriller, Enemy Of The State did. There’s A+ extras here, too. DV

02 RADIO | COLUMBIA TRISTAR This one’s a weeper, a beautiful story that shows the invaluable worth that people are (or can be, if we open our hearts). Just seeing the trailers on tv last fall told me that I’d need a hanky when viewing. ‘Twas true.

Cuba Gooding Junior does an incredible job of playing the true life character Robert Kennedy (affectionally referred to as “Radio”). The extra documentaries reveal that the first thing Gooding does when taking on a character is to learn and develop a walk. His portrayal here is so sweet and endearing. The football action that the movie is couched in is fun (and very realistic), but only a side-story, as Radio first divides the community before uniting it. Ya gotta love these heart-warming stories that people find (this one was “discovered” by a story on Radio that Sports Illustrated writer Gary Smith wrote a few years ago). DV 19 Obscenities 90 % Spiritual Relevancy

12 Obscenities 25 % Spiritual Relevancy

04 FIGHTING

TEMPTATIONS | PARA-

05

03

SCHOOL OF ROCK | PARAMOUNT This is a fun romp through one man’s dysfunctional lazy life that (predictably) turns a scam into a heartwarming lesson about the value of empowerment and encouragement (especially with kids). Dewey Finn (Jack Black)’s unceremonious ouster from his band is hilarious (picture an overweight guy stage diving into a sparse crowd), but the 10 year olds that he later recruits for his band are impressive. The under-appreciated talent of Joan Cusack shines here with a tightlywound personality (Rosalie Mullins) opposite Black’s cartwheeling character. The 4-plus hours of extras loaded into this disc magnify the fun further. There’s a director’s commentary joined by Black; as well as a delightful commentary with the kids. While his pitch to Led Zeppelin (to use “The Immigrant Song” in the movie) does refer to them as “Rock Gods,” ahem, his misguided respect is recognized. The videos are a hoot, adding more laughs. DV 06 Obscenities 10 % Spiritual Relevancy

06

GREEN ACRES | MGM

JEREMIAH | MGM

Cuba Gooding Junior plays the role of arrogant, proud youngster well in this drama based around one deceitful yuppie who is told in a will that he has to lead a small church ragtag choir to the regional competition in order to receive his portion of the inheritence from a dead aunt. Like you’d expect, along the way he falls in love and learns some valuable lessons, albeit with some comical hard knocks. There’s some real memorable gems here, including: “There she goes again! It wouldn’t be a normal Sunday if Faye didn’t get slain in the Spirit...” and a rebuke of, “You can’t lie!” rebutted with, “But we’re in advertising!” There’s at least one case of the humor probably going too far: A church sign reads: “Today’s sermon: Tithing – Pouring Some on the Curb for Your Dead Homie, Jesus.” While an interesting parallel to tithing, referring to the Resurrected Christ as dead leaves a little to be desired here. But the movie does succeed in encapsulating the Gospel message perfectly in one of the songs the choir delivers at regionals: “I ain’t good enough, but He still loves me...”

DV

Just about everyone’s seen this show, but precious few appreciate its sly and cunning humor. Because we are so familiar from watching it growing up, the wit beneath the surface (with stereotypes and parody characters) is often in a “blind spot” that unfortunately gets ignored.

This 2-disc set has all 32 episodes of its first season (in 1965). The pilot and first couple of episodes, of course, set up the series well, but the actors don’t quite get on a roll for several more episodes (try “stilted” and “canned”). The comedic tension of interpersonal and practical living frustrations are often blown up by the gags but are nevertheless seen coyly in the facial expressions of Mr. Douglas (Eddie Albert). Helping hand Eb (Tom Lester), General Store owner Sam Drucker (Frank Cady), oily salesman Mr. Haney (Pat Buttram), and two of my favs – Arnold the pet pig’s owner, Fred Ziffel (Hank Patterson) and Agriculture Agent Hank Kimball (Alvy Moore) – all hit their marks later on in the series, underscoring the morals that fast isn’t always better and relationships offer a beautiful charm all their own. DV

This post-apocalyptic drama series (Showtime) puts Luke Perry (Jeremiah) and Malcolm Jamal-Warner (Kurdy) together as an elite adventure team to explore communities and resources for a group of twentysomethings that rule a region 15 years after the “Big Death” (deadly virus) took out every adult on the planet (or so it seems) over the age of puberty. Mad Max type action and the light-hearted interaction between this pair make for quite an entertaining show (if it weren’t for the gratiutous nudity and profanity in just about every episode. Come on, Showtime! Was all that really necessary?). Besides all the characters they meet along the way and the human instinct of survival, there is some real drama played out in Jeremiah’s wrestling with God, and faith issues. This bursts forth in a tirade where he shouts with an angry fist, “What did we ever do to You to make You do this?” While the show’s version of the apocalypse is quite different than the biblical one, spiritual themes abound here – running the gamut from suffering to false zealotry and cults. Extras are minimal, but the ongoing story doesn’t need much help.

