HM Magazine, Issue #119 (May/June 2006)

®

Project 86 Bleeding Through Danielson Spitfire Stavesacre Smoking Popes Family Force 5 The Appleseed Cast

UNDEROATH

May, June 2006 • Issue #119

$3.50 USA / 4.95 CDN

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Featuring the hit songs

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

AVAILABLE WHEREVER FINE CHRISTIAN MUSIC IS SOLD

srerecordings.com octonerecords.com myspace.com/flyleaf

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34?(-?FULLPAGE PDF 0-

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4/6/2006 12:09:14 PM

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

From the editor

09

REGULAR

Doug Van Pelt

Letters Hard news Live report Heaven’s metal LOVE IN EFFECT

10 12 19 20

FEATURETTE

So, it’s a day after ad space reservation deadline. We’re a little short on the amount of ads we’d like to have. We’re breaking in the “new guy,” who’s really an old rocker and an old friend – John Thompson. He sends me an email this morning to catch me up on the ad activity last night and such. He mentions that he’s in an “urgent care office” as a precautionary measure, “just to be safe.” He’s got a portable email device that allows him to sell ads and follow up with people while he’s waiting and waiting.

Doesn’t sound like a big deal, yet it’s committed to prayer. Later in the afternoon (after a day that was probably one annoying major medical test after another for him) he sends me an email that he’s in an ambulance heading for Mercy Hospital. I get on my knees for a little more fervent prayer.

It’s times like these that you remember that people are more important than a magazine. Even though there’s deadlines and even though the words and images on this wood pulp serve a purpose (and a King), in the end people are far more important. As the week wore on into the weekend, it became apparent that this situation was far more serious than I had originally thought. John had a lot of internal bleeding (not good, as one of my friends understated over the phone) and emergency surgery. Kept from “the ultimate backstage party,” John said he was glad he was still around. So are we.

Give someone close to you a hug today and tell ‘em you love ‘em. Don’t let on that it was someone else’s brush with danger that motivated you.

This’ll just be our lil’ secret. Now, go hug that person – I’m serious!

Extreme metal report New republic Skylines Hawk nelson Transition

21 22 24 26 28

FEATURE The appleseed cast Stavesacre Danielson Project 86 poster Underoath Project 86 Family force 5 Smoking popes Spitfire Bleeding through says

30 32 36 40 42 46 48 50 52 57

INTERMISSION Chris yambar Columns

SPINNING AT HM NOW CINDY MORGAN THE ALARM MMVI GOLDSPOT BERNARD SLAVE TO THE...

JOHNNY CASH V/A

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Postcards Under Attack Tally Of The Yes Men A View Beyond the Cave Slave To The System Personal File Lunar Eclipse

60 70

REVIEW Really reminds me of Fleming & John.

13 great songs, sounding lean and hungry.

Amazing. Beautiful and then bouncing.

Dreamy, breath-taking, engaging.

The closest you can come to Brother Cane.

A romping journey through 49 gems.

Doomy darkness for deadline.

Music DVD, book, & gear Indie pick

63 68 72

3/31/2006 9:29:40 PM

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

IS “CHRISTIAN” AN ADJECTIVE? Fellas... I love your work. Sometimes “Christian” music hurts me and probably hurts God, too. When the word “Christian” is an adjective over a reality, we’re in need of huge grace! So, I’m glad you guys are trying to keep it straight. May all of you there have a staunch hatred for sin and a deep love for the righteousness of Christ Jesus.

I love the Spurgeon quote on the back of this issue. I went to Wal-Mart and framed it.

Spurgeon is the man. Anywho, apologies for the tangents.... You guys need to interview Anathallo. They’re from Michigan and put out incredible music. Grace & peace, boys...

–Jim Thompson, via internet

RUINED BY A SAMPLER Mr Van Pelt... have you lost your mind? I just finished listening to the newest Hard Music Sampler, the March/April 06 Issue and I am very upset. Usually I hear 1 or maybe even 2 songs on these that I really, really like and causes me to purchase a CD. That leads to the problem with the new sampler disc. Are you nuts? I saw my bank account emptying before my eyes as I heard song after song that made me want to purchase the full CDs. Wow. This sampler is one of the Greatest Compilation CDs EVER! I was truly impressed. And last but not least... the song

by Proto-Kaw is possibly the coolest song I have heard in years. There is hope for music.

Thanks, dude. A Very Happy Subscriber.

–Todd Pannell, Slidell, LA

DEAR FRIEND...

I feel as if I could talk to you guys as old friends. Your magazine is brilliant and overwhelmingly amazing. I have been reading it on and off for the last couple of years, and only the last couple of months have I been reading it every issue. Every issue is awesome. Every piece is worthwhile and greatly written. I especially like the “Christians & Art” column. It is very rare that you find an article, let alone a column, about art that is not self-glorifying, let alone a column that relates Christians & Art that’s not self-glorfying. Often, articles teach us to think that Christians don’t have a place in ‘secular’ art or that we are awesome and better because ‘we do art for Jesus.’ This column and the magazine does neither. You produce a magazine that doesn’t suck when it comes to a Christian audience, but at the same time, you produce it in such a way where non-Christians would want to read it. This is amazing. Thank you so much for every issue and for every one in the future.

You have truly touched my heart, and my music playlist time and time again :) –Jessica Tennant, Springfield, MO

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EDITOR/PUBLISHER OFFICE MANAGER MKTG & ADS CONTR EDITORS

Kemper Crabb, Greg Tucker, Chris Wighiman

CONTRIBUTORS

Nate Allen, Jamie Buchanon, Matt Conner, Annie Esquibel, Mark Fisher, Dan Frazier, Lee Haley, Amy E. Hall, Tim Hallila, Ed Hellig, Tim Hudson, Jeremy Hunt, Steven Losey, Dan MacIntosh, Matt Modrich, Josh Niemyjski, Jamie L. Rake, Adam Robinson, Andre Salles, Andrew Schwab, David Stagg, Jonathan Swank, John J. Thompson, Chris Troutman

COVER PHOTO BACK PAGE

David Goldman Herman Lee for FRESHFAUXX

PROOFREADERS

Doug Giesbrecht, Valerie Maier, Carolyn Van Pelt

SCRIPTURE

“...being confident of this, that He Who began a good work in you will carry it on to completion until the day of Christ Jesus.”

(Philippians 1:6)

Ed – Hey, Walmart doesn’t like people hanging pictures onto the walls of their stores!

THRICE ARTICLE WAS TICKING...

I loved the issue with Thrice on the cover.

The article was the bomb! I have read many articles on Thrice in AP Magazine and Drum, but none of them will ever beat yours. It was awesome! I wish they would play at Cornerstone this year! I also enjoy listening to the sampler CD. Fugitive is awesome! I have been looking for a Christian band that sounds like Blink-182, and I think I found them. Thanks a bunch for everything you guys do! I look forward to every issue. I will be a subscriber ‘til the day I die and if I can receive mail in Heaven, I’ll send down a check to cover the cost of my renewals! I love HM Magazine!

–Cullen Williams, Troy, MO Ed – Hmmm... Heaven’s Metal in Heaven?

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Ed – My opinion? They’re believers in Jesus.

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IS ZAO A CHRISTIAN BAND? Is Zao a Christian band? I thought it was odd that they would tour with Demon Hunter and Becoming... both bands who are very openly Christian. I would be interested in your opinion.

–Chris Risheill, via internet

Doug Van Pelt Charlotta Van Pelt John J. Thompson

HM Magazine is dependently owned and operated (Psalm 62) Printed in the U.S.

SPITFIRE MEANS WHAT? I just got the March/April mag and, while I was flipping through it I came across the ‘News Bullets.’ I noticed that Spitfire is back with the help of Scottie Henry of Norma Jean. Does this mean Scottie isn’t with NJ anymore? Please! Say it isn’t so...

–Dannica June Anderson, SoCal Ed – It isn’t so.

HM Magazine (ISSN 1066-6923) is published bi-monthly for $15 per year by HM, 1660 CR 424, Taylor, TX 76574.

Periodicals Postage Paid at Taylor, Texas and at additional mailing office.

POSTMASTER: Send address changes to: HM, PO Box 367, Hutto TX 78634-0367 All contents copyright © 2006. HM contents may not be reproduced in any manner, either whole or in part, without prior written permission. For retail distribution, please call Ingram Distributors (800) 627-6247

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4/6/2006 12:52:35 PM

HARDNEWS Quick & concise

News bullets Strike First Records have just signed Rockledge, Florida hardcore act Called To Preserve. xDEATHSTARx was asked to perform on the March 27 edition of Jessie James’ Monster Garage.

HOMELESS J FINALLY DEBUT

AS I LAY DYING

3 SECONDS TO GAZE YEARS IN MAKING

BENEATH THE ENCASING OF ASHES + SPLITS

Sometimes it takes forever for a band to “do it right” and release its debut album, and once it comes out the band is touted as a “new artist,” when their fanbase has been hearing the tunes for eons. Such is the case for Homeless J, whose Three Seconds To Gaze debut on Sony/Red/ Selectric is set to release on May 2. Like many others, this band found itself on a major label (MCA’s Uninhibited Records) only to be dropped in a big league merger. “We really learned a lot about this business and have realized that the business has lost its feeling on what moves people to make great art and we never want to do this,” says lead singer Chad Van Meter.

“Please stop paying $40 to $75 for our old CD’s on used CD websites!” the band pleads. “This May we’re re-releasing our first two recordings previously out on Pluto Records. Both Beneath the Encasing of Ashes, which was recorded two months after the band started, and our split EP songs, which were recorded a year later, will both be on one CD. Wait until May and you’ll spend less than $15 to get two CD’s worth of material. Understand that it is old material, but you’ll be surprised hearing what we did to some of the songs to make them sound clearer.”

The band has been on the Taste of Chaos Tour (going through April) and will be headlining the Sounds of the Underground Tour this Summer (which hits all over the UK in May). Their Darren Doane directed video, “The Darkest Nights,” has been getting airplay on Fuse and MTV2’s Headbanger’s Ball.

Cue The Doves (feat. Jon Berndtson, ex-The Beautiful Mistake) release their debut, Architectures of the Atmosphere, on Dead Letter Records.

Sleeping At Last has been recording their new album and have hit the final mixing stage, which will be done in Boston with John Goodmanson (Death Cab for Cutie, Sleater Kinney).

“The studio that we’re mixing in is on a real-live farm! Quite a contrast from the busy-ness of Chicago.” The working title is Keep No Score.

Douglas Lucas and his band, The North (fka All Access) have been attracting major label interest, with the band playing multiple private label showcases in Austin, NY and LA. Anberlin was tapped for a live television performance debut on Attack Of The Show, which airs on the G4 TV Network. The group planned to perform its new single, “Paperthin Hymn,” and fan favorite, “A Day Late.”

En Masse (ex-Further Seems Forever, Moments In Grace, Twothirtyeight) will be releasing their debut EP with Pop Up Records this Summer. The guys are heading into the studio in late April with musician/producer J. Robbins (Jawbox, Burning Airlines).

Indie Scene Chronicled on 2-disc DVD

Image Entertainment are issuing a ground-breaking documentary and concert film that chronicles the rise of the modern punk, emo, and hardcore scenes. The 2-disc set runs over 3.5 hours and includes live and backstage footage of Underoath, The Juliana Theory, The Beautiful Mistake, and many others (incl. Thursday and Jimmy Eat World). Producer Michelle Caputo: “We recognized a phenomenon within the culture of this scene. It can be traced back to the early days of hardcore wherein there existed a true ‘DIY’ ethos and connection between the musicians and the fans. We saw a real story in that these musicians have maintained a pure and true connection and have utilized today’s resources to allow that outreach to grow exponentially.” Underoath’s Spencer Chamberlain: “(It) brings me back to how this thing all started. I’ll never forget the basement-house shows. This DVD is a great representation of the foundation of so many musical styles.”

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Mae is participating in the Virgin College Mega Tour, alongside Yelloward. They recently taped an mtv.com exclusive concert (4 songs).

Doll House signed hardcore greats In The Face Of War. Look for their fulllength release this Summer.

Seventh Star has the month of April booked for a European tour with Taking Names and Opposition of One.

3/31/2006 10:01:17 PM

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HARD NEWS 13

As usual, P.O.D. is everywhere promoting its latest (great) disc, Testify. This Spring had them doing shows in New Zealand, followed by an appearance on WrestleMania, a performance on top of the Sears Tower in Chicago (enhanced by the pyro team from Kiss), and then a televised live performance during the NCAA Final. Sonny also got “Punk’d”

by MTV with the help of Wuv a few weeks back. This was one of the biggest productions to punk someone in the show’s history.

Emery has been co-headlining the Tooth & Nail Tour with Anberlin, which they will follow-up with dates on Warped Tour.

TO

After one European tour and 2 weeks into their tour with Bleeding Through & ETID, Haste the Day have made Stephen Keech a permanent fixture in the band. He replaces Jimmy Ryan as the lead singer. Ryan made his decision to depart the band known back in late November of 2005. His decision to leave was strictly personal and was amicable. HTD made the announcement onstage in Keech’s own Denver.

Knockout Kings are recording the follow-up to last year’s The Lion EP with David Dreesen (Hundred Year Storm, Widows & Orphans, fka The Kirby). The new 5-song EP will be titled The Kid’s Got Heart and is scheduled for release in May on Doll House Recordings.

Copeland is out touring with Cartel, The Starting Line, and Gatsby’s American Dream.

Stretch Arm Strong is heading out on the road in May with legends Sick Of It All and First Blood.

MAGAZINE...

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Kutless is headlining a tour with Falling Up, Disciple, and Stellar Kart.

Travelling with full production, the show is sounding good.

Kevin Max is out rockin’ it on a 40date Walking The Imposter Tour this Spring. Some dates include The Violet Burning and The Listening.

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14 HARD NEWS

HARDNEWS Page fourteen News bullets Austin favorites Hundred Year Storm just signed to Floodgate Records.

They should release their debut, Hello From the Children of Planet Earth in late summer.

Switchfoot is busy touring with Athlete in support of its Nothing Is Sound album, and recently participated in an all-star concert to benefit A Place Called Home and to salute the legendary Les Paul at his 90th birthday bash at the Gibson Amphitheater in LA, where they played alongside Merle Haggard, Joe Perry, Neal Schon, and others.

“Stars” will be featured on Nick Records’ Nickelodeon’s Kids’ Choice compilation.

To promote its T&N Tour, the label has a 20-song digital sampler, which is online until June 1 [purevolume. com/toothandnailtour]

Watashi Wa

BY DAN MACINTOSH Watashi WA is not so much a place, as it is a person.

And that person is Seth Roberts. It’s important to keep these distinctions in mind, because Watashi WA is simply the vehicle for Roberts’ musical vision.

This band/man has just released Eager Seas, Watashi WA’s third project, and it’s an album that has a whole lot to do with places and people. More importantly than that, however, it’s a work concerned with memories.

On its opener, “10 Years and Separating States,” Roberts sings, “Get me out of this empty town.”

These words echo the cry of every small town resident that’s ever longed for bigger cities. In the very next track, called “Face,” Roberts begins it by singing “I drove around this town, it looks the same as 1998.” There are many notable places jockeying for attention in Roberts’ mind, and. Eager Seas eagerly recalls many of these locales with focused emotional attention. Of course, places without people are nothing more than ghost towns. That’s why Roberts consistently matches his old stomping grounds with the people that breathed life into them. “Father, Son,” for instance, is a straight out love song to dear old dad. With it, Roberts fondly associates his father with the bluegrass music he was exposed to growing up.

In addition to Roberts, the band’s current roster also includes Jason Massey on many different

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instruments, Casey Wisenbaker on bass, and Lane Biermann at the drums. Roberts is quite the multiinstrumentalist these days, as he contributes guitar, bass, mandolin, piano, keyboard, and harmonica, in addition to singing all the songs. Roberts vocalizes with the earnestness of Switchfoot’s Jonathan Foreman, while laying his vocals over the kind of gentle rock music that wouldn’t sound all that out of place on a Coldplay CD. He also employed a few unlikely extra musical partners on this lushly melodic new release. The presence of MxPx’s Yuri Ruley (percussion) and Mike Herrera (base) is somewhat surprising, because – except for the driving rock of “Free Ride” – there’s little here that sounds too much like hard rock, let alone the kind of punk MxPx usually creates.

Don’t look for endless mentions of God and Jesus in Watashi WA music, because you won’t find them. Nevertheless, it’s hard to miss evidence of Roberts’ faith running through these new songs.

“All That I Can’t Keep” most notably states Roberts’ intention of sharing his faith with the world. The track “2:57,” which in part relays the story of a 23 year old prostitute, is also a song saturated with spiritual empathy.

Watashi WA makes music that is too cool for pop, but a whole lot quieter than most rock. But don’t let its misfit stylistic nature put you off, because Seth Roberts (AKA Watashi WA) is one special talent.

Peter Nevland and Spoken Groove have recorded a new album, When Legos Learn to Love.

Spitfire is doing select dates in May on the Underoath, Poison the Well, and As Cities Burn tour.

Flee The Seen filmed a video for “Wire Tap Out,” which was directed

by Danny Yourd. “The song is about calling yourself out of complacency to pursue your dreams,” states vocalist Kim Anderson. “It uses the imagery of being trapped in a house and receiving a phone call urging you to make your move to follow what you feel you are called to do. Until you face up to yourself, you are unable to escape. The video uses the phone and the microphone connected by the same wires to communicate the message from the band to the main character, who is trapped in a room searching for the way out.” The band had a slew of dates in April with Fight Paris and Chasing Victory.

Transition are shooting its first video (“Excusable”) with director Daniel Yourd. It’s a fun after-school rock and roll event.

3/31/2006 10:01:47 PM

HARD NEWS 15

...AND GET A FREE COPY OF Sinai Beach When Breath Escapes courtesy Victory Records

Pivitplex is part of a new reality show on JCTV. Created as an upand-coming rock band documentary, each week the network will air a new episode showcasing the trials and triumphs of the band as they learn what it takes to make it. Pivitplex will release its sophomore effort, The King In A Rookery, on Selectric Records July 11th.

The Myriad took a break from working on their new EP to head down to LA to shoot a video for “Stretched Over.”

It’ll be directed by Jonathan London (Reggie and the Full Effect, Reel Big Fish).

Bernard has released an internet-only album, A View From A Cave.

And we only thought Cool Hand Luke was finished... They’re in the studio working on a new EP. This will be another internet-exclusive release, that they will also be selling at their shows, which they’ll be playing with The Myriad this Spring.

He Is Legend is trekking across the country on The Black Unicorn Tour.

The Red Letters Project is taking shape: 34 tracks, 2 CDs. Mixed by Brad Gilderman (Madonna, Motley Crue, Destiny’s Child). Look for a fullblown visual and aural extravaganza tour to follow next year.

Dead Artist Syndrome is recording a new album, Kissing Strangers, and has been playing live in SoCal.

Subscribe now and get a free copy of the Sinai Beach When Breath Escapes re-issue on Victory Records Send my copy of When Breath Escapes NAME: & my HM Magazine subscription to:

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1-yr sub (6 issues): $15 USA / $20 CAN / $25 FGN

ADDRESS: CITY CHK / CC#:

Strike First Records continues to add to its roster. Two recent signings include: Today Forever (with a Summer release) and Within (“a sweet mixture of Southern rock, two scoops of screeching vocals, and a teaspoon of hardcore”).

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EXP:

SEC. CODE:

Send this coupon along with payment to: HM Sinai Beach Giveaway, POB 367, Hutto TX 78634

StimTV.com is a cool new online video resource that offers a nostalgic look at the beginning of modern Christian metal/punk/hardcore (with videos by Living Sacrifice, MxPx, Dogwood, Squad Five-O, and tons of others).

OFFER GOOD WHILE SUPPLIES LAST. ONLY GOOD FOR NEW SUBSCRIPTIONS. PHOTOCOPIES OK

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3/31/2006 10:01:58 PM

16 HARD NEWS

HARDNEWS Page sixteen News bullets

Pit Moves: #5,“Picking Up Change” YOUR GUIDE TO THE SWEETEST PIT MOVES

Mat Kearney has a new album, Nothing Left To Lose. He’s been busing touring with Cary Brothers and the Fray.

Galactic Cowboy Ben Huggins has a new band, Gristle, which features Len Sonnier.

Description: Crouching over as if you were “shucking” corn, pulling weeds, or picking up lots of coins at the highest speed possible, with the hands thrust towards the floor and then brought back up and out over your shoulder as the hands open up (as if discarding the pulled weeds in a pile behind you). This is done in short bursts and is usually only one in a repertoire of moves.

The Lead are re-releasing their entire back catalog with Retroactive Records.

The Jonas Brothers will release its debut, It’s About Time, on INO and Columbia Records May 2.

Falling Into Place is filming a video for their song, “Shadows.”

(on a scale of 1-10)

Degree of difficulty: 2 Likelihood of injury: 1 Cardiovascular intensity: 8

[Illustration by Ivan Minsloff]

Same Question Different Artists WHAT IS NEXT FOR YOUR BAND? “Skillet is looking to record a new record.

There will be some evolving as usual. I like to keep things fresh, and I don’t want to keep putting the same album out over and over.

However, I do not think that we will be doing a 180-degree change. We are comfortable with the sound that has become Skillet.”

–John Cooper (Skillet) “Definitely just trying to push ourselves to new places and new levels.”

–Eric Koruschak (The Showdown) “It is not so much different as it is just better.

We are surrounded by professionals and I think that has made us more professional.

We just want to be the best band that we can be. We have always wanted to be more than just music and make an impact on people’s lives. So, I hope now we will be able to make an even bigger impact.”

–Kevin Young (Disciple)

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“We have been writing and taking time off to enjoy the more important things in life, our families. We really spent the three years traveling the world and the States and now it’s time to focus on home. So, we are going to work more on writing new songs, re-connecting with our fans and, like I said, our families.”

–Mike Tubbs (East West) “Touring to follow the release of Triptych.

We have no plans of stopping any time soon.

We’re just here to outlive all the trends and prove that metal will always remain!”

–Ryan Clark (Demon Hunter) “We look forward to stepping out again to take Stryper’s music and message to the world. It’s a difficult time that we live in and there are so many questions that many people have. Hopefully we can help answer the most important question of all: ‘Is there a God in Heaven Who loves us unconditionally, no matter what we’ve done or who we are?’

The answer is: ‘YES – Absolutely!’”

–Michael Sweet (Stryper)

New Method are linked up with producer Kevan Cyka, and have a label picking up a “new and improved” version of their last CD to distribute through Word/Warner Bros.

The working lineup for the HM Magazine Stage at Cornerstone is (subject to change, of course): Wed, July 5 7 pm Inked In Blood 8 pm Alove For Enemies 9 pm Bloodlined Calligraphy 10 pm Disciple Thur, July 6 7 pm Man Alive 8 pm Brandston 9 pm Forever Changed 10 pm Mute Math Fri July 7 7:30 pm Spitfire 8:35 pm Chasing Victory 9:40 pm The Showdown 10:45 pm Becoming the Archetype Sat. July 8 7 pm Satire 8 pm He is Legend 9 pm Showbread 10 pm As Cities Burn Arthur Green has a new band that does not sound like Living Sacrifice: Marca. “Like U2, Mae, Circa Survive, and Muse together,” laughs Green.

3/31/2006 10:02:16 PM

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3/31/2006 11:13:45 PM

18 HARD NEWS

HARDNEWS Page eighteen Causes Like almost every cause, this one does not have everyone’s rallying support behind it. But it does have a huge celebrity endorsement and slogan behind it. Jesus appeared to and spoke with His disciples for about 40 days after His resurrection.

Before His ascension, He gave them one last command, our “marching orders,” so to speak: “All authority in heaven and on earth has been given to Me. Therefore go and make disciples of all nations, baptizing them in the Name of the Father and of the Son and of the Holy Spirit, and teaching them to obey everything I have commanded you. And surely I am with you always, to the very end of the age.”

We’re called to be the ones who spread His story, and teach others about Him and His kingdom.

WORLD MISSIONS Photo: Dave Hill

NEEDTOBREATHE

BY MATT CONNER South Carolina natives NEEDTOBREATHE have a sound that transcends multiple rock genres.

In some instances, their Southern roots show themselves above ground. In others, their sound is more spacious, akin to the popularity of the current Brit-rock scene. Regardless of the label, the band is poised with the buzz to take the rockradio scene by storm.

After experiencing formidable success on their college campus at South Carolina’s Furman University and the surrounding area, vocalist Bear Rinehart and drummer Joe Stilwell decided to put it all on the line and create music fulltime. The band quickly added Bear’s brother, Bo Rinehart to play guitar and childhood friend and bassist Seth Holt to round out the lineup. In fact, the foursome grew up together, which might help explain the musical cohesiveness rarely found on a debut album.

NEEDTOBREATHE wasn’t on the independent circuit for long – a record deal was established with Atlantic Records after a short stint of touring and showcases. Working with producer Andy Green, who helmed Keane’s multi-platinum Hopes & Fears, the band flew to England for

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six weeks to record in Elvis Costello’s old studio and develop their sound even further. “Our producer just kept asking us, ‘Is this going to sound cool in five years? In ten years?’ That was really important to us,” notes Bear Rinehart.

But for the band, the chance to take things to a new level is more about the message than the music. “Most people write from a sad, depressed, or angry state. When people start writing songs, they start usually writing from that emotion,” explains Bear Rinehart. “But we didn’t want to write from that place.” Instead, much of the music of NEEDTOBREATHE focuses on themes of hope, restoration, and faith.

Kicking off the album is “Don’t Wait for Daylight,” a song with anthemic guitars soaring almost as high as the hope it portrays. Other tracks carry the same lyrical signature, including the lead single, “You Are Here.” On it, Rinehart sings of the need to persevere in the midst of trying times.

For NEEDTOBREATHE, it’s all about making quality music that can guide people to the truth that needs to be heard. As Bear Rinehart notes, “We didn’t make up the message. We didn’t make up hope. We’re just trying to remind people about it.”

uscwm.org Believers living in this time and age have an incredible amount of resources and wealth with which to make a difference. The U.S. Center for World Mission (USCWM) is a great organization for educating and equipping believers for the work that needs to be done.

MISSION STATEMENT:

The USCWM is a community dedicated to making the glory of God fully known, and to bringing all the people groups on the earth to worship and obey God (as revealed in the Lord Jesus Christ). The USCWM produces and publishes resources to motivate and equip Christ’s body to join Him in His Biblical purpose to “bless all the families of the earth.” The USCWM also engages in a variety of activities toward ensuring, as soon as possible, that each distinct people group is “reached” – that a viable movement is established to evangelize and disciple each people group.

ACTION POINTS:

Pray, check out literature from Mission Frontiers Magazine (missionfrontiers. org), and plan on a “short-term” missions trip to get your feet wet.

CONFLICTS:

Luke 24:45-47 Genesis 12:1-3 Acts 1:8

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LIVE 19

LIVE REPORT SXSW Music|Interactive|Film Festival

BY DOUG VAN PELT AUSTIN, TX – The annual South By Southwest Music, Film and Interactive Conference went off without a hitch, despite having many more registrants than previous years. Maybe the “concept” of the conference worked - that the vast variety drew people to different venues and events, rather than just a mad rush for the few upper echelon happenings.

The Q&A sessions with the f ilm-making teams after the screenings was almost always insightful.

The music? It rocked and rocked and rocked...

Eve And The Fire Horse An often humorous journey where a girl tries to wrap her young head around her new-found conflicting Christian faith with her Buddhist background. The Q&A with Director Julia Kwan was charming. When asked how much of the story was autobiographical, she said, “Well, I’ve never seen anyone choke on long noodles before,” but then later described how her mom did accept and embrace the girls’ faith with the same “two gods are better than one” attitude found in the movie.

Danielson: A Family Movie Deftly documenting the genius of Danielson’s art. Daniel Smith honestly explains his vision as an artist and a believer. Sufjan Stevens’ rise to fame this past year is woven into the story, as Danielson’s past, his Sounds Familyre record label, and handmade art pieces are all covered in depth. Plenty of concert footage is shown -- both the homemade variety and professionally shot multi-camera footage.

Forgiving The Franklins A family of believers have a near-death experience (where they meet a cross-chopping Jesus in an open field and are instructed to go back to the living, but not living the way they did). Their liberation from legalistic tendencies is fascinating to watch. Like The Rapture movie back in the early 90s, life is graphically chronicled with an unflinching use of flesh in bedroom scenes and the type of profanitylaced but honest prayers (like those in the movie Saved!). The movie brilliantly shows an angle of grace and redemption that is precious.

I’m almost speechless after this one.

Metal: A Headbanger’s Journey A 30-year old anthropologist took his curiosity of other cultures and turned his scholarly lens upon his life-long favorite genre. Interviews with metal greats, black metal church burners, and even the minister of said church.

The Classic Crime sounded very energetic and utilized most of the stage for the now typical antics of headstock waving and guitar slinging.

The drummer was a madman who pounded away with a Red Bull-like boost of reckless abandon (but without missing a beat). The guy is awesome. Marty Stuart and His Fabulous Superlatives showed that talent is abundant in both the country and rock circles, exuding musical tightness and lots of fun. The Alarm tore through 7 songs from new album Under Attack before playing a single catalog hit, like “Spirit Of 76.” These vets sounded like a young, hungry band. Zany Family Force 5 were slightly off, taking most of their set to crank up the crunk before reaching their “flying all over the place” altitude. Richard Swift projected a good time on stage, with lots of romping singalongs, even filling the stage with dancing and clapping guests at the end.

For a lengthier SXSW report, go to hmmag.com.

Music photos from top: Mat Kearney, Marty Stuart, and Mike Peters (by Paul Witt) Movie stills: Forgiving The Franklins; and Danielson: A Family Movie

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E

20 H E AV EN ’ S M E TA L

Metal tracks • The First Annual Silent Planet Fest will happen this year June 10th in Hughesville, PA. Confirmed acts: Jacob’s Dream, Rivera/Bomma, Orphan Project, Revelation Project, Blissed & Trinity FSG. [silentplanetfest.com].

• Josh Kramer of Saint tells us that the new album will be called The Mark and should hit April 15th.

• Bride found their new drummer in Denny Johnson. He’s the former drummer of Bullet Boys. The band plans on recording some of the preproduction work for their new album and releasing it to the public via their website. “Expect the new release to be very aggressive, heavy and creative,” promises Dale. Look for a Bride story in the new Heaven’s Metal Fanzine.

• Ed Hellig informs us of three new grind bands worth checking out: Horsemen of the Apocalypse; Grave Defier; and Impending Doom. We’ve got Inevitable End’s 3-song EP, Reversal, and can vouch for their intensity and worthiness.

• X-Sinner is preparing to perform live again. This information comes from vocalist Rex Scott. “One of the first shows will be in May/June at the House Of Blues in Disneyland. It will coincide with the upcoming release of Fire It Up, a re-tracked version of Peace Treaty, which consists of more blistering guitar tones than the original with an added bonus track of a new song from the all-new album to be finished later this year called Back In Red.” [x-sinner.com] • Randy George is working on a solo CD with Michael Manring, Phil Keaggy, Neal Morse, Dave Beegle, and Taylor Mesple, among others. “All instrumental, though it spans a few different styles.” His band Ajalon is working on a new one as well. Their first album, End of the Tunnel, is about to go out of print (after the last 150 are sold). [ajalon.net] • Jeff Scheetz Band just released a live DVD. • Roxx Productions have finally released the Holy Soldier DVD.

Album reviews DESYRE – Out Of The Blue Into The Red Wow! Glam metal a la Poison – complete with pouting lips, teased hair, makeup, and tiger-striped outfits! While the vocals sound like the Finnish import that they are, it’s a real all-out throwback like The Darkness was a couple years ago. You’re gonna love the lyrics, too: “In the eyes of our God / No one’s better, no one / We are all in the line / The line of fire!”

[Glam Nation] RENASCENT – Through Darkness This extremely brutal black metal band has released a sonic masterpiece with Through Darkness. This is a must-have, as it’s symphonic in places, shrill in others, and just shreds all over the place. Finland should be proud. [Metal Union] LIBERTY N’ JUSTICE – Soundtrack of a Soul Great stuff! Really good songs and fantastic performances.

They really stepped up the songwriting over their last “all-star” album. Standout cuts include “Thy Will Be Done” (with Mark Slaughter), “State of Grace” (with Russell Arcara), “Another Nail” (with Sebastian Bach), “Show Me The Way” (with Oni Logan), and “Flinch” (with Tony Harnell). [LNJ]

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SEVEN ANGELS – Faceless Man Named after the best Creed song ever, Faceless Man is a speedy, progressive metallic romp with an extremely beefy (and tight) low end. Fronted by sometimes operatic Karim Serri, this Brazilian outfit covers a lot of ground but could best be described as power metal. [Bombworks] LUMINARIA – Arche Doomy, gothic, progressive, power, operatic - all over the hard rock musical map. Intricate, clean lead guitar playing. The droning vocals are non-commercial. Imagine Eric Clayton, but without the projection. [Bombworks] PYRAMAZE – Legend of the Bone Carver A majestic prog-metal masterpiece. A power metal concept album with prime wailer Lance King at the helm. The tasteful keys accent the album gracefully with its heavy imprint, but no one player really outshines the rest, as this six-piece unit kills in each area. Headphones will reveal great musicianship.

[Nightmare]

4/1/2006 12:12:12 AM

Extreme Metal Report

By Ed Hellig

Lo-Ruhamah Mixing black, death and folk-inspired metal into their impressive MCD debut release via Bombworks, newcomers Lo-Ruhamah comment on the new record and life as a 3-piece juggernaut.

Present Line-up: Harry Pearson (Vocals, Drums, Piano); Matthew Mustain (Vocals, Guitar); and Jonathan Griffin (Vocals, Bass).

On the process of creating the new album: For the MCD, we put things down in the order of drums, bass, guitar, vocals, and then other miscellaneous instruments. It took two consecutive Saturdays. For the full-length, we will record the guitar first because we expect it to make the process smoother.

On the pros and cons of being a trio: In my opinion, the advantages of being a threepiece generally outweigh the disadvantages. The only obvious limitation is that we are required to write songs based solely on one bass and one guitar. From the start, we have only written songs that we could duplicate live. No overlapping of a thousand layers of guitar harmonies. Another advantage is that we are all close friends anyway. If we were not playing music together, we would still be hanging out. This makes for a great chemistry and lowers the friction between individuals, decreasing the possibility of a breakup. We’re all fairly anti-social as well and, at this point, have no interest in adding any other members to the mix.

The one exception to the rule is for a man named Amit Martin. If he ever decides that he wants to come play guitar with us, he will immediately be added to the mix.

On drawing from different styles to form the LoRuhamah sound: Our musical tastes are fairly similar, except for Harry who is less into harsher black metal and enjoys progressive music in addition to extreme metal. Matthew and I, conversely, do not care much for prog and are strongly into black metal, including harsh forms. Generally, our musical tastes inform how we write, but our ideas for what Lo-Ruhamah songs should sound like come first. That way, if we get into a phase of listening to something like Morbid Angel, we don’t start writing death metal songs. We have ideas of how we want songs to go when we write them.

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Drottnar On the heels of a new EP being released by Samuel Durling’s Endtime Records, scene veterans Drottnar comment on the present status of Christian extreme metal.

Present Line-Up: Sven-Erik Lind (Vocals); Karl Fredrik Lind (Guitar); Bengt Olsson (Guitar); Håvar Wormdahl (Bass); and GlennDavid Lind (Drums).

Royal Anguish

On the state of Christian extreme metal: Contrary to some years ago, many Christian metal bands are well established and deliver good music in today’s scene. What might be a trend within the Christian metal scene of today is that it is blending more with the scene in general, and it is not as separated from the secular scene as it was some years ago. This is the way it should be, without forgetting our beliefs and who we are, of course. Also, many bands from the Christian scene produce music of such high quality standards that they attract attention worldwide, on a far broader platform than earlier.

Present Line-up: Matt Knowles (Male Vocals, Rhythm Guitars); Katy Decker (Female Vocals); Marius Kozlowski (Lead Guitar); Sean Tibbetts (Bass); Anton Kalaj (Keys); and JR Daniels (Drums).

On black metal as a lifestyle and an extreme expression of art: I respect people that are devoted to their music, and express their inner beliefs and opinions through their art. That’s what we do as well.

Often, this results in that the music you create and (you) yourself are not that separated and different. However, some bands write their lyrics out of imagery and some sort of fascination for things. And since people tend to be sheep, these bands write the same things as everyone else does within the black metal scene – of course about evil and darkness. I cannot respect that, and it cannot be regarded as a lifestyle, either.

On the future of extreme metal: Really, I do not see the Christian black metal scene evolving into old school BM and I hope it won’t. Elements of old-school can be interesting, but another pure old-school band does not bring anything to the scene at all. That counts for both the Christian and the secular scene. It is time to create something new. Drottnar manages to do this on the coming release; a harsh and grim oldschool nerve mixed with a killer technical edge.

Recently signed up to The Netherlands’ Fear Dark Records and preparing for their first-ever European tour, frontman Matt Knowles speaks out.

On the powerful ‘beauty and the beast’ vocal approach used by the band and the symbiotic passion surrounding it: I have always liked the contrast of heavy male vocals with beautiful female vocals. It takes a proper chemistry for me to really ‘live’ the part.

Katy and I have a very intense friendship that has definitely played a large role in molding the way we portray the ‘beauty and the beast’ element in our music. It is much easier when you actually know your music partner’s inner person, so you can expound upon that and interact with them on stage.

On their recently signing with Fear Dark: Both the band and Fear Dark had specific goals and expectations we wanted to make sure were addressed in a realistic fashion. They showed the passion to take our band to the next level that we hoped to get from a label. We definitely want to get a foot into the European market and FD wants to get more established in North America, so this is definitely a mutually beneficial relationship for both.

On the recording of their new album: The recording is actually complete. It’s in the process of being mixed as we speak. The title is A Journey Through the Shadows of Time. It definitely picks up where Tales of Sullen Eyes leaves off, but since it’s a full-length it was easier to go off on a few tangents at the same time. The label is hoping to have it available for the tour, so we’ll see.

4/1/2006 12:12:27 AM

22 F E AT U R E T T E

NEW REPUBLIC

BY STEVEN DOUGLAS LOSEY New Republic has been liberated. Vocalist David Julca and brother and guitarist Jonathan left their native land of Panama eight years ago. Upon arriving in the United States, a plethora of influences and sounds flooded their consciousness which metamorphosed into a passion, to play music. Eventually, they formed a punk band called the Pits and toured the U.S. for a couple of years but never achieved the respect they felt was earned. “When you work within the music industry struggles are a part of your everyday life,” says Jonathan Julca. “In the music industry a lot of people really dug our music, but when it came time to really make things happen they just didn’t deliver.”

Shift to 2005 where bassist Jack Huston and drummer Ryan Cuk entered the fold to form New Republic. “New Republic means a new beginning,” said Julca. “We wanted to start up fresh. We have four distinct personalities in the band and we utilize our diversity to make music. We form a republic.

We form a nation. What brings us together under one name is the music and our passion for Christ.”

The bands first major opus is an EP titled Libertad produced by Matt Hyde (Fu Manchu, Project 86, Monster Magnet.) “Libertad means ‘freedom’ in Spanish,” said Jonathan. “We felt limited in what

we were doing before, but now we feel like we have freedom of expression and the freedom to do what we feel and what we love.”

Libertad is melodic and alternative. It boasts sounds somewhere between the Foo Fighters, Audioslave and Stone Temple Pilots. We’re all about the melodies,” said Julca. “It’s the heart of what we do. The melody is where you get uplifted.” Throughout the disc there are several intense moments. The cut “Another” drips with guitar nuances reminiscent of Tom Morello. “It’s funny,” said Julca. “I wasn’t a huge Rage Against the Machine fan until recently. We grew up with Latin and Reggae influences. Recently though, I’d site two of my biggest guitar influences as the Edge and Tom Morello.” The ethnicity of the Julca brothers is evidenced with subtle nuances throughout the opus. There’s the Spanish sung “La Verdad,” which is also offered with an English spin.

There’s also a huge mid-song break down inside the cut “Action.”

band, period.”

While the band prepares to tour behind the record, Jonathan Julca realizes that many things hold precedence over fame and fortune and what the world has to offer. “Selling a million records is great, but I want to believe that we have a bigger purpose,” he says. “We care about what we present to people. We are trying to stick to our guns.

Listeners like passionate people. They can sense what’s real. They feel musicians that are true to themselves and that’s what we are.”

“There are some Spanish jams and some Spanish percussion mixed in there as well,” said Julca. “A lot of the songs have been inspired by people we knew in Panama. A few cuts were actually mixed there. The truth is, though, we’re not a Spanish band. We’re not an American band. We’re a rock

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24 F E AT U R E T T E

SKYLINES

BY JAMIE BUCHANAN I knew this would be a fun interview when I read the title of track 3 of the brand new Skylines album, Identity. “Title Belt Return Policy” really speaks to this huge pro-wrestling fan! The whole album packs a musical, metallic hardcore wallop similar to a power slam from a 400 lbs+ wrestler!