DOUG VAN PELT

06 Obscenities 100 % Spiritual Relevancy

00 Obscenities 15 % Spiritual Relevancy

MOUNT

337 Obscenities 42 Nudity / Sexuality 01 Gore 90 % Spiritual Relevancy

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Books & Gear news & reviews included

SOUND OF THE BEAST | IAN CHRISTE The original Encyclopedia Metallica : The Bible of Heavy Metal (1982) paved the way for other books and musical historians to duly note the huge influence that the New Wave of British Heavy Metal had on what later became a mainstream phenom in the mid-80s.

This thick and annotated hardback book thankfully takes a broad approach and spends a sizable amount of space documenting the tape-trading underground that permeated the underground metal scene (and predated file sharing by nearly two decades) prior to its commercial breakthrough. This was the world that a young Lars Ulrich and Brian Slagel found themselves steeped in before they went on to form Metallica and Metal Blade Records, respectively. Stryper gets their fair props, too, which is only right, but commendable nonetheless. DV • Harper Collins

FLABBERGASTED | RAY BLACKSTON Missionary chicks! Man, they make a Sunday morning shine. Woo-hoo, baby! Tanned, emotionally intense, physically fit, and spiritually devoted. Well, Flabbergasted protagonist Ray Jarvis has the same jones I do. He’s a not-very-spiritually devoted stockbroker transferred to South Carolina who encounters the absurd milieu of the “Christian single” for the first time, after a lizardly realtor tips him to the fact that social intercourse is all about the church there in the sticks. Personally, I think he should have made moves on the realtor straight out, but then he’d be carnally satisfied immediately and the inevitable lure of pert Christian gals into the Godly life wouldn’t occur as it needs to in the scheme of this new literary subgenre (somewhat socially conscious adult Christian comedy?). The dichotomy of Ray’s chosen work and his journey into faith is also a challenge presented as predictably as his chasing after tight buns “on fire” for the Lord, and yet talented first time out novelist Blackston describes everything with such a charming “worldly” (horrors!) humor that the formulae don’t irritate nearly as much as they should. Blackston’s got casual lit style and a sweet knack for probably translating his personal (previous real life career: financial analyst) foibles into self-aware humor, and should be credited for that. Now a few good years working full-time in an urban homeless shelter might shake up the (not completely odious, just typical) upper middle class smugness that often goes unchallenged in his prose. Bottom line: You could find much, much worse in a Christian bookstore.

Chris Estey • Fleming H. Revell Co.

ASAT Classic

B30-S

G&L has added a new EMG has semi-hollow body guireleased a tar to its lineup, called new 3-band the ASAT Classic. With equalizer a swamp ash body, its for bass voice chambers are guitars the same dimensions – the B30-S. You can retrofit them beneath two as those found on the tone controls. The bass and treble equalizers original equivalent G&L. are mounted on a stacked pot, and the midStandard features in- range control mounts separately. They all offer clude those magnetic a 12dB variation. They can be used by either field design pickups, active or passive pickups and are powered by saddle-lock bridge, and a 9-volt battery. Comes with knobs, output jack, dual fulcrom vibrato (all and battery clip. [EMGpickups.com] invented by the late great Leo Fender).

[GLguitars.com]

BANANA Chiquita has released an essential gigging diet companion – the banana. While not as versatile as the orange, this soft fruit delivers less mess and its built-in freshness indicator (it gets dark spots all over it the closer it gets to being over-ripe and its texture too soft).

Ignoring these signs could even prove harmful, as this fruit tends to rot over time. Designed in a handy carrying style, it can fit itself into most travel cases, although our testing proved that the tight pants pocket (especially for emo artists) were too confining and actually damaged the fruit. [Chiquita.com] / DV

REVIEWS | BOOKS, GEAR

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THIS ISSUE, JUDAH HANDLES 4 MUSIC QUESTIONS AND STILL MANAGES TO ENJOY 68 HOURS OF SLEEP Email your questions to P.O.D.’s roadie extraordinaire: Judah Siegel via judah@hmmagazine.com

The presidential election is already proving to be interesting. I’m having a hard time finding good information on the candidates. Any suggestions for a new voter?

I would do a Google search, type in presidential candidate and see what pops up. Take the time to research and make sure you check out the voting process. It’s confusing at times. The last time we had a presidential election the guy with the most votes didn’t end up in the White House. Electoral voting tops popular count. This should not stop you from voting, because if you don’t vote you shouldn’t complain.

As a parent, I’m having some difficulty understanding what my daughter is going through. Her new found fascination with such heavy music is a bit confusing. Can you offer any advice to help ease this 45 year-old’s worries?

If you can stand it I would suggest sitting down with some of her music and listening to it... while you check out the lyrics. Keep in mind that the music she listens to is marketed and made for her generation, so some of it may go under your head.

Hey, you do stuff with bands, how do I get a sponsorship so we can get some free gear and swag?

By we, I assume you are talking about your band. Unfortunatly the way it seems to work is this. When you are a new band, you can’t afford anything but you have to buy everything. When you are in an established band you can afford anything you want, but that is when you get pretty much anything you can think of for free or at a greatly reduced price. Companies do this because it is a low cost way to advertise. So if you want free stuff for your band, all you have to do is get famous.

What websites do you visit daily? Just curious.

I mostly use the internet for e-mail purposes, E-bay is cool too, just to see all the crap people are trying to sell. I honestly can’t think of a site I visit on a daily basis.

I know P.O.D. has been on the road with a lot of big secular bands. Are there a couple bands who stand out as good guys? You know, outside of playing on stage, they just chill and stay away from the garbage?

There are members of every band that just chill, these guys are usually the ones in the background when you see interviews or apperances. You might be surprised at the lack of “garbage” that is going on behind the scenes at most rock shows. Thankfully, we’re no longer living in the 80’s.

End of Questions As I Lay Dying 78

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The way I see it Chris Wigham an

Devotions with Greg Tucker

One day during church, the youth pastor guy asked to see my Bible. He opened it and found something, underlined it and told me to read it later. I waited until after church then scanned every page, not knowing which one he wrote on.

Finally I found it: Proverbs 6:20-29. I won’t quote the whole thing, but here are a few excerpts: “Don’t lustfully fantasize on her beauty, nor be taken in by her bedroom eyes ... Can you build a fire in your lap and not burn your pants? ... Can you walk barefoot on hot coals and not get blisters?” ¶ Wow, what was I supposed to do with that? I was 17, full of hormones and this guy is telling me to not do what comes natural... what was he thinking? Then I wondered how he knew what I was dealing with? How did he know I looked at girls like that? Was my lap really on fire?! Dang. ¶ For one of the first times I was put on notice; I had some choices to make. I needed to learn the lesson taught in another good verse: 1 Thessalonians 4:3-5, 7 “It is God’s will that you should be sanctified: that you should avoid sexual immorality; that each of you should learn to control his own body in a way that is holy and honorable, not in passionate lust like the heathen, who do not know God; For God did not call us to be impure, but to live a holy life.” ¶ God calls us to be set apart and under control. We are to treat ourselves and others—including those in relationships—with the utmost respect. ¶ I have three practical observations to think about.

• If people put themselves in situations where they might fail, they will. If situations are created where a couple can be home alone for the night, park in a dark place, or sneak off someplace alone; trouble is being searched for and will be found.

• In all relationships there are two people. We have to strive to treat the other person with respect... in every way. What I mean is no one should put pressure on another to push sexual limits. In the same way we have to teach ourselves to run from tempting situations, it just makes sense that putting someone else in a difficult or tempting position is not good.

• Couples should talk about it. If they verbally establish a desire for purity within the relationship, with a basis known, they have the ability to keep each other accountable. An increased caution will help. Even if one is about to stumble, the other can stand and help to remove the possibility.

You know, by running from situations already destined for failure. ¶ By making a point to follow through, both sides can express their desire to allow God’s design for purity.

Knowing where each other stands is amazing for communication. It may even make the first two steps a little easier. ¶ God has called us to be different from the ways of world.

Our bodies were not intended to live and function like we see on the OC. There’s only so much heat our “pants” can take before they catch on fire. ¶“The body is not meant for sexual immorality, but for the Lord” (1 Cor. 6:13). Let the amount of burned laps, and blistered feet around us serve as a witness.