Skylines is a member of the Blood & Ink Records family. They formed in 2003 from the hardcore/ metal scene in Richmond, Virginia. They have toured with friends and labelmates, Ten 33. It was a late, cold, mid-winter, Minnesota night when I had the privilege to talk with Nate (vocals), Danny (Guitar), and Mikael (Drums). They met with a desire to make good music for kids to enjoy. We talked about influences and cited the 90’s metalcore, metallic hardcore scene as being musically influential with bands like Spitfire, Cave In, and Coalesce being a few mentioned. Lyrically they mention Overcome and Focal Point as being influential. They look to Winter Solstice and Ten 33 for advice and guidance in issues related to being a band. We talked about the importance of

young bands having “mentors” who have “been there, done that.” There are very appreciative of Jamie at Blood & Ink, particularly what he does with his bands as well as Sean at Invisible Youth and his incredible ability with press. When asked about their purpose as a band, they referred to the verse on the sleeve of their new CD. John 15:13. “Greater love has no one than this, that He lay down His life for His friends” and the title of the CD being Identity. The importance of youth or anyone for that matter is knowing who they are and their true identity in Christ.

They consider themselves a “Christian” band. They shared about how “ministry” happens at a Skylines show. It’s solid conversations with kids before and after. It’s in those conversations where the band members can share what their relationship with God is doing in their own lives and thus give hope and purpose through relationships with the kids.

They are comfortable playing secular venues as well as Christian. One of their favorite songs is the last track, “Mouths Like Gravestones.” The lyrics read, “Even after all the hell I’ve seen (I tried to forget your voice) / You found me when I needed

you / I thought I knew control but I only knew myself / You still loved me even when nothing made me.” This song points to their desire to not only be an example to the kids that need Jesus, but to the Christian kids who are struggling. Danny indicated that he likes to minister to the struggling Christian kids and sees Skylines as that focus. One quote was, “from almost a selfish point of view, it’s just a ton of fun to hang out with kids and to be on tour as a giant hangout time.”

Look for Skylines at Cornerstone on the Rock For Life stage and at Sonshine on The HM Magazine stage. Pick up their CD, Identity, their first fulllength album. You will not be disappointed. As I look over the horizon, I see Skylines. These guys are going somewhere and I’m glad I can be a small part.

skylinesrock.com

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4/1/2006 2:06:15 AM

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26 F E AT U R E T T E

HAWK NELSON

BY MARK FISHER When Letters to the President was released in 2004, Hawk Nelson immediately garnered attention with their catchy brand of pop punk goodness. As the album exploded, so did acclaim for the band, culminating with an appearance as The Who on the hit television series American Dreams. While the record did well and the band won over legions of fans with their fun and energetic live shows, everything was in chaos. Sound like an episode of Behind the Music?

Well, it may not be far from it.

In the midst of the band’s busy touring schedule they found themselves in upheaval numerous times. “Some of the band members were lucky enough to find girls that were suited to them,“ says bassist Daniel Biro, “so one by one they switched out of the band.” When asked if there was a time that he thought the band was over, Biro laughs, commenting, “Oh for sure, eh! There are always bad days regardless of what you do and they make you question whether you should be there or not. We had a lot of those days.” In addition to the normal pressures of a life spent almost entirely away from home, the band was also faced with singer Jason Dunn’s diabetes. “[Jason] is a pretty hardcore diabetic, “states Biro, “God has totally

blessed us though with this revolutionary insulin pump. There were some really hard times on the road but things are on the up now. We are definitely blessed.” After adjusting to the adversities that the road brought with it the band emerged much stronger than Letters to the President had led music lovers to believe.

For their sophomore album, Smile, It’s the End of the World, Hawk Nelson dug deep, reaching beyond the genre confines of their debut.

Aided by a new guitarist and drummer, Jonathan Steingard and Skwid (Aaron Tosti of Pax 217 fame) respectively, the new album quickly became about more than just having a good time. “This time around, we knew it could end at any moment. We were really stoked that we got a second chance at this and we wanted to step up and prove we [deserved to be here],” states Biro, “After awhile you realize what a responsibility you have with this platform so this time we wanted to tackle some serious issues like suicide and things like that.”

sincere about it and we don’t want to become that.” For Smile, It’s the End of the World the band consciously decided to do their best to remain accessible to everyone. “Doing things like American Dreams and the movie Yours, Mine, and Ours, have been great experiences. We are honored to work with whoever God puts in front of us, whether that’s Christians or not doesn’t really matter to us,” Biro concludes.

Hawk Nelson has come a long way in a few short years, starting out as friends who wanted to have fun in a band and winding up as one of Christian music’s hottest prospects. Having weathered the storm of a “band” evolving into a “career,” Smile, It’s the End of the World, is a new beginning for this band. Where it goes from here only time will tell, but you must admit that the future looks awfully bright.

With the band’s mainstream success, stepping out of the box musically wasn’t the only thing on their mind. “[That kind of success] has made us a lot more conscious about who we are and what we are saying,” admits Biro, “sometimes it gets easy to say the right thing and not really be

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28 F E AT U R E T T E

TRANSITION

BY TIM HALLILA When one think thinks of Pittsburgh, certain images come to mind, burly steel workers clad in dingy blue jump suits and wearing bright orange hard hats, or thousands of yellow “Terrible Towels” waving in unison to spur the hometown Steelers on to victory. Thoughts of fresh-faced young pop rockers aren’t likely to top the list.

Yet it appears there’s more to the town than just world class arc-welding skills and top-notch football teams. Steel City natives Transition have embraced their hometown’s blue-collar work ethic while touring their melodic mix of punk and emo around the nation.

How’d you get hooked up with Mike Herrara?

What was he like as a producer?

That was through Floodgate. Tim from Floodgate contacted Mike about doing the record. We had met Mike on the Warped Tour last summer, and he had seen our set a few times, and heard our demos and EP’s, and was really excited about doing the album. Tim from Floodgate kept talking to him, and it all just kinda worked out. We all grew up listening to MXPX, and when we started our band, we were doing a lot of covers of their songs at middle school talent shows and stuff, so at

first, walking into the studio we were just kind of in awe, you know? But he was just supercool, super-chill. It wasn’t his first time producing. I think he’d done an album by Element 101, and had done some producing on some of MXPX’s stuff too, so he definitely knew his stuff. He was real laid back and cool, very open to suggestions. We’d talk about things and have ideas, and he was always open to hearing us out. It was just really fun to get to work with him.

Have you guys been involved in any pranks on the road, on either end?

Oh yeah. We were touring with Chasing Victory awhile back and we totally CheeseWiz’d their van. Every band’s got Cheese Wiz on tour, and we totally covered the front of their van with it. I don’t think any of us realized how hard that stuff is to clean off, so when they were cleaning it off and it was taking forever, we kinda felt bad, so we started helping them out.

Being from Pittsburgh, you must be a football fan. Were you in town during the Super Bowl?

That must have been crazy!

Oh definitely! What’s funny is we were actually in Seattle recording with Mike when the

Seahawks won the NFC Championship Game, so we were all really excited about going back home to Pittsburgh for the Super Bowl. Once the clock ran out and the game was over, the whole city just exploded. It was like one huge party the rest of the night. If you’re born in Pittsburgh, you grow up a Steelers fan, there’s just no question about it, so that was definitely huge for the whole city.

Talk some about the music scene and what it was like starting out as a band there. With the city’s reputation as a blue-collar town, how supportive is the musical and artistic climate?

Pittsburgh’s definitely a blue-collar city, but starting out as a band there, they’ve always been cool to us. Not a ton of bands make it big out of there. I guess recently bands like Juliana Theory and Punchline would be bands from our scene that have gone on and done real well. It’s definitely had its ups and downs for sure, but the last two years have been just great. The crowds there have always been real supportive of us, and our home shows are always our biggest crowds and have a lot of energy, so it’s great.

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4/6/2006 1:30:03 PM

The Appleseed Cast 30 FEATURE

BY CHRISTROUTMAN

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THE APPLESEED CAST 31

IF YOU COULD HEAR ALL THE MOST VIBRANT COLORS SLOWLY, VIOLENTLY, BLEEDING INTO EACH OTHER UNTIL THEY BECAME ONE BEAUTIFUL NOISE, IT MIGHT SOUND LIKE THE APPLESEED CAST. THIS IS THE BAND THAT COMPOSE THE SOUNDTRACK THAT WILL PLAY THROUGH YOUR HEAD AS YOU LIE ON YOUR DEATH BED REPLAYING THE BITTERSWEET MEMORIES IN THE BRIEF MOMENTS BEFORE LIFE LEAVES YOU. THIS LAWRENCE, KANSAS BAND HAS GIVEN BREATH TO A SOUND THAT ENCAPSULATES PASSION, REMORSE, BEAUTY, ANGER, DESPERATENESS, LOVE, DESIRE, DEFEAT, ANXIOUSNESS, AND HOPE. A BAND THAT NARROWLY DODGED THE EMO BULLET THAT MANY BANDS IN THE EARLY YEARS OF 2000 SUCCUMBED TO, HAVE CREATED FIVE ALBUMS DEVELOPING THEIR ATMOSPHERIC EXPERIMENTAL ROCK EACH RESPECTFULLY EVOLVING FROM THE PREVIOUS AND PIONEERING BEYOND THE CURRENT TRENDS AND GENRES. THE APPLESEED CAST ARE A PROG ROCK BAND WITH HARDCORE TEETH. Recently the band released Peregrine, their sixth and most ambitious record, with the Militia Group. With producer John Congleton, the band comprised of Chris Crisci, Aaron Pillar, Marc Young, and new drummer Nathan Richardson, recorded Peregrine in the Pachyderm Recording Studios last fall.

CC: I would agree. We definitely wanted to have a lot of experimental production also in the writing of the songs and the choice of songs, and we kind of wanted to break away from anything we had done before. And we told John kind of what we were looking for and he blew us away with what he brought.

Tell me about Peregrine?

Aaron Pillar: I think it’s our best work and we’re all really happy about. It’s really fun to play, I mean for the first time we can play pretty much the whole record. We probably practiced longer and were a lot longer writing and being critical on this record.

What did you all tell him you were looking for?

CC: We wanted a lot of different recording values; recording qualities.

Chris Crisci: I think the mood on each of our albums is a little bit different. This one is darker than the last couple. And I think we knew it would turn out that way while we were writing it.

Tell me about the production. I heard you all took a different approach to recording this one. What went on in the studio?

AP: We recorded it all together. The initial recording of the initial drums and guitar, pretty much is what you hear in the record, then we tracked some guitars over that.

AP: I remember talking to him a lot about – without making it sound too over-produced – sort of going the route of, like, the first stuff he did with Nirvana, when it happens it happens, and not to even use Nirvana as a reference. I really wanted stuff to be really big, I always felt the guitars and the punch was something that was not there on the songs that I really wanted to be there in the past. And I was so happy to hear everything maxed out and sounding really loud.

Do you think this different approach had much of an affect on the vibe of the record?

AP: Oh yeah. Greatly so. It was John Congleton’s idea to produce like that and we were kind of hesitant about it, cause we had never done it, and once we started we realized that it was just the best idea. One of the reasons is that when a drummer plays on the click track, he’s going to concentrate so hard on playing perfect, instead of playing louder and softer in the softer parts and louder in the other parts and really laying into it, and we’re all banging into the guitar parts; we’re all having a communal vibe. There’s just so much more. I think there’s just so much more energy to it. It sounds like at a lot of parts there’s four guys playing songs together. It’s important.

So would you say that Peregrine is where you want to be right now?

AP: Yeah definitely. It’s our first time that we can pull it off; it sounds right, I get to play loud.

It’s just kind of nice to go up there and be like, “You know, hey, whatever your preconceptions about what we’re supposed to be...” it’s kind of that this record as a whole album touches on all those things. Like I said, there’s a little bit of pop on it, there’s vocal songs, we’ve also got some cool instrumentals on there that we like to play a lot. It’s noisy. It’s experimental. There’s not an overabundance of our new stuff that we can’t play. We don’t have a keyboard player right now but it’s not killing it live. We don’t need it. It’s great to be able to go out and have this record and play eight or nine new songs every night. You know, we play almost over half the record every night; if not more. I’ve never had that before. It’s really cool. It’s hard to figure out a setlist every night.

That’s for sure.

This record feels more experimental than your previous one, not so much in song structure like Low Level Owl, but in instrumentation and production. Tell me about this.

The band has gone through a lot of changes with a label change, a new drummer, and relocating a few times. Tell me about that.

AP: We just got a lucky break. We went to Tiger

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Style, cause we wanted to try something different and see what was out there and they were cool guys and then, of course, they go out of business. And that sort of left a little hole. And we didn’t know what we were supposed to do at the end of that. And at the same time, too, our old drummer – Josh – we just kind of came to...

We were in Europe, and we just kind of came to a place that within the four of us it just wasn’t working with those four people and so we had to make that decision. And that was difficult. And at the same time, me personally, I was going through some real tough difficult places at home and that’s why this record is coming out now instead of a year ago, when it probably should have. And it’s kind of been torturous and, you know, it’s hard, too, with Tiger Style going out of business.

When we were touring they weren’t supporting anything, so we really didn’t have tour support or really, you know, there wasn’t any big push for it.

It was a really tough time.

What do you think of the current musical scene and where does the Appleseed Cast fit or not fit?

AP: I like to think about ourselves, I don’t know, I don’t want to say a throwback – not a throwback that doesn’t make sense... I think one thing I get a lot of from a lot of kids that I meet, and, you know, that’s going to be obviously probably your best judgment to how things are going – has been kids – just being we’re really accessible and we’re real and we’re just normal guys just playing rock. So I don’t know, I kind of like having that place. We’re not trying to rip off an old genre, we’re not trying to dress a certain way so we fit into something, we’re just four dudes from Kansas that really enjoy making music and try to lay down as honest a record as we can when we do it.

In a perfect world how would you like the Appleseed Cast to be perceived?

CC: Just four guys who make music. I think maybe that we would have accomplished something and made records that were varied but still us.

4/1/2006 1:27:03 AM

The Catharsis of a Cu Cur The Journey of Stavesa Staves 32 FEATURE

BY JEREMY HUNT

ADVERSITY DOES FUNNY THINGS TO PEOPLE. IT CRUSHES SOME, BEATING THEM INTO SUBMISSION AND A LIFE OF FAILED DREAMS AND DEAD HOPES. IN OTHERS, IT ACTUALLY KINDLES THE FIRE OF THOSE HOPES AND PROVOKES THEM INTO BURNING EVEN BRIGHTER. THEIR DREAMS, THOUGH BATTERED AND BRUISED, BECOME AS IRON, TESTED AND FORGED IN CONFLICT. Such is the story of Stavesacre, a band long on the cusp of breaking through to mainstream success and recognition. With heavy guitars and thoughtprovoking lyrics, their music has inspired a legion of fans since their inception in 1995. Recently, their status as an active unit had been up in the air, as their last album, the phonetically titled (stavz’a’ker), left fans wondering what had happened to their beloved group. But true to form, Stavesacre slugged it out and has returned with a new album. Lead singer Mark Salomon took time to fill us in on what provoked the rejuvenation of How to Live with a Curse.

So how does it feel to have this new album finished?

Great actually. We’ve had a lot of ups and downs over the last few years, especially coming out of the Nitro situation and all of that…feeling like we might have lost some ground there. We weren’t sure. We were pretty much ready to break up and move on, you know? We got together and actually, the new love for the band probably started when we were doing the Bull Takes Fighter EP. After that self-titled album, which we weren’t really happy with… That’s the part that came on our fault, because we made some really bad decisions about that whole overall process. But we had about a year and a half, where we had horrible tours – again, from not having the right pieces in place. We weren’t as excited about it and people could tell. And it’s a bummer for Nitro. There are reasons why…I’m not trying to be noble here. We had some differences about how the album production came down. We love those people a lot. But every step of the way was terrifying. So, after the record came out and it did what it did, we weren’t certain we were going to make it happen again. We got together a couple of weekends and were playing and realized how much we liked playing music. We went back to something that we felt was comfortable and familiar, which was Bryan Carlstrom, who did the first three albums. We got together with him and did the Bull Takes Fighter EP. I love the EP. It sounded so good coming on the heels of the Nitro record.

The thing with the EP, though, is it felt like closing the door, so to speak. I think it was just right. It served one awesome purpose: to get us all excited about the band again. But to answer your question: it felt great man, to put the record out, because we carried on with the same focus and the same confidence that we had on the EP. But we wanted to do something more than the EP. When we were in the studio, we tried to re-record “Bull Takes Fighter” for the new album and it just felt weird. It felt totally out of place.

The new album definitely feels very cohesive and well-sequenced.

We did this record with Matt Hyde. The label said, ‘We don’t think you should do your album with Bryan, because we want this to be a new era for you. It’s time to move on.’ And that’s nothing against Bryan, it’s just what we had to do.

Matt Hyde, I don’t know. I wonder where that guy has been, because it was awesome, awesome.

It was good experience working with him?

Definitely. He was already where we were trying to go…as far as trying to sound a certain way. We didn’t have to spell it out for him. Not that we had to spell it out for Bryan, but Bryan has his thing and that’s what he does. But

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Matt is a little different. He’s trying to do something more. Take things a little bit further.

Fill me in on the new album. What’s it about?

The artwork for the album is a major part of the album. We had a couple different artists, Josh Howard, Jerrell Conner, and Tony Streeter and then a friend of mine, Eric, who’s in the band The Dark Romantics, he used to be in Denison Marrs. All these guys put artwork together, original stuff for the album, and it’s pretty integral in the overall communication of the songs. But “We Say” and “Future History of the Broken-Hearted” are both songs about exactly what they sound like they are about. We’re all going through stuff in our personal lives; we’re all going through stuff as a country, and as a people – be it spiritually or politically or whatever. A lot more that concerns me now than did before. I never really paid a whole lot of attention to politics. It’s not really my thing, and I still don’t. I just don’t believe those guys. But the reality is that people are dying and not just Americans. We are definitely in a war. But there’s also stuff on there about my own personal indifference to the world around me. Work in a bar long enough and you just stop caring about anyone, because they’re just so weird. But I see different aspects of people’s lives that touch me. Songs like “Fear and Love,” where you’re balancing the overall big picture of life. How’s my interaction with my fellow man? As for “Kill My Darlings,” that title was taken from a quote from Stephen King. He did a memoir called On Writing, and in this one part of the book, he talks about how if you want to be a good writer, you have to be willing to let go of something that you’ve been holding onto so tightly. Each of us read that book and we thought, ‘That’s one of the coolest things ever.’ For a musician, a great example being what I mentioned before about Bull Takes Fighter. For all intents and purposes, that song revitalized our band. But it just didn’t fit on the record. If we had put it on there, it would have stuck out like a sore thumb. It goes from that all the way to my personal life, our personal lives.

The How to Live with a Curse thing, it’s a tongue-in-cheek deal with us, which, just so you know, is a good sign. It’s good that we can laugh about some things. We have consistently made the weirdest decisions, some of the poorest decisions, probably. We just decided, ‘Well man, we’re just kind of cursed. That’s just the way it is. There’s nothing you can do about it. How to live with it?’ I guess you could say that there’s an obvious spiritual connection there, too. No big mystery. I’m a Christian and I believe this. We are sinful people at nature. This is how you live with it. This is how you get through to the next round.

As they close the door on their first chapter, Stavesacre boldly looks forward to the future. They strive for artistic excellence in a world that so frequently settles for much less. These men have not only learned how to live with a curse, they have learned how to thrive and succeed with integrity and passion.

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Curse urse vesacre esacre

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STAVESACRE 33

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36 FEATURE

The Ships Set Sail: Year of the

BY NATE ALLEN

Danielson

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DANIELSON 37

I

WAS FIRST EXPOSED TO DANIELSON AROUND 1997. I MADE UP LOTS OF STUPID EXCUSES ABOUT WHY THE DANIELSON FAMILE WAS A HORRIBLE BAND. I DIDN’T GET THE NURSE COSTUMES THEY WEAR, OFF THE WALL LYRICS “THAT MIDDLE FINGER GOT NO STINGER / HELP THE SINGER THROW THE RINGER” OR THAT CRAZY HIGH PITCHED VOICE. I PROBABLY TALKED MORE TRASH ABOUT DANIELSON THAN JUST ABOUT ANY BAND I’VE EVER COME ACROSS.

Two years later, during a band practice in a little country church, my friend Tyler put on Alpha, the new Danielson record. That evening, a song about a foul-mouthed young man and his virtuous date, called “Potty Mouth,” got inside my head and never left.

Daniel Smith released, A Prayer For Every Hour on Tooth and Nail Records in 1995, under the moniker Danielson. Prayer... had been Daniel’s Senior Thesis in art school. When the time came to take the songs into a live setting, Daniel enlisted the help of his siblings and his best friend and Danielson soon became Danielson Famile.

lot of people to the ideas of being weird and artsy while still tackling real life issues and spirituality in songs.”

After fulfilling their contract with Tooth and Nail, Danielson signed with Secretly Canadian, home to artists such as Damien Jurado and Richard Swift.

Soon, as his siblings began to move away, Daniel was faced with a decision: start over or walk away. Daniel chose to persevere, and soon built a large felt tree to wear during his solo performances.

“The idea of Daniel getting a record deal never entered anyone’s mind,” stated Lenny Smith.

“Daniel’s songs were always ‘a little strange’ to us.”

“(With songwriting), I am almost always by myself, from the melody to the chords to the song structures,” he said. “(But) that was hard.

It was confusing.”

Lenny – the Smith Patriarch, who had never achieved full-time status as a musician, despite writing hit worship song, “0ur God Reigns,” in the 70’s – had encouraged his children to pursue their dreams and love people.

The transition also coincided with the birth of his new record label Sounds Familyre. Daniel slowly began taking on a new role of mentor and friend to a growing collection of fellow misfits and seekers such as Sufjan Stevens and Half-handed Cloud.

The label also afforded him the opportunity to release the music of his father: Lenny Smith.

“My parents have always been supportive from the beginning,” said Daniel. “Without them this definitely would not have happened.”

Soon, Danielson began to shake up the growing Christian populous rallying around their new label. Danielson brought a fresh approach to everything from melody and style to spirituality.

Failing to see the lines between the sacred and secular, Danielson soon became the band of Christians many Christians hated or simply didn’t understand.

“As a believer, I’m not a Christian artist. I don’t make any separation,” he said. “I’m just writing about Who created the songs and Who’s keeping my heart beating. (The music) just comes out (of) everyday living.

“I used to really enjoy the bad reviews (and) early on there was a lot of angry Christian press,” admitted Daniel. “I never asked to be in the Christian market. But at the same time, I grew up a Christian. I remember being told to only listen to Christian music.”

Despite being misunderstood, the Famile marched on and were soon embraced by the mainstream media. They soon received positive press in everything from Rolling Stone to Uncut.

“He was just so far ahead of his time in so many ways,” commented Daniel Gill, press agent for Smith protégé Sufjan Stevens. “He opened up a

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Daniel began splitting time between his own projects and those of his friends. “I’m working on other people’s material when I’m not writing,” he stated. “It’s equally creative. It’s been really healthy.

“When I’m running my own label, I can put out whatever I want,” he continued. “We have a studio. We make records. We put them out.”

As his community of friends has grown, Sounds Familyre has taken off. A year ago, Daniel was able to quit his day job as a carpenter and concentrate on his music. “It came to a point where I had to stop doing music or quit the day job,” he stated. “It’s definitely a dream come true.”

A little know fact about Smith is his intense passion to create visual art. He has been responsible for the motherlode of the Danielson artwork as well an ever-growing collection of handmade and one-of-a-kind pieces affectionately labeled: Great Comfort Stuff. Recently Smith created a salesman routine where he stops mid-set to pedal his wares. Another new venture has been to show his creations at art shows.

“The little bit that I’ve done has been very encouraging;” he said enthusiastically, “I can’t wait to put more time into it.”

to his roots. “I think visual art is influential to my music,” he explained. “I don’t really see any difference. I’m still thinking in terms of concepts.

I’ve come to enjoy the creative process. I love the combination of chaos and beauty.

“In Danielson there’s an agreeable synthesis of so many meaningful, fun and tricky things,” stated John Ringhoffer of Half-handed Cloud.

After more than 4 years of persuasion, Daniel finally gave into JL Aronson and allowed a documentary to be made about him. Danielson A Family Movie, made its international debut in March at South by Southwest Film Festival.

Shortly after the release of Tell Another Joke At OId The Chopping Block in 1997, Daniel had an idea to create Tri-Danielson, a three part canvas of solo work, family music and friends. The idea came to life in the two-disc set Alpha & Omega.

“I had this idea of studying how something can be three and one at the same time,” he said. “It’s very serious and messy.”

In creating the Tri-Danielson vision, Smith took a chance. He dusted off worn and rugged church theology and gave a practical lesson on things unseen. The decision was classic Danielson: practical and relevant.

“I feel like the Lord is saying, “Go hang out with these people!” He said. “We need to go connect with people and not talk about politics or religion (but) talk about God’s love.”

As the Danielson community has grown the timing has become perfect to release Ships (as in friendSHIPS). Nearly 40 people from across the nation appeared on Ships. No titles, just names – and that’s just the way Daniel would want it: friends standing as equals.

May 9th will mark the official release of Ships, the most ambitious record of Danielson’s career and soon after the band will hit the road in support of the release. “In a lot of ways this record completes a long journey begun in 1998,” he said. “I’m extremely proud of Ships and I want people to hear it.”

“Everything I do is an experiment. To try and include as many artists and personalities as we have…” he concluded. “It could have been a disaster.”

In many ways, Great Comfort Stuff is a return

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UNDEROATH 42 FEATURE

BY DOUG VAN PELT

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H

UNDEROATH 43

we know what weâ&#x20AC;&#x2122;re doing.

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44 FEATURE

By David Stagg

I

am OK with the fact that I watch The O.C. Say what you want, but when it comes on, you’ll be sure to find me there. I won’t even call it a guilty pleasure like the rest of America; I enjoy watching it.

What I also enjoy is watching The O.C. and seeing Kaitlin Cooper, the 14year-old bratty, young sister of Marissa Cooper, put on those ubiquitous white earbud headphones, kick her iPod into gear, and finding out she’s listening to Underoath’s “A Boy Brushed Red… Living in Black and White” at full blast.

Most bands would kill to have that kind of air-time. The O.C. essentially brought The Killers to an untapped American audience, introduced us to The Walkmen, and has featured what some could consider the most popular indie band on the planet, Death Cab for Cutie. But when I talk to drummer Aaron Gillespie about it—the red-headed, shortest member of the six-deep outfit Underoath—he couldn’t have been more nonchalant.

I tell him I’m a fan of the show. That I heard his music there and that it must have been some crazy process.

He tells me that’s not the case. That he got a phone call one day when they were in Boston: Oh, by the way, your song’s going to be on The O.C. tomorrow night. “We had been there recording for like seven weeks,” Gillespie says, “and then we get that phone call. And then that night, all my friends started calling me.”

I tell him he can’t be serious. He maintains he’s usually the last to know these types of things, that their manager or publicist probably set it up.

No, he still hasn’t seen the episode. Yes, they had a choice of which song

would be played, but as Gillespie says, “It just got to me late.”

These are not the responses I’m expecting. I wanted some crazy bid-war, L.A. flight problem, people-in-suits-treated-us-to-dinners story. Instead, it’s more “Oh, really? Hadn’t noticed,” than “We’ve been trying to get on there for months!” But those expectations stem from my own ignorance; in fact, it seems like these are all very probable reactions when you figure out what Underoath is all about.

You look at them—guitarist Tim McTague, vocalist Spencer Chamberlain, keyboardist Chris Dudley, bassist Grant Brandell, guitarist James Smith, and Gillespie—and you may think they play the part. They’ve got long hair, take promo photos with dynamic angles, wear obscurely designed t-shirts. But what you’ll never see in those pictures is a designed image, an image other than who they truly are. There will be no eyeliner. There will by no style-over-substance. There will be nothing but them, transparent and real, because this is truth to them: They love to play rock music and they do what they love.

“We’ve been mega blessed,” he says. “We do what we do. We do what we know how to do, you know? We don’t really try to dress up on stage.

When you try, people know you’re trying and it doesn’t last very long. We want to make music kids can relate with. We’re people who’ve come a long way. We’re definitely just a bunch of screw-up kids that have been given a second chance.”

This also explains more why Gillespie had no real idea his band’s song was going to be on network television. They care about their fans so

continued on page 56

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Project 86 46 FEATURE

AS SEEN THROUGH THE EYES OF ANDREW SCHWAB...

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PROJECT 86 47

S Today. Yesterday. The day before.

Three days, three events, three distinct eras in the history of my band.

And though these three days couldn’t be more different, they are evidence of one distinct plan.

Day One: Sometime in 2002. Manhattan. New York City.

46th Floor, Avenue of the Americas. We just arrived here after a pleasant limo ride, from our plush SoHo hotel to the high-rise that is the headquarters of Atlantic Records. We sip Perrier and eat expensive European cheese. Craig Kallman, President of Atlantic Records, sits behind his desk in an office nothing short of an Al Pacino film sequence. It’s Devil’s Advocate (minus the swirling demonic mass above the fireplace, though they may have just been invisible to my then non-discerning eyes). It’s Scarface (minus the machine guns, though I didn’t actually look underneath his desk). The Central Park view from the wall of windows is obscene, breathtaking. We have made it.

I sit, here, with my bandmates, our A&R guy, and our manager, listening to a song from our just-finished album, Truthless Heroes, blaring on the president of Atlantic Records’ stereo system.

The song is called “Your Heroes Are Dead.” It is our greatest attempt at mainstream radio in our career to date, and everyone on our team is very confident that all the work that we put into writing and recording this record over the past 16 months will be worth it because of this one song.

All I know--all we know--is that we want our band to have mainstream success more than anything in the entire world at this point in time. We are overwhelmed with excitement about the new opportunities and possibilities that are being promised to Project 86. And where our treasure is...well, let’s just say our hearts and our treasures are wrapped up in this new album. An album that cost nearly half a million dollars to make, and over a year’s worth of sleepless nights.

Even though we built our reputation as a Christian band and sold over 100,000 copies of our previous release, we are ready for more. And although we have a great reputation on the Christian side of the music industry, we are attempting to distance ourselves from a CCM subculture to succeed in becoming an even bigger band. Why? The decision makers around us have been trying to convince us that we cannot “break” unless

our “perception” changes. It’s necessary for our credibility in going to the next level, they tell us.

So we listen to our advisors in and outside of the studio, because they, after all, have already broken another hugely successful Christian rock band with this same team of people and must know the formula for success. And a chance like this only comes along once.

I look around as the song continues to play. I catch a reflection of myself in a mirror in the office, as the glass vibrates from the bass in the song. I see a shaking picture of...a rising celebrity? Someone who will win a Grammy, grace the cover of Rolling Stone, tour the globe? A rush of adrenaline comes over me and I believe at this moment that nothing can stop us, that we can do anything, that the world is ours for the taking. I am certain that we are going to get our shot, that we could be huge. After all, everyone that we work with, label people, press, even our friends and family, have been buzzing about it for months. We truly believe we are next in line to get what we have been working so hard for...

All we need is for this powerful record executive to give us his stamp of approval and the machine that is AOL/Time Warner (the figurehead company that owns Atlantic Records) will put its weight behind us. At that point our name will be known in every TRL voting household. Every kid in America will see my face. I am already preparing myself for all of this, before it happens.

Then, the song ends. Our label head has but one comment.

“This is huge, guys. Congratulations. This song is going to get you a platinum record! Are you ready?”

We slap high-fives. We embrace. Everyone in the room is filled with joy. We have a short meeting, then leave the building in our limo. We are off to a very expensive dinner in Manhattan, on the label, followed by a shopping spree at the Virgin Megastore in Times Square. Does it get any better than this?

Day Two: Early 2004. Long Beach, California. I lay in my room, without air conditioning on the second floor of my home. It is approximately 7,962 degrees.

My entire body is soaking wet with sweat. I have a fan blowing on my face but it brings little relief.

I would venture down the steps to the muchcooler first floor, except for a small problem: my ankle is severely sprained from playing a show a few days earlier. I would hop down the stairs and drive somewhere cooler, except for another small problem: my car was just stolen out of my driveway last week. Oh, the police found the car.

They found it stripped and missing 800 new copies of Do not Disturb, a book I self-publish (don’t ask how much they were worth). To add to the fun, I have the flu. No kidding. I am sinking under a flood of despair; this is the culmination of the past few months. I am currently thinking how it is remotely possible that I am even here right now.

Not very long ago, we parted ways with our labels, and our manager, and we have been forced to take many months off the road. All of the hype about our future successes turned out to be just that...hype. Things did not go as planned, and as a result we have lost much in the way of momentum. We did not go platinum. We did not even sell 100,000 records with Truthless Heroes. Though we did land several major tours, the record fell short of expectations and did not come close to the impact of our previous effort, Drawing Black Lines. There were many reasons for this, of course, and we were given the music biz laundry list which included: timing, corruption, politics, 9-11, The Donnas, etc. That golden ticket we thought we were grasping in that Manhattan high rise just a few months ago was torn away from us just as fast as it was given.

I am more than just a little depressed. I would be lying if I said we aren’t close to calling it quits.

I sit in my sauna of a room and vaguely remember a time when I had true joy, long before we even thought of Truthless Heroes. Before our crazy website with guns and strange statements on culture, politics, and music. Before we released a de-prioritized and largely misunderstood record,

continued on page 54

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

FAMILY FORCE 5 IF YOU WERE RECORDING THE LAST TWO SECONDS OF MUSIC THAT THE WORLD WOULD EVER HEAR, HOW WOULD YOU PLAY THAT NOTE? I’m on the phone with Solomon Olds, guitarist and front man for Family Force 5 and for the first time in the conversation, both ends of the phone line fall silent. It may have been only a split second in reality, but we both paused to fully absorb the question.

I’ve caught the group somewhere between Charlotte and Raleigh in the midst of a full-on tour. Signed to both Maverick Records and Gotee Records, the road is a very familiar place for the five-member group. “Both labels are very behind this band and very excited about [Family Force 5],” explains Solomon Olds. He says of the tour. “They are filling up our days from here all the way until summer, and then we’ll get on the fall tours.” Fortunately, this is exactly the life Family Force 5 had always hoped for. “We love playing live,” Solomon continues. “This is a very, very live band.”

“Live” is a good way to describe a Family Force 5 performance, too, given the level of energy that’s generated whenever the Atlantabased band takes the stage. “When we step on stage, there is only one rule,” says Solomon: “don’t hurt each other.” With a stage presence

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that’s self-described as “five A.D.D. kids that didn’t take their Ritalin,” the group takes their performance very seriously. “We’re usually banging into each other – headstocks and basses flying,” describes Solomon. “The live show is so intense and high energy.”

Formed in 2003, the members of Family Force 5 tackle their music with the same level of intensity. “We’re very serious about our music,” says Solomon, “but we also have a huge message in our music.” Listeners need to look no further than the group’s current single to find traces of this message. Released through Gotee, “Replace Me” speaks of a relationship with God that leads to becoming more like Him each day. “We wrote [“Replace Me”] together,” explains Solomon, “as a cry out to God, asking Him to replace us with His love and break us down.”

Solomon, Jacob (drums), and Joshua (bass) Olds have been honing their skill for well over a decade. The three sons of veteran CCM performer Jerome Olds already have two albums under their belt from the mid-90s as “The Brothers.” Looking back, it’s clear to see these

recordings as the basis for the group’s current sound, which combines elements of funk, rock, hip-hop and 80’s electronic-based music.

Rounded out by good friends Nathan Currin (DJ, percussion, and keytar) and Derek Mount (guitar), the brash, young group has managed to take that jambalaya of styles to forge their own sound.

This sound, dubbed “crunk rock,” allows Family Force 5 to fully express their other musical passion: having fun. “Basically, it goes back to the title [of the album], Business Up Front, Party in the Back,” explains Solomon. “We’re very serious about this music, but at the end of the day, you put this record on and it’s time to jam. It’s a party record.” This party mentality has bled into every aspect of the group’s career, as well, leaving each of the members with a stage name. “You have to have a ‘gansta’ name, when you live in Atlanta,” explains Solomon a.k.a. Soul Glow Activator. Following suit, Jacob, Joshua, Nathan, and Derek have taken on the monikers Crouton, Phatty, Na Daddy, and Chap Stique.

Crunk rock encapsulates every conceivable aspect of partying. “It ties into a lot of ‘retro’

4/1/2006 2:03:45 AM

BY BRENTEN GILBERT

craziness, a lot of ‘bling-bling,’ the crazy live show, and interaction with the fans,” explains Na Daddy. More so, it’s about “establishing a culture of crunk rock that allows everyone to have their own part in it.” For the group, that translates to the nicknames, the giant, flashy logo, a MySpace page with videoblogs, a persistent touring schedule, and a full-blown website with an arcade, boombox, and forums.

“It’s not a gimmick, it’s actually how we live,” says Soul Glow Activator when asked about the group’s presentation. “It’s a culture about being raised in the south, talking [like this] every day,” he continues. “A lot of it is pretty tongue-in-cheek, too.” The group hopes that these tactics will help draw a crowd, providing them a stage to share their message. “Whatever the imagery is, if it’s misspelling song titles to grab people’s attention, we’re going to do that,” he says.

“We’re pretty loud guys, and we love all of this from the bottom of our hearts.”

And it’s working. This freewheeling, nonchalant attitude and approach to entertain-

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ment have certainly earned Family Force 5 a lot of attention both with fans and within the industry. In fact, it was the song “Kountry Gentleman” and it’s accompanying video that originally led to label interest. “We shot that on our own, very low budget,” explains Soul Glow Activator. “[But] that’s what got us signed to Maverick.” The song has already done quite well on radio and continues to generate interest in the band.

So, how would Family Force 5 play that aforementioned note?

“You have to play it at eleven.” I can picture the face of Soul Glow Activator lighting up. “It has to be way over the top, extra loud, and extra crunk. That’s what this whole culture and this band is all about.”

4/6/2006 11:01:20 AM

50 FEATURE

BY ADAM ROBINSON

THE SMOKING POPES ARE NOT A CHRISTIAN BAND, AND FRONTMAN JOSH CATERER SAYS SO IN EXACTLY THAT MANY WORDS. AIN’T IT A KICK, THEN, THAT WE MET IN AN ORNATE CHURCH SANCTU ARY, ESPECIALLY CONSIDERING THAT EVERY INTERVIEW I’VE EVER DONE WITH A CHRISTIAN BAND HAS BEEN IN A BAR? THE POPES’ EXISTENCE SERVES AS A COMPLICATION TO EASYANSWER NICHE NOTCHING, BECAUSE NOT ONLY IS CATERER A DEVOUT BELIEVER, BUT HE’S ALSO THE FORCE BEHIND DUVALL, A BAND THAT DOES WORK IN THE CHRISTIAN MARKET. THIS, ACCORDING TO CATERER, IS HOW THE POPES ARE BEING WRITTEN ABOUT NOWADAYS:

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4/1/2006 12:29:17 AM

THE SMOKING POPES 51 Most of the press we’ve had so far has been sort of rehashing what happened, why I left the band, then why are we getting back together. So I have to talk a lot about my conversion and the process that I went through of quitting rock entirely, but then eventually feeling like I could come back to it without feeling like there would be a conflict with my faith. So that seems to be “the story.”

The story, then: The Smoking Popes – formed primarily of the Caterer brothers, Josh, Matt and Eli (“the genetic onslaught of the Caterer front line” as Josh termed it) – started in Chicago in the early 90s, recorded three albums and a covers record, did all the right touring, and broke up in 1998 on account of Josh’s newfound religion. Here’s how Josh tells it: One of the reasons I completely distanced myself from the Popes for so long was because, from a spiritual perspective, I associated the Smoking Popes with all the things that Jesus set me free from . . . I guess the Popes embodied who I was before I knew Christ, therefore I couldn’t go back to who I was before Christ. For the first few years that was valid in order for my faith to flourish.

So what’s changed?

Eventually I got to a point of maturity when I realized that I could sing Popes songs again without compromising my faith, but it took me seven years to get to that point . . . I never thought that I would do a Popes reunion, but I worked through some of the things that I wanted to work through.

Last November the band played at the Flowers Festival in Chicago and sold out the Metro theatre.

The show was recorded on CD and DVD and packaged together for release by Victory records. And now that, too, is history. The Smoking Popes are together again for good.

What’s the difference between playing 7 years ago and playing for the last couple weeks?

We weren’t having very much fun 7 years ago. I think there are a lot of reasons for that, all of which had to do with us. I think we tended at the time to blame our circumstances for our unhappiness, but I really think it was immaturity on our part, and in my case it was definitely the absence of God in my life.

He was beginning to stir in me the longing for Him. Over the last few years of the band I was more and more intensely trying to fill the God-void with other things, as I was becoming more and more aware of that huge void.

So you find that you’re more satisfied now as a person because of your relationship with God and that makes playing with the band more satisfying.

Yeah, it makes everything better.

The Smoking Popes are really at an interesting place for the Christian music scene, because you are a Christian and you play in Duvall, which is a Christian band, and you play in the Smoking Popes which isn’t, so it sort of begs the question: what makes a band a Christian band?

I think that in order to call yourselves a Christian band you have to be more than just Christians in a band.

You have to be communicating something about Christ.

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Something you said during our phone interview was that there’s a space in your life to sing love songs.

Mm-hmm.

congregation of our church – 98% of them – had never heard of the Smoking Popes until they found out that one of their worship leaders had been in this band that was called the Smoking Popes.