Recently I traveled overseas to attend a unique writers’ meeting. A convention, so to speak, if a gathering of two can be classified as such. ¶ I read once that J.R.R. Tolkien and C.S. Lewis met with their author colleagues every Tuesday at small pubs throughout Oxford to discuss ongoing projects, presenting each one for praise or ridicule. (Including The Lord of the Rings and The Chronicles of Narnia, I’m sure.) So impressed was I that I challenged Chris Wighaman, whose articles share this page, to meet me in England at one of those very pubs. “We could talk about articles and writing habits,” I suggested via email, trying desperately to justify the trip for both of us. Ever the adventurer, Chris agreed, and a day and time were set. ¶ As English pubs go, nothing stands out about The Eagle and Child. It rests on a busy street near Oxford University and is not particularly known for its food. The wood inside is dark, with a lone bar to the right. Directly opposite is a small room where, a faded sign explains, the writers’ group met faithfully for 23 years. If the walls could speak…. ¶ To my delight, Chris Wighaman was there, and we sat alone in The Room, talking, just as the greats had done many years before. Our thoughts and words seemed lubricated – invigorated even – by the rich history that surrounded us, and we spoke on a wide variety of topics. HM Magazine (we love the format), music (Chris digs everything; I lean toward classic rock), backpacking (we’ve both hiked to the summit of Pikes Peak), David Allen (one of the most creative men we know / a tough editor), God’s goodness (two thumbs up), and Ozzy Osbourne (probably a genius, but we weren’t sure). ¶ Our conversation was sometimes light and sometimes profound, but the coolest part was just being there. I thought of the scene from Dumb & Dumber where Lloyd turned to his friend before their big trip to confirm, “We’re really doing it, aren’t we buddy?” Chris and I were doing it.

We were sitting where Tolkien and Lewis sat, talking about the kinds of things they talked about. Except maybe the part about Ozzy Osbourne. ¶ God’s into that kind of thing, you know. In the Bible, there were lots of times when He instructed people to build monuments, so those who came later could connect with the thing that happened there. (Read Joshua 4 for a great example.) I suspect there were countless men who trekked to the Red Sea, wanting to see firsthand where the water parted for Moses and the Israelites. ¶ I’ve made those treks myself. Some years back I traveled to Kankakee, Illinois, and stood at the spot where I first received Christ. I’ve revisited the tiny church in Colorado where I allowed the Holy Spirit to change me in a deeper way. Just to be in Cincinnati, where Penny Reno and I were married two decades ago, makes me wonderfully reflective. ¶ I hope in the midst of the very hectic schedule you keep, that you will take time to visit some places that mean a lot to you. Sometimes the memories are bittersweet, I’ll admit, but to stand there and quietly ponder God’s faithfulness through the difficult times, as well as the good, will make the entire journey worthwhile.

Columns

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Pick of the Litter While it may seem glamorous to work for a rock magazine, and we do receive on average one independent (i.e. unsigned, “indie”) CD per day, having to listen to 80 albums per issue can be hard work – especially if the music isn’t anything special. The music covered on this page is, in our opinion, “special.”

It had some quality that made it stand out from the pack.

THE SISTER MARIA

THE PALE

Quiet, brooding, but cool folk rock (Pedro, Bright Eyes).

RockKansas.com/TheSisterMaria

Cool rock with fantastic vocals and first-class musicianship (kind of like The Billions). Gravity Gets Things Done features 10 fine songs. ThePaleMusic.com

THAD COCKRELL Great country/alt.rock. Fabulous voice, songs, and memorable stories (a la Bill Mallonee).

ThadCockrell.com

NEW AMERICAN STANDARD Good combination of melody, angst and, of course, distortion (think Thrice, but mostly slower).

NASrock.com

MICK ROWE This musical chameleon has been frustrating to follow, but I’ll be danged if he doesn’t deliver quality each time he takes a shot. On Summertime he marries some worshipful lyrics with some sweet melody. I forgot how clean and enjoyable this guy’s vocals could be. Uncannily sounds like the melodic side that his brother (Jamie Rowe) became so popular with.

MickRowe.com

UNIVERSITY Beautiful music. (Imagine Ben Folds and Weezer). Working on a split with Northern Records and possibly a shot at Cstone’s New Band Showcase. Amazing.

UniversityMusic.com

CAPE+RENEWAL Weird but passionate. Self-described “Midwest mediumcore” (not too unlike mewithoutYou).

CapeRenewal.com

CREAMY VELOUR Tasty slide guitar accompanies John Witteveen’s dreamy yet leathery vocals. (Chris Taylor meets Thom Yorke and Dave Matthews in the Mississippi Delta).

Outstanding.

CreamyVelour.com

NAOS PROJECT

Fantastic flamenco guitar player (Santana influence).

SRStudioonline.com

Aggressive and multi-ethnic. Poor production plagues their EP, The Last Conversation, but their direction shows promise (they’d love to be P.O.D.) and they’re staying active with gigs, so keep an eye on ‘em.

NaosProject.com

THE MYRIAD

DUMPSTAR

Absolutely beautiful melodic strains and atmospheric sounds. (Radiohead, but more commercial sounding).

Six fabulous gems grace the Which of You EP. The band has been working on new material all winter.

TheMyriad.net

Grunge rock. On this issue’s Hard Music Sampler CD. Dumpstar.com

ADRIANO AUGUSTO

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