So then you would be a love band.

Ha, ha.

What are the Popes doing now?

We’re developing new songs, we’re playing them on the road, we’re starting to demo some of the stuff.

Is that something that occupies much of your mind-space, trying to categorize yourself as “this Christian band” or as “this regular band.”

No, I don’t think it requires much thought in our case.

The Smoking Popes are not a Christian band. We are, I think, pretty easily defined as a pop punk band.

What are some of the things that have influenced you over the last 7 years?

Well, since I became a Christian I felt like I had a lot of catching up to do in the realm of Christian music, because I never used to listen to it. So I think most of the new things that I added to my library was Christian or gospel stuff, and I’ve been sort of keeping up with some new stuff in the general market, but I think that my influences now are really the same as they were before, except most of the gospel stuff that has really grabbed me has been older stuff. I started listening to a lot of stuff like the Johnny Cash gospel recordings, and George Jones has old gospel recordings, and a lot of those country artists, I have a Loretta Lynn gospel album, there’s an Emmy Lou Harris gospel album that’s fantastic, and the Louvin Brothers, and then, uh, the Soulsters with Sam Cooke, that stuff is amazing.

Are you reading anything that’s influencing you?

Right now I’m reading Arthur Conan Doyle. I got this two-volume set of the complete Sherlock Holmes stuff and I’ve just been reading a lot of that. I’m just hooked on Sherlock Holmes. I picked up The Hound of the Baskervilles at a bargain bookstore and it was so awesome that I went out and bought the complete set and I’ve just been plowing through those stories and really loving them.

They’re crazy with the heroin.

Yeah, there’s a lot of stuff, not just the adventures and mysteries, but the character as it unfolds from story to story and you learn more about Holmes and the relationship between Watson and Holmes and the friendship that they have. It’s really interesting.

Before that, I went and I saw Capote, so then I went back and read In Cold Blood and got started on this true crime kick. The true crime stuff – I read a couple books and it was too gruesome for me. I thought, “I don’t want to live in this neighborhood anymore, I want to move on.”

Are you still with the worship band at church?

Yes. Does the fact that you’re playing there draw people to the church?

I don’t think so. I’ve met a few people in the young adult ministry who’ve said when they came to the church and discovered that I was playing there they thought it was pretty cool and it’s probably one of the reasons that they keep coming, but that’s pretty short lived because people get into their own groups at the church and they start getting involved in their own ways and it becomes their own thing. I’ve really only met a few people like that. I think mostly the

I heard you did that with J. Robbins (yeah, the dude from Jawbox who says of the Popes on his website, jrobbins.net: “A nicer bunch of fellows – and a tighter band – you’ll never meet in rock.

Getting a chance to record them . . . is pretty much like Christmas in March.”)?

Yeah.

How was that?

It was awesome. I love that guy. I mean, I’ve admired his work for a long time, but finally getting to work with him was just such a joy, because he’s a really sweet guy to work with.

Where are the Smoking Popes going to go?

I’m not sure where we’re going to go. But I’m sure that whatever happens, I’m confident that we’re going to be able to do it the right way. I feel like the first time we were a band we were stupid kids and we didn’t handle the whole thing correctly and we got bogged down with all this personal baggage and we weren’t having fun and we were counterproductive as far as our career was concerned. We could have been more successful than we were. I mean, we had a fair amount of success, but as the success was coming at us, instead of rolling with it and trying to build on it, we sort of curled up into our turtle shells.

You all have other jobs?

Yeah. Yeah.

Is it a true story that you found out you were playing with Green Day through the Chicago Tribune?

Yeah. That’s a true story. I can’t remember which one of us, I don’t think it was me, but one of us saw an ad for Green Day playing – at the Vic? I think it was the Vic or the Riv – and we were listed. So we called the promoter who was booking the venue and we said, “Is this some kind of a mistake?” and he basically said that “Green Day requested you guys to be on the bill and I figured you wouldn’t object.” Well, of course, we don’t object. We just wanted to know.

What’s happening with Duvall?

Duvall is taking a break right now. We want to play some shows this summer, local stuff, and I would like to get back into the studio at some point this year.

There were just a couple of new Duvall songs floating around that we didn’t get a chance to record and even if we don’t put anything out this year I would like to at least put them up on our website or something just to keep some kind of output flowing from Duvall.

Because I really like having Duvall. It’s sort of important to me to still have that as an outlet. So I’m going to keep that alive. We might not be very active in the near future, but we’re still alive.

4/1/2006 12:29:28 AM

52 FEATURE

BYTIM HUDSON

SPITFIRE GUITARIST SCOTTY HENRY DOESN’T THINK HE’S A VERY GOOD GUITAR PLAYER. “I JUST WRITE WHAT IS IN MY HEAD BUT THESE GUYS ARE REALLY TECHNICAL,” HE TELLS HM ON THE EVE OF THE RELEASE OF SPITFIRE’S SECOND FULL LENGTH, SELFHELP. SCOTTY IS CURRENTLY HOLED UP IN AN UNDISCLOSED PRACTICE SPACE CRAFTING WHAT WILL BE THE FOURTH ALBUM FROM HIS OTHER BAND, NORMA JEAN. “When Norma Jean started we all started playing instruments and playing music at the same time, so I’m used to playing with those guys,” he says. “It’s different playing with Spitfire, and kinda intimidating. When I first stated playing shows with them they showed me how to play some of the songs from The Dead Next Door the day before a show, it was really scary.”

Scotty’s terror is of course referencing songs originally performed on Spitfire’s influential full length, recorded in 1999 when the band was still a trio. The band’s only effort for Solid State, The Dead Next Door cemented Spitfire into the minds of fans and would go on to heavily influence the next wave of progressive heavy bands.

Following their stint with Solid State, Spitfire would regroup as a quartet in the coming years, issuing an EP on Goodfellow records entitled, The Sideshow Whiplash in 2001. The EP was quickly lapped up by fans and was generally well received by critics upon its release, but the band itself was in turmoil. After several months of rumors, the band prematurely split late in 2001, with its members splintering in a variety of directions including guitar-

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ist Matt Beck’s ground floor work with Mae. Foresight being slightly less than 20/20, Spitfire’s brand of chaotic metal, while eagerly embraced by fans did not log big sales. However, in the ensuing years popular taste seemed to catch up with the band as newer bands began pushing the bounds of extreme music and the style began to gain a foothold in the industry. “Music Culture is weird, when we did it the first time it wasn’t cool ... now it’s, like, huge. I mean you’ve got bands like Underoath selling 300,000 to 400,000 records… it’s totally crazy,” says Spitfire drummer Chris Raines.

In partial answer to changing tastes, the band reformed in 2004, adding new members Jon Spencer, Dan Tulloh (late of hardcore act Scarlet), Ian Sabo, and Henry to lone original members Beck and Raines. Self-Help, the band’s full-length for Goodfellow, uses hardcore more as a jumping off point than a banner of stylistic confinement. In the words of the band’s bio, it is: “a hybrid of metal and hardcore that is comparable to bands such as Every Time I Die, The Melvins and even Voivod, as well as the speedy punk rock of Hot Snakes.”

“On The Dead Next Door, we were super

rushed,” Raines says. “We were young, you know.” He says that while the band learned a lot of lessens the first time around, ultimately they feel like everything is right this time. In comparison to the musical climate in 1999 versus 2006 he says that it is a completely different ballgame. “Back then the music we were doing was not popular at all, Training for Utopia and us were about the only bands doing this style of music in the late 90s through 2000. It was a very select crowd, but now Norma Jean and some other bands have made that type of music popular, it’s insane to have this kind of music on MTV.” According to Henry it was his friendship with and respect for the band that eventually led to his joining. “It was weird, because Norma Jean was Spitfire’s number one fans for years, I’d kept in touch with Chris and Matt and when they were getting back together and he sent me some demos.”

Raines explains: “Norma Jean and us did a bunch of shows together back in the day and we were always good friends. I guess we kind of stayed in touch. Then overnight they became this huge, huge thing. Scotty was always a huge

4/1/2006 1:53:21 AM

SPITFIRE 53

Spitfire fan and we always thought that was so cool, he was always saying that Spitfire influenced them. We always stayed in touch and when we started writing, jokingly we were like, ‘you should play,’ and he was like, ‘When do you want me?’”

“It’s just great to be in a band with those dudes that I’ve looked up to,” says Henry. “The Dead Next Door has heavily influenced me. It’s awesome to be in a band with these guys.” On the music the band has created together, Raines says he is very satisfied with the outcome. “We think it’s the best thing we’ve ever done, we did what we always wanted to do and we feel like it comes through in the music. The writing process was so good with the two new members…hopefully, the fanbase will agree…”

While it is too early to see how soundscan receives the effort, early reviews are looking positive. “The reaction the new songs get at shows has been really good.” Regardless of people’s perceptions of Spitfire and Norma Jean’s style, Henry says that Spitfire is going their own way. “Some people might think that Spitfire is similar to Norma Jean, but the dudes just have their own way of doing

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things,” he says. “When the idea of me joining Spitfire started, I talked to the Jean dudes and let them know that Norma Jean is my main thing.

He says that he wants fans to be sure that Spitfire is not a side project, but an entity into itself.

So much so that he and Raines have partnered in Southern Death – a new label aimed at presenting, in their words, the best in hardcore and metal and rock. The label’s first signing is Arkansas metalcore outfit, The Handshake Murders. “The Handshake Murders were friends of ours and they were amazing,” says Henry. “They had a demo and were going to do their own thing. Chris and I were hanging out and talking about a label and we just decided to do it together.” What Time and Earth Would not Buy, the Handshake Murders debut, was released last year.

“We’ve got a few other releases and we’re signing another band from Atlanta,” he says.

In the midst of all the positivity, however, one thing recently didn’t go off quite as the band planned it. Much to the chagrin of the players involved, (it was) the shoot for the forthcoming “Life and Limb” video. What had been planned as

a Ted Nugent in scope epic ran into a few snags.

“The original idea was to do the video at Dan’s farm. We were going to record in the farmhouse and he has this truck that was parked for years and they had been using for target practice, so we were borrowing guns from people to use in the video,” says Henry. As planned, the band and fans culled from Spitfire’s website would unload a variety of weaponry into the truck real savagely, but the weather would not cooperate. “It was really bad and didn’t work at all, so we ended up going to this warehouse type place and playing for 12 or 13 hours…I saw the first edit and it looks really good, but it just wasn’t the same. He adds optimistically that the setback would not be the end of the idea.

“Hopefully we can do that again. Any time you can get guns and barbeque you know it’s going to be awesome.”

4/1/2006 1:53:37 AM

54 PROJECT 86

Project 86 | cont’d

and before a series of foolish moves successfully alienated us from a large part of our fan base. I am thinking back to the first show we ever, ever played – in a church in Mission Viejo, California.

I am remembering my pre-show prayer with my band, the warmth of the Holy Spirit filling me prior to taking the stage. We knew nothing of record labels or anything else involving the disenchantment of the business of the music industry. I remember walking on that stage, a stage at a church, not in the least bit concerned about where we were playing or who we were playing to. I remember feeling like I was floating above that stage while we played – those moments a blur of passion and emotion. I knew who I was and why I was there. And people responded because of the heart, the truth that resonated in our performance. I remember when I was just someone who wanted to share the truth with people.

I am still wondering how all this could have happened and how we ended up here. It seems now I hear a different story every single day about myself, either on the internet or through the grapevine, about how Project 86 was once great and has now fallen from grace. It’s heartbreaking.

We had the eternal carrot dangled in front of our eyes, then as soon as we were about to bite down – poof – it was gone. An apparition.

Along the way we lost sight of what got us there in first place. We had forgotten our calling and what drove us to start this band. We had forgotten where we came from and the only thing that matters, namely, our relationships with our Creator.

Now I am resolute in anger toward those who I feel cheated us. And most of all, I am deeply disappointed at myself because I got swept up in the hype and lost my vision in the process.

I am clouded by my negative emotions. This is what it feels like to hit rock bottom. I haven’t spent much time in fellowship at all lately. I feel completely alone. I see little hope at this moment, having wrapped all my being, all of my worth in something that was not mine to begin with.

Day Three: Winter 2006. Today is an important day because it is the first time I have told this story with a happy ending.

Obviously, our band did not break up. In fact, after hitting our lowest point we began an eye-opening and pretty humbling climb back.

We have released two records since Truthless

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Heroes and resigned with Tooth & Nail Records.

Our most recent release ...And The Rest Will Follow, is a record that is a reflection of a hard fought journey. It encapsulates a realization of the renewal that a relationship with God brings: hope and purpose. It has come slowly, over the course of the last couple of years, as God began to refocus our goals and re-ignite the passion of our calling. He began to show us ever-so-gently the foolishness of our faithlessness.

I think about all the things we did wrong in our career, and I ask “What if?” What if we would have achieved every thing we wanted? Who would I be right now? I will never know what would have happened to us had we succeeded, what the Lord was saving us from. Obviously, I don’t believe wanting to grow from the Christian market into the general market is inherently wrong. It’s definitely inherently right, as long as your motives are pure.

...And the Rest Will Follow, has been touted by critics and has sold very well (over 8,000 copies first week, landing us our highest debut ever on the Billboard chart). More people are coming out to our shows than ever before. And though we don’t have the major-label hype surrounding us as we did at one time, I believe that we have finally figured out who we are. Of course, as God continued to heal us, we swung between hope and guilt, desperation and despair, but inside that journey I realized He has never given up on me. On us. He never left us. He has held onto us and humbled us to truly use us, Not just the band Project 86, which I believe means little to the Lord in comparison to the people inside and outside of the band. That’s a message you cannot take lightly – He will make the person you are, if you truly know Him, subordinate to the things that you want. What this means is that you may miss out on a dream or two along the way in order to gain Christ.

God tells us that if we submit ourselves to Him, he will give us the desires of our hearts. We just can’t make the desires of our hearts ends in and of themselves.

I look back at the hardest chapter in our band and I realize the things I needed to learn. I needed to learn that despite circumstances I must remain faithful, because He is faithful. and I have learned that I must forgive...myself and those around us who let us down.

In writing about the past you begin to see how the intricate web that is our lives actually includes – dare I say – a plan. No, not our plan.

Not my plan. I think the thing that made me so upset during that whole period of trial and confusion in my life is that I knew I was not in control. I had one plan, He had another. If there is one theme on Truthless Heroes it is helplessness, it is frustration and confusion towards the fact that I was not in control. And though this theme permeates the record, the Lord still spoke to me in such a clear way that I could document the conversation in the form of the last song on that record – “Hollow Again.”

This song is essentially the Lord saying to me (through His word), “Andrew, if you continue down the path that you are on, you will be a very, very empty person.” So, in a sense, it was prophetic. Essentially, Truthless Heroes was a warning to those who might follow in our footsteps. A “how to” on “what not to do.”

It’s a different age in the music industry, than when we began this band 10 years ago.

Somehow, we have survived it because of a plan that was greater than ours. And in the process of figuring that out, with God’s help, we were able to do something we loved, sell 300,000 records along the way, and inspire many, many people. Not bad.

Today I just love playing. I love doing what I do.

I love the people who come to our shows, who buy our records, and I try my best to never take the people lightly. It is about people, in the end.

Not being cool. Not selling records.

I watch so many bands around me (and believe me there are many – too many, if you ask me – and most of them sound like the same band) saying the same things I said not that long ago.

They don’t want to be in the Christian market, they don’t want to play Christian shows, they want to be in the “general market” because of credibility or business or sales. And they put success as the end-all be all. I hear these conversations every week from artists who have found more success in the Christian industry than we ever did, and I can’t help but get a familiar painful feeling that takes me back to when I was saying those same things. All I can say is take heed.

Though it seems like there is a big difference between career goals and spiritual identity, in the entertainment industry those lines can become blurred. And your career is very short, at best. You may not even be remembered even if you sell tons of records. What you will be left with later in life is yourself, the decisions you made, and your motivations. I am not telling you how to run your band or what to believe about music. I am just telling you that people are more important than perception. Loving others is more important than career success.

[Andrew Schwab]

4/1/2006 12:19:50 AM

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4/1/2006 2:40:39 AM

56 UNDEROATH

Underoath | cont’d

much it seems like every minute is put into working for them that they don’t have time—nor do they want to—sit back and pre-determine what their stage make-up is going to look like or figure out where they can be seen next.

Sure, some of that work is done for them. After all, someone had to get that song on TV. But for Gillespie, that’s not the highlight of his band’s career. It’s not even when they sold 100,000 records. It’s the very same answer you’d probably give when you dream about being in rock and roll for a living. “Every band that we always wanted to go on tour with we’ve gone on tour with for the past two years,” he says. You can hear the excitement in his voice when he talks about it: “From playing in Cobo Hall in Detroit in front of 15,000 people, to playing in Europe for the first time. We played two shows this past year with Nine Inch Nails in Germany. It was crazy. The past two years have been psycho.”

The best part is being able to hear authenticity perpetuate his answer. He’s not saying this to name drop. He’s not saying it because it’s what he’s supposed to say. He’s only supposed to say it because he believes it. Music truly is the highlight of his career. Gillespie had no idea they’d even be worth people’s time. He had no idea They’re Only Chasing Safety could be such a success. “My goal (for that record) was 50,000 copies,” he says. Now they’re pushing close to a gold record and television air time.

I feel like having your song on The O.C.—or for that matter any major television show that consistently gets the ratings—is when you would begin to think you’ve made it. For Underoath, that’s more like a part of it. Maybe it’s the European tour. Maybe it’s the near 400,000 records they’ve sold of their incredibly wellreceived They’re Only Chasing Safety. Maybe it’s the headlining spot on the summer spendfest Warped Tour. But then you talk to Gillespie about this stuff and he’ll let you know that to him and the band there’s no such thing as “arrival.” Underoath is out to make a brand new record, to once again redefine who they are.

“You make the same record twice,” Gillespie explains, “you go away in a couple years.” So to them, they never quite “make it,” they never quite “arrive.” They kind of don’t want to—and at the very least, if they did, they wouldn’t know it. Underoath is equal parts arrival as they are departure: You get there and then you leave, like a flight with a layover, except to Gillespie, there’s no predetermined destination. I ask him where he sees Underoath going once the new record comes out, and he can’t make it clearer: “I don’t know,” he says, “I’ve gotten all I could

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have ever wanted from Underoath. I won’t be disappointed either way.”

Unfortunately, some fans have felt disappointment from them in the past. Before Chasing Safety, Underoath was straight metal. Over time, some members left, some were added, and their sound morphed and gave way to more melodies, peppered screaming, a keyboardist was added, and Underoath broke the mold they made for themselves. Some people cried sell-out, but for the most part, the record made in the new fashion was—and until the new one hits, still is—the only one a lot of people know.

It obviously worked; you don’t sell hundreds of thousands of records on accident. As an unfortunate casualty, some fans were lost; however, it seems they’ve gained worlds in return, a loyal fan base most bands would kill for. But from the sound of it, Underoath is ready to put all of that on the line. They’re out to break that mold again.

Fans who listened to them before They’re Only Chasing Safety came out and have stuck around through their transformation are very curious to know how this new record will sound in relation to the one they’re now most famous for. Every time Chasing Safety sells another copy, the pressure mounts. Where do you go? Gillespie offers this explanation: “Our rule is to never make the same record twice. So this record is totally different. You can still listen to it and tell, ‘Oh, that’s his voice, and that’s his voice’ and that whole thing, but yeah—it’s totally different.”

And they’ll take credit for whatever response the public has for them. Underoath does things the way Underoath does them; they want that on their heads. On the new record, they wanted to make sure it stayed that way. If they’re not going to wear uniforms on stage for anyone, they’re not going to a make a record for anyone but for them and their fans. “We wanted to do it our own way,” Gillespie explains about the recording process. “We wanted to use friends, guys that do records for a living, but just guys that we trust. Guys we would hang out and go eat chicken wings with.” They enlisted Adam Dutkiewicz to produce it, the guitarist from the metal band Killswitch Engage, who’s also done records for bands like The Agony Scene and Every Time I Die. Gillespie says Dutkiewicz helped out with the songs, but for the most part, Underoath brought the songs to him, and the songs they brought are definitively one thing: heavier. Gillespie didn’t shy around using the term; he didn’t hold

back information regarding its sound, unlike the name for the record (“Yeah, we have [a name],” he says, “but I’m not going to say it. If I do and I’m not supposed to, I don’t want to get yelled at.”) The CD in his own words: “It’s heavy. It’s way heavier than Chasing Safety.”

Gillespie maintains the new CD is totally different, and this is not surprising. Totally different is something they’ve done before: Like mentioned earlier, if you’ve listened to Underoath before the Chasing Safety record, you’d know they’re not afraid to make drastic turnarounds.

The name of the CD before it, The Changing of Times, is eerily prophetic and very close to a metaphor for the band’s structure and direction at that point in the band’s life. Gillespie will tell you this is true: “That record was definitely the bridge,” he says, “but Underoath always changes. That’s the rules.”

The new record was written almost entirely at sound checks on the road in Europe, before heading back to the United States in November.

They did a tour with Thrice, and right before Thanksgiving, finally took four or five days off before the writing process began again. “We wrote straight until January 3,” Gillespie says, “got into the studio that day, and just got out,” making studio time about two months long. The result: “This new CD is the most honest thing we’ve ever done,” he says. “That’s it. It’s our lives written on paper.” It was done their way.

If there ever was a way to sum up what I understand to be the very foundation of Underoath, Gillespise did it for me when I asked him this: “Did you ever wonder, once Chasing Safety started to gain momentum, how you could possibly follow it up?”

His answer dealt with the specific account of making this new Underoath album, but it also stretched much further than that into what feels more to me like purpose: “Sure, those thoughts have come across my mind, but you really can’t think like that. You do, and it’ll all explode in your hands. You do it because you love to do it. You do it because you’re called to do it, not because there’s money, or because of fame or anything like that, or because this guy’s telling you he wants you to make a bigger record than last time, because they’re all saying that. So, basically, you go make a record you want to make, and you believe in the record you made, and that’s it.”

4/1/2006 12:23:01 AM

FEATURE 57

What Bleeding Through Says OWNING AND RUNNING A “CHRISTIAN” MUSIC MAGAZINE HAS ITS UNIQUE CHALLENGES. BEING THAT HM HAS A PERSONALITY ALL ITS OWN AND A SCENE THAT’S DISTINCT BY ITS FAITH-INSPIRED ART, WE HAVE SOME SELF-IMPOSED LIMITATIONS ON WHAT SORT OF PRODUCTS WE’LL ADVERTISE (METALLICA, ALCOHOL, OR CIGS, YOU KNOW, ARE OUT). JUST AN ISSUE OR TWO PRIOR TO THIS ONE WE WERE PAST AD SPACE RESERVATION CLOSING TIME, AND THE TRUSTKILL AD CAME IN. WHEN I SAW IT ADVERTISED THE INTENSE NEW TRUTH ALBUM BY BLEEDING THROUGH, I HAD TO MAKE THE TOUGH CHOICE OF REJECTING THE AD. WE LOST MONEY FOR THAT DECISION, BUT IT’S IMPORTANT TO STAY TRUE TO OUR CORE IDENTITY. SO, AFTER THAT REJECTION, IT’S KINDA COOL TO ACCEPT THE BAND INTO THE MAG FOR THIS INTERVIEW. WHAT A COOL SURPRISE TO HEAR DRUMMER DEREK YOUNGSMA PROFESS HIS FAITH IN CHRIST.

Photo © 2005: Michah Smith

Tell me about The Truth album; what you like about it, what maybe you don’t like, and how the recording experience was.

The Truth is actually our fourth full-length – second with Trustkill. I think… A lot of people maybe called it, you know, the defining album for us or kind of like a career maker. I agree a little bit. I think we’ve had a lot of time to work on it and we’ve built up a lot of our writing and just everything for this record. It turned out really good. We did it in LA. We recorded with Rob Gochiano, who used to play guitar with Antrhax, actually. It went really, really well. He’s an amazing producer and a super talented musician as well. He had a lot of good input on it. I learned a lot from him. Overall, it was cool. There were a few setbacks in the recording. We had a tour that we had scheduled that was supposed to be…that was supposed to happen after the recording was done, but the recording took a little while and we didn’t get done. So we had a tour, then we had to come back.

And while we were on tour Rob got really sick. Rob had like a stomach parasite or something and he was in the hospital and getting bed rest and stuff. And so it took a long time to finish. [someone there interrupts] Sorry. Somebody just came up and asked me something.

No worries.

But yeah, the record was really fun to make. I think, as far as writing, too, as a band we were at the point where we were ready to do a new record. We were ready to do this record. Compared to other ones in the past, this one was more fine-tuned. It’s more how we wanted it. We’re really happy with it. Nobody’s disappointed with any part of it. It’s gotten a good response so far – as far as sales and just with kids and stuff. We’re all pretty excited about it.

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Excellent. How’s the tour going now?

Really good. So far we’ve done two shows. We played in Reno a few days ago and then last night we were in Los Angeles. Both shows were sold out. In Los Angeles last night there was, like, 1,400 people.

Wow. Yeah, it was really, really surprising.. You know, we’re not used to it. It’s kind of new for us to draw that many people and to have that big of a response. We were all really excited about it. Tonight we have San Francisco and we have two nights in a row here – at a smaller venue, The Pound, but it’s been really good to us. It’s a cool place to go. We’re playing tonight and tomorrow night here. The rest of the tour’s pretty much, you know, the rest of the US and Canada. I think it’s about 50 shows. Something like that.

What venue did you play in LA, by the way?

It’s called The Avalon. It used to be called The Palace. It’s a pretty nice place.

Yeah, that’s a lot of people to put in there.

Yeah, definitely.

That’s cool. Well, compare and contrast touring in the UK versus the USA. Um, I guess the USA…just being from here and you know where you are at all times and you kinda know what to expect. The UK is similar, but I’d say the crowds in the UK are a little younger and maybe doesn’t have the background and the history that a lot of the US has. But the crowds in the UK are really good.

4/1/2006 12:00:26 AM

58 FEATURE They seem to be a lot more fan-oriented, if that makes any sense. They’re really, really into the merchandise and all that stuff, which is cool for us. And the US has gotten to be pretty crazy. Like, the turnouts now are just ridiculous and the shows are just so much fun. I’m kind of taken aback by it. I can’t believe we’ve come this far. We’ve toured five years, you know, and it’s steadily gotten bigger and bigger every time everywhere we go, but now it’s just to the point where I take a step back and go, ‘Whoa!’ Like, ‘I can’t believe it.’ The UK is one of our favorite places to go, and we’ll always love it and we’ll love the US as well.

You brought up fan stuff . I wonder what kind of intense things you’ve seen. Like, has somebody shown up with a Bleeding Th rough tattoo on their body? Or other really intense stuff ?

Yes, I have. I’ve seen tattoos. I’ve seen homemade merchandise, like shirts and whatever. We’ve had people bring us cakes and stuff. And we’ve had people know weird stuff about our personal lives. It’s really strange. But there are some kids that are really, really dedicated and they’re really, really down for us and they’re really supportive. So, we really appreciate that. It feels a little weird, but we definitely appreciate it. Just now, in this next couple months we’ll be launching a fan club – like an online fan club.

Cool. What do you think of the band Haste The Day? I like Haste The Day. I like them a lot, actually. I don’t know them very well. We’ve just started the tour, but I’ve met them before. I think the last time I saw them, they had the other singer. I forget his name. Great band. Really good dudes. I can tell they’re gonna be a good band to tour with.

We’re going to have a lot of fun. And they draw a little bit different audience, which is cool. It helps the shows out.

Bigger shows. I think every band on the tour kind of does that. They kind of add their little niche of kids that come out. It’s a really good thing.

Are you expecting to see any celebrities in San Francisco, like the members of Metallica or anything like that?

Ah, no. I won’t say that far. I’ve never met anybody that knows those guys, but last night in LA we had a few. We had some of the guys in AFI come out. We know a few people. We don’t know too many big famous people. San Francisco is more…I expect there to be a lot of kids, but we’ll just see a lot of our friends here. Maybe a few other people in bands or stuff, but nothing huge like Metallica or anything like that, for sure. But if they want to come out, whatever. It’d be great.

What do you think of Jesus Christ?

I am a Christian, actually.

Cool.

I grew up in the church. I actually learned to play drums from my father, who was on the worship team at our church. Before I was touring and stuff, I’d play, you know, worship teams – high school age worship team and junior high and all that stuff. I just kind of, you know… It’s definitely something that I’m really passionate about. It’s definitely a part of my life that I’ll always hold on to.

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Cool. What are some of the challenges you face being a believer in the rock and roll world, with other nonbelievers and stuff ?

Um, I don’t know. I think I’m to the point where I’m with a group of people that are open to stuff. They’re not judgmental. They understand fully what my convictions are, that I’m a Christian and that I’m not, you know… So I haven’t caught a lot of … too much flak from people.

There’s always kind of the awkward moment where some fan will, like, wants you to sign some thing with a pentagram on it or something weird. And it’s like, ‘You guys just don’t get.’ I don’t know. It’s kind of weird, but I’d say for the most part it’s not really difficult for me. Every once in a while it might be a little uncomfortable, but as far as the band goes and all of our friends and stuff, I think everybody really understands what I believe in and what I stand for. You know, I’d be willing to say that some of the other people in the band probably have that background as well.

You know, not so closely as I do, but you know, when they were younger, growing up, going to church and whatever.

I don’t know. It’s been cool. It’s had its ups and downs, but I’d say I still have a good time. I still know how to party.

Right on. I’m a believer in Jesus, too. I think it’s so cool to see a person of faith just excelling in their craft out in the world and not necessarily hiding in the ghetto of the evangelical subculture or behind the church walls.

Yeah, I mean. That’s kind of how I feel about it. I’m in the place that I’m called to be. It’s kind of out here, where a lot of Christians aren’t. I think there’s a lot of these kids that go to these shows that are hurting and going through a lot of pain and anguish or whatever. I’ve definitely gotten to talk to a lot of kids, and I’ve definitely gotten a lot of emails from fans that are also believers and stuff. So, I definitely see a positive impact. I definitely get the satisfaction of being able to talk to somebody – being able to maybe make a difference in their life a little bit. It’s fun to see.

Yeah, there’s a lot to be said for the fact that you can talk to somebody who the person with the protest sign out front is not gonna talk to at all. You know, cause people’s defenses are down when they don’t think you’re gonna shove something down their throat; and you have an opportunity that a lot of people don’t have. You still there? [cell phone signal dropped] Sorry we got cut off .

I got cut off. I’m in literally, like in this area where cell phones just don’t work (laughs). How much did you get of that last …

I didn’t get any of your response. Did you get my question? I was just making a comment about how you’re kind of in a cool, unique position.

Okay, yeah. That works. I’m just talking to kids and stuff.

I’ve had a lot of experiences, where, like, a kid will come up to me with something… Actually, I talked to a kid in England who had a lot of problems in his church with the older people being unaccepting of him and telling him that he’s wrong for listening to music and for looking the way he does and stuff like that. I think the Christian community has a big, like, has a problem with that, where they kind of drive people away, I think. I think my calling is to kind of be there for people like that, who feel like they’ve been, cast out of churches and stuff like that. Because there’s a lot of it. There’s a whole lot of it, especially in

this scene. There’s kids that just don’t … they blame God for the actions of people. And they turn themselves off to religion or anything like that. They look to something like music or like, you know, even worse, drugs or something like that, because they haven’t found… You know what I mean? When they looked to something like a church or to God or whatever, they’ve gotten crap from people because of that – because of who they are and how they look or act or listen to music or whatever. But I think I’m in a unique position, where a kid like that is happy to talk to me and get my input on stuff. I was saying how I talked to a kid in England that was like that and I think it really helped him out, you know what I mean? He left that night feeling a lot better and he was like, ‘You know what? I’m going to go home and read my Bible and pray,’ or something. You know what I mean? That was awesome, you know?

Yeah, that wouldn’t have happened if you weren’t there.

Yeah, true. I get myspace messages all the time, because we have a DVD… I don’t know if you saw our DVD. It’s called Wolves Among Sheep?

Naw. I’ve got it, but haven’t watched it yet.

It’s pretty much a documentary on the band. It was like a pre-release to the album. Kind of a promotional thing...

But there’s a spot… Our manager actually performed the interview and he was like, ‘Alright, here’s a topic that I want to hit on: I want you to talk about, like, how you’re a Christian and, like, your faith portrays in the band, I guess…’

And I had a little section on there where I talked about it – you know, how I was a Christian, whatever. And literally every day I get myspace messages from these … from kids that want to ask me about that and want to talk to me about that. And I get a lot of positive feedback, too, like from somebody saying, ‘Hey, I’m a Christian, too. Thanks for, you know, standing up and saying…’ You know what I mean?

Yeah, that’s awesome.

Definitely cool.

I kind of think that’s like at the core of the heart of Jesus – is to look out for the downcast and the discarded and downtrodden, you know? The outcast…

Definitely.

So, if you had to choose between what you like better – a huge sing-along chorus or a huge riff – which would you choose, and why?

I think I would choose the huge sing-along, just because it’s dramatic to see at a show. I think, especially, like in our type of music, I like to see the audience get involved. I like to see people getting excited. As far as, like, maybe a big sing-along chorus compared to a riff, there’s more of an impact on me, I guess, seeing that. I like to see the kids up front just losing their mind. You know? It gets me excited. I guess in practicing and writing songs I like the big riff. But when we’re playing shows, it’s all the seeing the crowd and getting energy off that.

4/1/2006 12:00:44 AM

WHAT BLEEDING THROUGH SAYS 59 What have been some of the ways you’ve written riff s?

Because sometimes I think about the creative process, and creating something out of nothing is so hard sometimes. What have been some ways you’ve been able to pull it off ?

Um, I think, too, like… Well, what we normally would do is our two guitar players would write riffs or songs or whatever and bring it to me in the rehearsal space and we’ll start putting it together. I think definitely whatever you put in…whatever you bring into yourself,, that will come out as well. We definitely listen to a lot of music and we get a lot of influence from music that we like as well. But, the creative process… I love it. I think it’s half of what we do, you know what I mean – creating this artform, this music.

It’s really fascinating learning to finish a song and sit down and listen to it and say, ‘Wow, we just made this,’ you know what I mean? Like, we just made this, yeah, from nothing.

This song is here now. It’s awesome.

What’s the best pit move you’ve ever seen?

The best pit move I’ve ever seen? Um… I don’t know. I’ve

what I mean? It’s kind of like, ‘This is what we are.’ We’re not glamorous and we’re not like rock stars. We’re just normal. We’re hurting and we’re real. Even though the photos are not real, obviously, it’s a camera trick or whatever, but we just kind of wanted to show a rawness, I guess. Kind of something to say, ‘Boom! Here it is – like The Truth.

That was a big thing lyrically. Brandon wanted to do, like, straight just tell-it-like-it-is lyrics and not really polish ‘em and make it perfect. To make it real… With the songs, too, we just wanted it to be kind of raw and kind of gnarly, I guess. But with Asterik we did the photo shoot. We did the photo shoot with chocolate sauce on us. And we took these photos and then sent them to Asterik and they were sending us back via emails of the artwork and we were like, ‘Oh man, look at this! Like, this is nuts! I’m not sure about the artwork, but I like it a lot. I think it’s cool.

We’re cutting out a bit, but hopefully we can make it through. I’ve got just a few more questions here.

Okay.

any of that stuff…

Any songs in particular?

I don’t know. Life changing…? Maybe ‘One.’ Metallica’s ‘One’ was a cool one. When I was in Elementary School, actually, I did like a… Me and some friends did this performance in our class – like a lip-synching performance. At the time I wasn’t even a drummer, we had these styrofoam guitars we made and we smashed ‘em in the class and everyone in the class was like, ‘Whoa! What’s going on?’ So yeah, music, I mean… I can’t really think of a song in particular, but I definitely have a heart for music and it’s definitely a big, big part of my life, you know – creating music and listening to music and all that.

That cadence in the song “One” is just so tight and powerful. It’s awesome.

Yeah. For real.

“...I definitely get the satisfaction of being able to talk to somebody – being able to maybe make a difference in their life a little bit. It’s fun to see.” actually… We’re on tour with Every Time I Die right now and this was, like, three or four years ago, we were at Furnace Fest in Alabama… I don’t know if you’re familiar.

Yeah, yeah.

We were playing Furnace Fest and I definitely saw their guitar player, Jordan, jump off the stage with, like, a pool raft, like a floatation device and board shorts and goggles on. It was amazing. I want to say he might’ve had flippers on as well, but it was pretty intense. It was one of the alltime great moments, I guess. One of those things you’ll always remember – seeing this guy jump off the stage with his floatation device and board shorts and goggles on and stuff. Those guys are real characters. You never know what they’re going to do.

That’s for sure.

That’s probably one of the funniest things I’ve ever seen.

That’s cool. I saw this band in Australia called The Quick and the Dead and the lead singer got in a liferaft and he surfed through the whole crowd. He went from the front to the back and all around with a cordless mic. That was rad.

That’s cool.

So, what kind of interaction did you guys have with Asterik Studios on the artwork for the new album?

And what did you think about it?

The idea behind the artwork and the idea behind The Truth was kind of stripped down, nothing like disguising us – just bare bones, I guess. Part of the concept for the artwork was like that we had put so much in and basically that we have limbs blown off and stuff. It’s kind of like, you know

119_bleedingthrough_says.indd 3

If you can, elaborate on some songs that’ve changed your life.

Songs that’ve changed my life? Since this is a Christian magazine and we’re talking about Christianity, I’ll say a couple come to mind… When I was real young I started getting into some of the Christian hardcore bands. One of them was Focused. Still there?

Yeah, I heard you say Focused.

Okay. I forget what the song is, but there’s this Slayer ripoff at the beginning, but it’s more like a poem, something like, ‘A light fire cannot end this bloody war…’ and all this stuff. I was like… At the time I was kind of like a new Christian and, like, I was really excited and music was like a big part of it and I went to these shows and got into the bands. Back when I first heard that, I was like, ‘Wow!’ It all made sense to me. You know what I mean? I saw these real dudes, like, pretty much pouring their hearts out and, not being shy about it and not really being intimidated by anybody. That was a big one. Another one of my favorite bands at the time was the Crucified.

Oh yeah!

And there was a band in my area that would cover a Crucified song. I forget what song it was, but they were big.

Bands like that definitely, definitely changed my life – as far as my faith went and stuff. Cause I was always into music.

I was always into metal and punk rock and stuff. It was the first time I encountered… Like, I always thought of Christian music as this lame, like, kind of, ‘neat stuff, but not as good as…’ You know? But then I came across bands like that and I was like, ‘Wow! These bands are, like, awesome.

You know? This was actually cool stuff and good music. So that stuff definitely had a big part of my life – I had a big change in my life because of that. Other than that, before that, anywhere from Metallica to Black Flag to, you know,

Okay, so if an investor came to you and gave you an unlimited budget to put together Woodstock 2006, what would the lineup be?

Woodstock 2006? Oh man! That’s a big question. That’s a good question. I would say something similar to what we went through a couple of summers ago. We did the Ozzfest and definitely played with Black Sabbath and Judas Priest and stuff, and it was just crazy. I didn’t understand like…

I was so floored by the fact that our band was playing with these bands and stuff. But I’d like to see… It’s unfortunate that some of the great artists that I listen to are not around anymore and had to pass on, you know, but… Um, that’s a tough question. I don’t know.

Cool. Is there anything else you wanted to share?

I don’t know. I think it was good.

Right on. Well, I sure appreciate the interview and hope to be able to rap some more sometime when you come to Austin. I’ll check out your show and come grab ya.

Yeah.

Right on, man. Enjoy San Francisco tonight.

Thank you, man.

4/1/2006 12:00:57 AM

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

CHRIS YAMBAR AND THE SIMPSONS

BY CHRIS CALLAWAY

“I’m a bad boy. I wear a black hat. I always made a better outlaw than an inlaw. If the boat needs rocking, I will kick it on its side.”

That’s artist Chris Yambar, describing himself, and it’s hard to argue with him. For decades, Youngstown, Ohio’s favorite son has challenged accepted notions, expressing his faith through his art in ways that sometimes earn him raised eyebrows and disapproving head-shakes from those who think they know what “Christian art” should look like.

Yambar’s accomplishments in comics and painting are too numerous to list (and besides, he’s done a better job of that himself at yambar. com). Suffice it to say that he’s known both for his own characters, like the iconic, goateed, caffeine-addicted Mr. Beat and the deceptively cute Fire-Breathing Pope, and for his work on Bongo’s line of Simpsons Comics, based on the popular show created by Matt Groening.

He’s also probably the only certified evangelistic theologian to have worked with both Alice Cooper and Gene Simmons.

If you did a double-take at that, then you’re not alone. Yambar has spent his life butting up against the standard idea of what it means to be both a Christian and an artist. It’s a familiar struggle, but Yambar believes in bringing the light to the world, not just those already basking in it. “Some of the hardest moments of my life have been talking with believers who want me to justify what I do,” he said. “I am earning the right to be heard. If you become part of their river, you become authentic in their eyes.”

Part of that, Yambar says, is gently leading people, instead of hammering them with the gospel. Last year, he created a comic book series called Spells, described by one critic as “deliciously twisted.” Spells used gothic

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imagery and characters to tell stories about faith and wonder. In the third and final issue, the main characters – a trio of witches – met the baby Jesus, and the moment was a powerful, yet sweet one. Yambar says that fans of gothic comics have commented on the Christian content of Spells, and have come away with a newfound respect for it because it’s written in their language, so to speak.

“What I do is a form of tongues,” he said. “It speaks to a certain kind of person, and that kind of person changes all the time. I find it impossible and unhealthy to separate the sacred from the secular. When we make a division, we destroy an opportunity for truth.”

When it comes to bringing truth to those who need it most, here’s a guy who has walked the walk. In the 1980s, Yambar started Lamb’s House, a Youngstown-based inner city rehab center, and took a vow of poverty in order to live there and minister. “I used to go out in the inner city and go door to door,” Yambar said. “I would find out about people’s living conditions, and buy them groceries and pay their heating bills. It was hardcore, and the most sobering experience in my Christian walk.”

After three years at Lamb’s House, he married his wife Maureen, and got into commercial art to help support his family. But he didn’t stop his outreach – he started The Activist, an underground magazine steeped in social commentary, faith and art.

The Activist was read in 13 countries, and thanks to some controversial comics work within its pages, it also gave Yambar his first experience with the judgmental Christian culture. “People would see The Activist and say it doesn’t look like a Christian newspaper.

And I would say, well, ‘Jesus didn’t look like His father,’ Yambar said, laughing. “He came as a

man. He wasn’t a looker, he was nondescript, and he worked as a carpenter.”

Perhaps nothing in Yambar’s extensive career has rocked the boat quite like his long association with the Simpsons. Since 2000, Yambar has contributed stories and art to the ongoing Simpsons Comics series, and while some have frowned on this partnership, he sees it as another opportunity to reach those who wouldn’t give Christian comics the time of day.

“My job with the Simpsons Comics is to tell a funny story, and do it well,” he said. “If I do a good job, people will seek me out, and I will build real relationships. And then, I’ve earned the right to speak.”

Up next for Yambar? More Simpsons, of course, and an expanded Fire-Breathing Pope, as well as more adventures with favorite characters Mr. Beat and Mexican wrestler El Mucho Grande, among other projects. He’s also writing a book about his work, to be released in both Christian and mainstream markets.

But through it all, Yambar says he will continue merging the secular and the spiritual, fearlessly.

“People ask me if I’m afraid to compromise my message,” he said. “And I say, I don’t live in fear. I don’t believe in it. God will only put you in situations that He can trust you with.”

“You’re either motivated by fear or faith,” he concluded, “and without faith, it’s impossible to please God.”

4/1/2006 12:07:23 AM

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#077 May/Jun ‘99 Pete Stewart, Stavesacre poster, Doug Pinnick, Rackets & Drapes #091 Sep/Oct ‘01 P.O.D., Dashboard Confessional, DA, One 21, Embodyment #093 Jan/Feb ‘02 Girls That Rock, Meshuggah Says, Soul Embraced, Underoath #094 Mar/Apr ‘02 Alice Cooper, Squad 5-0, Pedro, Craving Theo, Beloved #098 Nov/Dec ‘02 Blindside, Dream Theater Says, Embodyment, Lost Dogs #102 Jul/Aug ‘00 Stretch Arm Strong, Biohazard Says, Figure Four, Duvall #104 Nov/Dec ‘03 The Ugly Truth Behind C. Rock, Johnny Cash, BRMC, Thursday Says #105 Jan/Feb ‘04 P.O.D., Daniel Martin Diaz Poster, Kutless, Pillar, Hatebreed Says #108 Jul/Aug ‘04 Demon Hunter, Antestor, Zao, Cool Hand Luke, Boys Night Out Says #111 Jan/Feb ‘05 Comeback Kid,Showbread,Anberlin,Pillar,Taking Back Sunday Says #112 Mar/Apr‘05 Norma Jean, Extol, Starflyer 59, Eisley, Far-Less, Scorpions Says #113 May/Jun ‘05 As I Lay Dying, Still Remains, Mae, Copeland, Fall Out Boy Says #115 Sep/Oct ‘05 Blindside, Mortal Treason, John Davis, Project 86, The Locust Says #116 Nov/Dec ‘05 No Innocent Victim, Demon Hunter, My Chemical Romance Says #117 Jan/Mar ‘06 P.O.D., Zao, Maylene &..., Underoath poster, Sevendust Says #118 Mar/Apr ‘06 Thrice, The Classic Crime,The Violet Burning, Collective Soul Says

3/31/2006 10:43:38 PM

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3/31/2006 11:11:21 PM

ALBUM REVIEWS

63

Album reviews

63 ALBUMS 68 ENTERTAINMENT 69 BOOKS & GEAR

MUTE MATH S/T Artists and journalists throw around the word “experimental” with frequency and laziness. If a band doesn’t solidly fit into one particular genre they may be described as such. If their songs tend to be longer than four minutes, or they insert long meandering solos, or demonstrate impressive collections of effect pedals or a willingness to use excessive reverb, they may also be thusly dubbed. “Experimental,” therefore, is an over-used and nearly wornout descriptive. In the case of Mute Math, however, it is entirely appropriate – maybe even essential.

Former Earthsuit member Paul Meany (keyboards, vocals,) Greg Hill (guitars,) Roy Mitchell-Cardenas (bass) and Darren King (drums, samples,) have created one of the few truly experimental and accessible projects of the last twenty years with the band’s selftitled debut. Before the first note plays, the album sets the stage with amazing packaging.

Musically the disc dabbles in off-speed rhythms, layers of digital and analog sounds from a mélange of sources, modally intricate harmonic compositions and startlingly simple and beautiful melodies. At times reminiscent of alternative icons The Police, Radiohead, Zooropa / Pop era U2, Pink Floyd or the indie aesthetic of Ester Drang, and at other times gleefully informed by classic “art rock” such as Alan Parsons Project, 10 CC, Yes or King Crimson, Mute Math is noisy and intimate.

It is intricate, and simple. It is melodic and dissonant. In short, it is brilliant.

Rating system 05 04 03 02 01 *

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CLASSIC FABULOUS SOLID SUSPECT AMISS 1/2

The band is equally as experimental in both the lyrical and positional aspects of the project as well. Though currently involved in an actual lawsuit with Warner Brothers and their Christian division Word Records over that company’s positioning of Mute Math as a “Christian Band” (the band never intended to be labeled as such, but has been involved with Christian market tours and distribution), the songs on Mute Math

4/1/2006 1:17:55 AM

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

point heavenward almost constantly. Though never obvious or blatant (nothing about Mute Math seems to be either), the songs weave poetic sketches of longing and determination to break through the mess of self and life to find the light behind it all. While the songs are never specifically “Christian,” they are deeply and movingly spiritual, and completely consistent with a Christian worldview.

Songs like the ridiculously catchy-yetchallenging “Chaos,” the aggressive and ambient “Break the Same” or the truly sublime “You Are Mine” couple dense, cascading sounds with Meany’s ceruleanclear vocals and heartbreaking melodies to create a cohesive, yet wildly diverse set of songs. The effect transcends the petty disputes over labels and tag-lines. This is the kind of art that will earn attention, if given the chance, well beyond the underground community of faith. If the chips fall right there is no reason Mute Math might not be the next huge breakout band. Several of the songs are obvious hits – and on the whole this might be the best alternative album released in 2006.

[TELEPROMPT] JOHN J. THOMPSON

THE VIOLET BURNING DROP-DEAD It must not be easy being Mike Pritzl.

His new The Violet Burning release alternately speaks to two different lovers: One is always true, whereas the other one has trouble keeping her vows. This disc opens by drawing listeners into the heavenly worship circle with “Humm.” But it’s not long before Pritzl is singing, and sometimes screaming, “Do you love me?” But this is not a paraphrase of Jesus asking, “Simon, son of Jonas, lovest thou me?” Nope. This second example is boy-girl talk for sure, and it’s not going too well for poor Mike.

Pritzl turns up the electric guitars and tones down the synths significantly for this release. And he’s one a rare bird, indeed. He can write a song that drives you to the altar, on your knees and worshipping, then turn around and spill his guts about a girl. This doppelganger trait makes him a little too honest for Christian music’s current squeaky clean worship music trend, but too spiritual to succeed as a hedonistic rock idol. But for anyone that has wept while singing “Amazing Grace” in church, then turned around and cussed out his girl on the way home from the sanctuary, The Violet Burning’s Drop-Dead is one drop-dead truthful jewel. [NORTHERN] DAN MACINTOSH

THE REMNANTS BANG BANG BANG Amazing what can still be churned out from the hoary old mold we’ve come to know as punk rock, isn’t it? Take The Remnants, the Alabaman trio who skipped up the Mason-Dixon to Chicago’s Jesus People U.S.A., for instance. At

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the heart of the frequently anthemic quality pervading their third longplayer, Bang Bang Bang, is the chant-along power of punk’s suspicious little brother, oi. But the band’s love for less monochromatic hooks than that skinheaded subgenre can provide takes them into incorporating Southern boogie rock, rockabilly, even dancey neo-new wave in ways simultaneously organic yet invigoratingly surprising. Like some of their better JPUSA cohorts, the substance of their faith can make for obvious inspiration (“Word Becomes Flesh,” “Save My Soul”) as well as more nuanced ruminations (“Davy Jones Locker,” “Blue Lights”). Singer/guitarist Brent Stubblefield sounds like long lost son of The Clash’s Joe Strummer, and his hoarse urgency brings all the more (com)passion to songs that balance theology and heart just so. As The Remnants continue from strength to strength, their major break can’t be long in coming. Hear ‘em on the brink of it now.

[GRRR] JAMIE LEE RAKE

SKYLINES IDENTITY Skylines’ debut, Identity, could be a motif for a ghost of a forgotten Confederate soldier who still haunts the land surrounding the band’s hometown of Richmond, VA (lyrics such as “At least the living know they will die,” and song titles such “Mouths Like Gravestones” only concur). Persistent pummeling beats and sludging riffs may not necessarily be original, but it has been so long since anything this raw has erupted that they might as well be given complete credit. Near the end of the album, the roaring vocals briefly halt to allow the instruments crescendo into (slightly) melodic peaks – we must first suffer in order to feel relief. [BLOOD & INK] DAN FRAZIER

SOCIETY’S FINEST AND I, THE DRUNKARDS When Society’s Finest’s EP Love, Murder, and a Three Letter Word came out back in June of 2004, it was my honor to review it for this very magazine. The EP was a long time coming: Before that, Society’s Finest had put out two split CDs, an EP, and a full-length on Pluto Records, solidifying a fan base just before having to abruptly put it on hold in 2003 while singer Joshua Ashworth toured with Zao. When they reformed with the current line-up after that hiatus, that EP was already hotly anticipated. In the review, I mentioned that the band was obviously working some kinks out, but that if they got it together, the full-length would be stellar. And it is. They certainly got something together, put it in any number of torture devices, and then spit it out on the other side. It’s faster, more menacing, louder. The CD drops immediately into the barrage of metal, like jumping off a cliff where you don’t hit bottom until the end of the CD. The first two tracks are solid, but for some reason – in a good way – leave the listener wanting more. Some builds don’t climax in a crazy breakdown as one would expect them to,

but some would commend this. However, because it makes the first three tracks feel like an extended build, when one of the best breakdowns on the CD hits in the fourth track, “One More Kiss,” it gives you chills. Whatever it was that these Texas and California kids took before making this record needs to be shared among some of the discouraging metal clones in the world. Whether it was help from producer Andreas Magnusson (of Black Dahlia Murder, Scarlet, and Gods fame), or the time off that pushed them to the limit, you could barely ask for more from a reformed band’s first full-length in years. Key tracks: “Cutters, Oh Cutters,” “One More Kiss.” (HAND OF HOPE) DAVID STAGG

HAWK NELSON SMILE, IT’S THE END OF THE WORLD Hawk Nelson I am not a huge fan of power pop or punk music; however, I am definitely swayed by this album. The most impressive thing about this release is that there is hardly any repetitiveness; each song seems to cover a new sound and paint a new picture not only lyrically but also vocally. They cover the punk

Ratings DV

Writer

Mute Math S/T

04

05

The Violet Burning Drop-Dead

04

04

The Remnants Bang Bang Bang

00*

04

Skylines Identity

04

04

Society’s Finest And I, The Drunkards

04

04*

Hawk Nelson

Smile, It’s the End of the World

03*

03

Danielson Ships

04

03

The Fold

This Too Shall Pass

03*

03*

Kutless

Hearts of the Innocent

03

03

Plumb

Chaotic Resolve

03*

03

Watashi Wa Eager Seas

03

03*

Smoking Popes

02*

03

Smoking Popes at Metro

4/1/2006 1:18:06 AM

ALBUM REVIEWS

ground yet also the screaming, emo-melodic end even a bit of pop. I will say the usual: “melodic verses and catchy choruses,” which is true. It is just like every other band in this genre; however, they do it very well. It’s nothing unique or set out to be different, it is just very well played and very addictive, to say the least, with the soaring vocals and meaningful lyrics that are touching and seem to grasp you at just the right moment. Similar to the likes of Craig’s Brother and possibly Finch in some areas, it’s absolutely one of those albums that is a must-have for road trips or getting ready for the summer. It is easy to get trapped into singing along with as it is a very positive, uplifting album. If you’re not a fan give, it a try – it is hard to dismiss; and if you liked their first album, Letters to the President, you’ll love this one! [TOOTH & NAIL] ANNIE ESQUIBEL

DANIELSON SHIPS Daniel (AKA Danielson) Smith’s unique singing voice answers the unasked question: What would it sound like if Rush’s Geddy Lee had gone all experimental? As with Rush, Danielson is an acquired taste. Nevertheless, most of us also had trouble appreciating coffee at first sip. Now we can’t begin a morning without it. Just think of Danielson as a strong and special brew.

Ships is a concept album, although it’s not exactly crystal clear what Smith’s concept is all about. The CD cover includes plenty of constellation-like stars, which may allude to the way such stellar configurations have historically guided sailors. This CD also includes stars of the musical variety as well, including Sufjan Stevens, who contributes oboe and even whistles for this project. Song subjects include “Did I Step on Your Trumpet?” which just may have underlying political intentions. Oftentimes, it’s tough to categorize Smith’s songs, which is why Danielson is always adventurous listening.

[SECRETLY CANADIAN] DAN MACINTOSH

THE FOLD THIS TOO SHALL PASS The Fold is the first Tooth and Nail band from Chicago and it may be the best Tooth & Nail band you’ve never heard. The band’s front man, Daniel Castady, formerly drummed and sang backups for Showoff, a Maverick Records punk band. Leaving his punk rock days behind, Castady became a Christian, quit Showoff and started The Fold. The band’s debut album, This Too Shall Pass, is one that could easily be slapped with the Jimmy Eat World/emo tag, but the sound is more like a poppy Foo Fighters. The production on the album has a slick quality to it and tracks like “Gravity,” “New City,” “The Title Track” and “Going For My Lungs” seem like they belong on alternative rock radio. Castady pens songs with heavy riffs, flawless vocals and hooks that get stuck in your head. The lyrics contain subtle biblical references such as “building houses on the sand” and “count the rest as lost.” The closing track, “I Believe You,” features Matt Thiessen

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from Relient K and the lyrics lay it all on the table: “King of Kings, protect me with white angels / Lead me not entangled, hold me in Your arms / If my body seems to walk in sinful places / My heart no longer embraces protect me with Your graces.” The Fold’s debut album starts very strong, fizzles a little in the middle and ends as it began. Like their live shows, the Fold’s album is worth the price of admission.

Let’s hope the Fold’s days of obscurity too shall pass. [TOOTH & NAIL] MATT MODRICH

KUTLESS HEARTS OF THE INNOCENT Kutless has taken an aggressive tone with its latest release, Hearts of the Innocent. The track, “Shut Me Out,” for instance, stands up to anyone that might try and keep it from speaking openly about the gospel. It comes off here like a prize fighter that would rather put up than shut up. With this CD’s title track, the band stands up for the innocent ones, not unlike the way Holden Caulfield did in The Catcher in the Rye. Then, to express the principle that the love of money is the root of all evil, “Million Dollar Man” talks about a guy with more money than he needs, yet no true happiness. (And no, he’s certainly not patterned after Lee Major’s Six Million Dollar Man character!)

The disc holds true to Kutless’s established sonic pattern of melodic hard rock. Vocalist Jon Micah Sumrall screams a little less here, but with Hearts of the Innocent, Kutless’ tough talk consistently rings true. [BEC RECORDINGS] DAN MACINTOSH

PLUMB CHAOTIC RESOLVE As Plumb, Tiffany Arbuckle Lee has always managed to create accessible, thought-provoking modern pop tunes. Plumb’s fourth studio project, Chaotic Resolve, continues that tradition. While pop music can easily err on the side of trite or undeveloped lyrics, Plumb has never fallen into the abyss of airheaded ambiguity.

Rather, Lee’s lyrics, like all good writing, walk the line between pensive perception and the palatable.

Songs range from the feel of Evanescence (“I Can’t Do This,” “Better”) to Sarah McLachlan (“Cut,” “Jekyll & Hyde”) to No Doubt (“Motion”), while maintaining Plumb’s identity and integrity. Chaotic Resolve sounds more like a big sister to Plumb’s second record, candycoatedwaterdrops, than its successor, Beautiful Lumps of Coal, though not due to lack of maturity or musical development. Chaotic Resolve seems to rely more on edgy programming than did the pure pop/rock sounds of Beautiful Lumps of Coal. Some of the variance is also due to the absence of guitarist Paul Moak, whose work elevated Plumb’s third studio release to a new plateau. Still, with or without Moak, the new record, with the help of long-time contributor and producer Matt Bronleewe, delivers what Plumb fans love most. This album is sure to score new movie soundtrack spots. And vocally, few can beat Lee’s passionate, delicate nuances. [CURB] AMY E. HALL

65

WATASHI WA EAGER SEAS Pop rock dynamo Seth Roberts is back with a new supporting cast. In this new collection of songs, he forsakes much of the pop/punk influence of previous Watashi Wa efforts in favor of a more gently textured melodic approach.

It’s somewhat akin to labelmate Mae, only with more acoustic elements such as harmonica and mandolin here and there. The guitar and pianoinduced atmospheres on tracks like “10 Years and Separating States” and “Sydney Tonight” call to mind words like “floating”, “twinkling”, “bright”, and “refreshing.” A personal favorite is “2:57,” an airy and soaring piano ballad of sorts. “Free Ride” sticks out like a sore thumb in an otherwise soothing landscape of sounds, sounding more like a simplified, driving rock version of Switchfoot. Roberts sounds like he’s testing the limits of his vocal range in the chorus of “Broken Man,” which distracts a tad from the gorgeous instrumentation of the song. Better than (a) decent album overall, with some standout tracks, for sure. At its best moments, it feels like taking a deep breath, or meeting an old friend for the first time. [TOOTH & NAIL] TIM HALLILA

SMOKING POPES SMOKING POPES AT METRO With this live CD/DVD, Josh Caterer revisits the music of his pre-Christian, Smoking Popes days. Caterer may be overtly spiritual with his new outfit, Duvall, but Smoking Popes songs are almost exclusively about girls. These works detail the kind of love Caterer experienced over and over again, which was primarily the onesided variety where he gave far more than he ever received. This concert recording documents what a truly tight unit The Smoking Popes is. It includes two instrumentals. One is a blues-y intro of the “Ramblin Rose” melody, and the other is a surf-y number, appropriately titled “Surf.” The Popes make guitar rock, although electric guitars never get anywhere close to overpowering Caterer’s vocals. This shows great restraint, however, because Caterer is not an assertive singer. Instead, he has a bit of a nasal tone that makes him come off like a shy guy forcing himself to emote. Caterer’s style, unfortunately, also masks some particularly fine lyrics. He is like a salesman that doesn’t seem to fully buy into what he’s selling. Caterer’s romantic plight is best expressed through the aptly named “Pretty Pathetic.” He’s a slave to his own romantic feelings, and knows it. A rare lyrical exception is “You Spoke to Me,” which tells a story about being touched by seeing a band live. If you already love the Smoking Popes, you’ll likely be glad that these priestly ones decided to light up, so to speak, again. And for newbies, it’s a crash course on Caterer’s pathetic romantic history. [VICTORY] DAN MACINTOSH

4/1/2006 1:18:18 AM

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

RED UMBRELLA WISHING FOR BOARDWALK If you dig Delirious?, chances are you’ll also find much to enjoy about Red Umbrella. First off, its vocalist, Jeremy Michaelis, sounds an awfully lot like Martin Smith. But whereas Delirious? reaches for expansive anthems, rather than mere pop songs, Red Umbrella creates much more stripped down rock & roll. In addition to electric guitar, this group also effectively mixes in plenty of piano, too. This Canadian act is soulful (Well, at least as soulful as Canadians get) during “Home,” but then it goes for the big rock guitar ending on “Run.” These lyrics are spiritual, yet they avoid Christian clichés. “Elevator,” for instance, echoes the Apostle Paul’s advice about forgetting those things which are behind, and reaching forth unto those things which are before. Its elevator analogy illustrates the Biblical principle of moving ever onward and upward. All told, Red Umbrella is an essential accessory in any weather.

melody. The sound is an amalgam of early Dream Theater and Journey with tons of influence from the more melody driven progressive acts of the 70’s like Kansas and Triumph. These guys are extremely tight and the production quality is first rate. While there is quite a bit of pomp and showmanship here, amazingly, it is incredibly easy to digest because of the emphasis on melody. The lyrics are very positive and uplifting, real “feel good,” although perhaps a bit cliché at times. In fact, the only major fault here may be that these guys wear their influences too well, lacking some of that all important originality.

In all honesty, this music is so well executed and so enjoyable that I find this more a positive than a negative. Like labelmates Redemption and Circus Maximus, these guys are really trying to bring melody and positivity back into balance with the dark themes and technical prowess so pervasive in the genre. Stride’s music is just fun, so role down the windows, crank up the volume and drive!

[SENSORY] JONATHAN SWANK

[7 SPIN MUSIC] DAN MACINTOSH

you’ll find much to admire about Grown. For CD number two, Payne saves her best material for last.

The gripping closer “Pray” is nothing if not a modern day paraphrase of Paul’s letter to the Philippians.

This track is an especially quiet one, with just an acoustic guitar, cello, and Payne’s heartfelt vocal filling out its mix. “Aslan,” is another noteworthy winner, as it sets C.S. Lewis’ feline Christ-type to words and music. With “Twenty Three,” Payne fights verbally with the sort of evil cynicism that too often sets in with age. Much of Payne’s music is infused with hurt, but hurt only drives Payne to battle against her emotional foes using God’s strength. She may not be a screamer, but the many memorable lyrical lines found in “Twenty Three” alone, for instance, reveal how heartfelt intelligence is her primary artistic weapon of choice. On it she sings, “Children are only un-costumed humanity” with the full wisdom of one that understands well such a pitfall. She might not be fully Grown yet, but it’s impossible to deny the many signs of growth captured here. [BHT] DAN MACINTOSH

EVERY NEW DAY FAMILY FORCE 5 BUSINESS UP FRONT / PARTY IN THE BACK Force Family 5 could be mistaken for an experiment in time travel with rap metal as a template. Stay with me here...Instead of those elements of musical zeitgeist that coalesced into Limp Bizkit and P.O.D., FF5 deal in a parallel recombinate nostalgia: commercial hip-hop was of the electro variety to which breakdancers were doing their thing ubiquitously throughout the media, Cheap Trick hadn’t completely sold out their aesthetic souls to top 40 radio, and New Order were still relevant to club kids and less extroverted arty types for whom “new” rock hadn’t yet been relabeled “alternative.” Jogging my memory back to 198487, the closest thing my noggin can recall to Force Fam’s hybrid antics are The Meatmen’s and Dead Milkmen’s parodying of the aforementioned styles.

Not too close, those. Regardless, as the culture bids g’bye to rap metal, dance-rockers like Franz Ferdinand and The Arctic Monkeys make sense to VH1 and The Strokes do their own sonic DNA splicing, Force Family 5 are the guys for such a time as this. If their wont is to subtly express their faith, their hooks are indelible. Derivative as the day is long, but brilliant in how they piece together those derivations. As fun, if not overly substantive, an album you and your kid sister are likely to enjoy in ‘06. [GOTEE] JAMIE LEE RAKE

STRIDE IMAGINE From the city of Houston, which has given birth to great progressive bands like King’s X and Galactic Cowboys, comes progressive metal/rock Stride. Previously an instrumental only band, these guys have now added the incredible voice of Gary Belin (sounds like Steve Perry and Steve Walsh), who injects their music with tons of

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THE SHADOWS CAST This vet trio from Winnipeg has been playing music together for over eight years. Despite the lack of multiple members, their melodic metal still resonates an immense stridence that other bands twice their size struggle to maintain. Violas and violins make short ’n’ sweet cameos, while drum beats and guitar riffs perpetually blast away at an accelerated pace without once touching the brake. Hang on tight.

Ratings DV

Writer

Red Umbrella

Wishing For Boardwalk

03

04

Family Force 5

Business Up Front / Party in the Back

03*

04

Stride Imagine

03*

04

Every New Day The Shadows Cast

03

04

Flatfoot 56 Knuckles Up

03*

03

Kendall Payne Grown

03

04

T Bone Burnett

20/20: The Essential T Bone Burnett

04

04*

Various Artists I Am The Resurrection

03*

04

Johnny Cash Personal File

03

Sanctus Real The Face of Love

03

03

KENDALL PAYNE

Fighting Instinct S/T

02*

03

GROWN

Adora

Safeguard the Helpless

03

Flee the Seen

Doubt Becomes the New Addiction

04

Stavesacre

How To Live With A Curse

04

Lo-Ruhamah S/T

03*

The Classic Crime

04

[HAND OF HOPE] DAN FRAZIER

FLATFOOT 56 KNUCKLES UP This is high energy, in-your-face, Irishinfluenced punk at its fist-pumping best. Each track feels brash and unapologetic, and the use of bagpipes and even some mandolin adds a great deal of interest and flavor. The lyrics are pretty simple, but they fit the tone of this genre just fine. They could serve as a “sanctified substitute” for bands like Flogging Molly or Dropkick Murphys, but to write them off as such would be unfair. Still lots of room for improvement on their next outing, but Knuckles Up is a solid debut in a seldomexplored genre as of late. [FLICKER] TIM HALLILA

Back in 1999, Kendall Payne released Jordan’s Sister on Capital Records, which led to appearances with the all-female Lilith Fair tour. But this fiercely independent-minded singer/songwriter never experienced the commercial success her fine debut deserved. Now, a full five years later, she’s back with an equally excellent follow-up release. This work doesn’t rock quite as hard as that first disc did, but if you appreciate smart songwriting from a distinctly female perspective,

Albatross

4/1/2006 1:18:29 AM

ALBUM REVIEWS

SANCTUS REAL THE FACE OF LOVE

T BONE BURNETT 20/20: THE ESSENTIAL T BONE BURNETT As T Bone Burnett’s first solo album in 14 years releases, so does this 40-track/2-CD retrospective of the under-appreciated singer-songwriter.

Now famous for co-ordinating some waycool movie soundtracks and producing acts with better sales than his, maybe now more people are prepared for Burnett’s back catalog. Tracks with The Alpha Band and Elvis Costello (as The Coward Brothers) and his solo exploits reveal an observant moralist sensitive to humankind’s fallen-ness. And if Gram Parsons is alt country/ Americana’s granddad, Burnett is its squirrelly uncle who fits everything from rockabilly and bluegrass to French chansons and trip-hop fit under the roots rubric. Though it could have easily been a triple-disc’er, 20/20 testifies solidly to Burnett’s godly insight and sonic imagination.

[COLUMBIA] JAMIE LEE RAKE

VARIOUS ARTISTS I AM THE RESURRECTION: A TRIBUTE TO JOHN FAHEY As most every alt rock band owes some of sonic DNA to The Velvet Underground, guitarists with any experimental bent have John Fahey to thank for inspiration. I Am The Resurrection collects 13 acts paying homage to the late grandfather of freaky folk (and by extension, avant rock). Fahey’s may or may not be on the upside of the afterlife, but he often utilized Christian themes at least by his interest in all things Americana. Sufjan Stevens brings that interest to the full on the album’s only vocal track, and Peter Case chimes in with a longer re-interpretation closer to Fahey’s original.

Elsehwere, Sonic Youth’s Lee Renldo gets deviant-ly ambient, neo-bluesman M. Ward takes on Fahey’s taking on Scott Joplin, and Giant Sand leader Howie Gelb takes Fahey to the piano, among other highlights. Pluckers and strummers deficient of Fahey knowledge are encouraged to use Resurrection as a starting point to further exploration. [VANGUARD] JAMIE LEE RAKE

JOHNNY CASH PERSONAL FILE Tons of audio tapes marked “personal file” are uncovered in their raw “guitar-n-mic” glory – 49 tunes or musings on 2 discs, including some real fun, like the spoken word “The Cremation of Sam McGee,” the great hymn “Have Thine Own Way Lord” and “If Jesus Ever Loved A Woman.”

[COLUMBIA/LEGACY] DOUG VAN PELT

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The Face of Love by Sanctus Real begins promisingly with four great songs; then it just kind of peters out after that. It’s a little bit like a baseball pitcher that begins a game with four innings of un-hit-able stuff, but can’t seem to find the strike zone after that. Nevertheless, this CD’s title track is a powerful meditation upon living the Christ-like life. Similarly, “Eloquent” is just that, with lyrics that stand out for their sheer verbal eloquence. But beginning with the rather pedestrian “Don’t Give Up,” track five, the quality level of this disc drops off severely, and never again returns to the standard of this project’s first impression.

Listening to this CD makes you wish the group would have waited until it had at least ten first-rate songs before it entered the studio. The Face of Love is good in spots, but it certainly could have been much better. [SPARROW] DAN MACINTOSH

FIGHTING INSTINCT S/T At a pivotal point in one of those Rocky movies, Mickey Goldmil (played

by Burgess Meredith) advises Sylvester Stone’s Rocky: “What you need is a manager…a manager.”

As you may recall, Rocky had the heart of a champion, but the brains of a punching bag. With the right advisor, however, he was able to become a winner.

Similarly, the band Fighting Instinct has the skills to rock; it just needs a little more direction. Somebody ought to nudge these musicians – much like the ghosts in A Christmas Carol did – to the present and the future, because these songs come off like musical phantoms from eras past. This recording smacks of ‘80s generic hard rock. About as current as it gets is the Scott Stapp-like vocal of “Light My Way.” Listening to this CD is like having a bad case of deja-vu over and over again, when it really could have been a contender. [GOTEE] DAN MACINTOSH

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Tap Out,” conjuring up visions of Kim Deal or Exene Cervenka, and then screaming the bloody snot out of her throat a la Dacey of Still Breathing. Quite the talent. The early hype and buzz on FTS is very well deserved. [FACEDOWN] DOUG VAN PELT

STAVESACRE HOW TO LIVE WITH A CURSE After a decade of slugging it out and almost dropping out of the school of hard knocks, Stavesacre re-emerges on a new labelhome with a terrific album. Their perseverance and tenacity is our gain, as was recruiting the production services of Matt Hyde (No Doubt, Sum 41), who oversaw the band’s most consistent recording next to Speakeasy. Longtime fans might concur that live Stavesacre is a dish best served with anger; and their wordsmith named Salomon certainly dispenses plenty of well-turned thoughts with a spoonful of spite in tunes like “We Say” and “Future History of the Broken Hearted,” yet balances it with vulnerability and life-giving hope with “Grace.” This could be one of those “companion albums” that you might look back on someday as a soundtrack to a season of your life. [ABACUS] DOUG VAN PELT

LO-RUHAMAH S/T Shrill black vocals and a low, rumbling bottom end fill out a joyous metal sonic spectrum that’s truly enjoyable. That is, if you consider Antestor, Crimson Moonlight, and Virgin Black to be beautiful, classical, and majestic. These four songs combine for a short 21-minute taste of fine metal (deft instrumentation, power, and classy songwriting), making one wonder how fantastic a full-length from this Springfield, Missouri trio could be. [BOMBWORKS] DOUG VAN PELT

THE CLASSIC CRIME ALBATROSS

ADORA SAFEGUARD THE HELPLESS There’s a note all post-hardcore bands have to hit, and Adora nails it in the first track, “The Era of Destruction.” Screams, mild breakdowns and all the other expected ingredients are here. Tough guy metal with enough great melodies to charm a girl. Derivative as all get out, but intense and fun. [HARVEST EARTH] DOUG VAN PELT

FLEE THE SEEN DOUBT BECOMES THE NEW ADDICTION Wonderful chaotic guitars point and counter-pointing each other in a battle of intensity that is matched with the combo-vocals of Kim Anderson and RL Brooks. This band tips the scales of aggression and energy, making you want to spike the air with your fist; as well as urging you to sing along with solid songs to boot. Anderson is a veritable star.

Her voices teases a melody in a song like “Wire

This lil’ band from the great Northwest has crafted a nearly perfect album to introduce itself to the greater public. Great hooks, fantastic production by Casey Bates (Gatsby’s American Dream, Daphne Loves Derby) and song dynamics sweep from a loping melody to powerchord swings and then reversing on a dime.

Imagine the “new” Kevin Young fronting Stavesacre or Matchbook Romance, but don’t think you can pigeonhole this band’s sound. “Who Needs Air” and “Blisters and Coffee” show restraint and abandonment in just the right places, and then in “Coldest Heart” Matt MacDonald uses a little bit of bouncing soul that would go down well in Motown or on American Idol. Live they’re a bundle of energy and good at making friends with an audience, and it seems they were able to capture that spunk and fill a disc full of singles. That’s no small feat for a rookie outing. [TOOTH & NAIL] DOUG VAN PELT

4/1/2006 1:18:40 AM

Entertainment reviews DVDS, BOOKS & GEAR 02 ELIZABETHTOWN

PARAMOUNT

Cameron Crowe never ceases to deliver human drama in a realistic and up-close magnification that pokes fun at all the warts of normalcy that inversely makes you proud of your identity. That and a great rock soundtrack.

This one underscores the value of family from our generation’s eyes. DV

03 TOLERATE THIS 01 THE EXORCISM OF EMILY ROSE SONY PICTURES This lil’ movie stirred up quite a storm, as it should have. The question of the existence of demons and the spiritual realm is all the more relevant in our materialistic, post-modern society. Adapted from true circumstances in Germany (with a young woman named Anneliese Michel), the movie portrayed instead a US context (a rural community, a state college, and a city courtroom), which is seemingly easier to relate to for US audiences. Laura Linney’s portrayal of the defense attorney, Erin Bruner, was done quite well, showing her wrestling with the whole notion of this unseen realm (even though she was defending a priest who was accused of negligent homicide and “pushing old superstitions on a mentally sick girl” with his church-approved exorcism ritual). The ultimate question of “do you believe?” is woven into the very fabric of the movie and its plot, and the decide-on-your-own approach that the film makers took is commendable. As a courtroom drama, it works. As a spine-tingling suspense film, it works just as well. Combining the two was a surprising success. Doug Van Pelt

WARNER REPRISE VIDEO

Standup comic Brad Stine wears his conservative heart on his sleeve in this pontificate-a-little, laugh-a-lot 80-minute performance. In an age where political liberals bemoan a “conservative media bias” and point to Fox News, Stine cleary offers a non-PC alternate view. World class pro, yet half funny. DV

04 ROLLING THUNDER & THE GOSPEL YEARS

HWY 61

The period of Dylan’s triptych of overtly gospel albums gets a balanced overview. The between-song verbiage alongside comments by clergy, journalists and the complaints of fans coming out of shows that weren’t expecting to be preached at hold equally countervailing power. Jamie Lee Rake

05 THE VISITATION

FOX VIDEO

Due to the last Peretti adaptation, Hangman’s Curse, I had terribly low expectations for this movie. But it’s a much better story and comes across like a good USA Network TV movie. Unlike a priest in another movie, the pastor here (played by Randy Travis) has no problem exorcising a demon. DV

06 NIGHTY NIGHT

BBC/WB

Much BBC comedy and drama (like The Office) is snide, sarcastic, and teasingly dark. Such is this television series that pits a terminally ill husband with his wayward wife eager to replace him with the married man next door. The caricatures are outrageous and chuckle-inducing, but fail to really engage. DV

07 WALK THE LINE

FOX VIDEO

This’n slaps a big ole smile on the face ‘n’ goose bumps on the arms. What a joyous journey through the Man in Black’s life. The struggle of the sinner in love with God is really explored with honesty in both Johnny and June’s lives.

The Director’s Commentary is worthy and adds a ton of insight, also. DV

08 ANALYZING WHITE AMERICA

SHOUT!

Paul Mooney’s attempt at standup falls flat. Despite his impressive resume, this low budget uncensored DVD is short on laughs. Mooney, a writer for Richard Pryor, Eddie Murphy, and Dave Chapelle, takes on everything from 9/11 and Jerry Springer, to O.J. with excessive use of the N-word. Lee Haley

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

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4/1/2006 1:43:57 AM

EN T E R TA I N M EN T

Christ the Lord: Out of Egypt

Almost Home

Ann Rice – Knopf/Random House

Damien Echols – iUniverse

Ann Rice has amassed one of popular fiction’s most devoted fanbases with her vampire tales.

Will she turn lovers of Lestat on to Jesus with Christ The Lord: Out Of Egypt? Born of her recent return to the Roman Catholicism of her youth, it’s the first of at least three novels speculating on the Lord’s earthly life and narrated from His autobiographical voice. Rice first takes up Christ in His boyhood years as He comes to grips with His deity and straggles to the temple where Mary and Joseph couldn’t keep their eyes on Him. To her credit, the authoress researched the historical milieu thoroughly, per her norm, and it shows. Though her tone is plainspoken as a trusty translation of the Gospels, Protestant readers will likely have trouble with some of the story’s doctrinal assertions. That it’s Jesus’ earthly mom who tells the fruit of her womb that He’s God intimates the Vatican’s embrace of her as co-redemptrix with her Son. Rice obviously loves her Subject Matter, but readers may wish to proceed cautiously.

Jamie Lee Rake

69

The leader and supposed chief conspirator of “The West Memphis 3” tells his own story in print for the first time. It’s a fascinating and uncensored look into his life, showing insight into his journey from child to adult, including an early love for Catholic liturgy that somehow evolved into a “there’s no heaven/no hell/no God” worldview. A growing frustration builds as he tells the story of the tragic “satanic panic” travesty of a trial that he endured on his way to a death penalty conviction. An intelligent, likeable and funny guy, Echols is also a good storyteller. Here’s hoping he lives to tell more. An obvious companion to the Paradise Lost – The Child Murders at Robin Hood Hills documentary. DV

Wireless Headphones Logitech

The Bible Game PS2 / Crave Entertainment An entertaining mix of Bible trivia and second generation arcade/ action skill games, which uses lots of Christian rock as a soundtrack (Kutless, Tobymac). College age types will no doubt cringe at some of the lingo (“Wrath of God” is an event opposite “Do Unto Others” and “Blessing Game”), but it rises above the cheese as much as a Rated E game can. $19.99 [cravegames.com]

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Super simple to get charged and setup right out of the box (after charging batteries in headphone unit and transmitter). The sonic clarity is bright and clear. When you get out of its range, though, you get the most annoying skipping sound you’ve ever heard. The over-the-ear style headphones fit pretty comfortably, but do get uncomfortable after extended periods. They stay on really well – surviving a vigorous mountain biking experience. The piece that plugs into the top of the mp3 player (like an iTrip attachment) can adjust for a headphone jack in the center, or closer to the edge (With its size, I can’t imagine this fitting too well on a tiny nano).

The headphones feature a volume control on the right earpiece that’s extremely convenient. In its limited capacity (being within 30 feet of the mp3 player and transmitter) these Bluetooth technology (1.2) equipped headphones work great, providing ease of motion and wire-free headbanging. $129 [logitech.com].

4/1/2006 1:44:10 AM

70 C O LU M N S

WITH KEMPER CRABB Spoiling Egypt: Taking and Remaking Culture – Part the Second Last issue, we looked at some of the implications for Christian artists as the history of how Israel spoiled (or “plundered”) Egypt at God’s Command (Ex. 11:1 – 12:36) in light of Paul’s teaching that the Old Testament histories were “written for our instruction, on whom the ends of the ages have come” 1 Cor. 10:1-11).

We saw that God moved the Egyptians to give clothing, jewelry, and gold and silver items to the Israelites when God instructed His People to ask for them, greatly enriching Israel in preparation for the Exodus to the Promised Land. We also drew the conclusion from this story that, just as Israel plundered the pagan Egyptians of their jewelry and gold and silver artifacts (which articles no doubt reflected Egypt’s idolatrous perspective), Christian artists should appropriate the increasingly pagan cultural artifacts of our post-Christian culture (i.e., musical styles, fashion, graphic arts, movies, etc.), remolding those artifacts into vehicles for the fullest possible revelation of the knowledge and grace of God of which those artifacts are capable. Since all of those were created to do just that, this should develop those artifacts toward their greatest created potential, enriching not only the Church, but also the culture generally.

We turn now to a consideration of what the children of Israel subsequently did with the spoils they carried away with them from Egypt. After God delivered Israel from the pursuing Egyptian army by opening (and closing upon the Egyptians) the Red Sea (Ex. 14), He made bitter waters sweet for them (Ex. 15), miraculously provided daily meat and bread for them (Ex. 16), gave them water from a rock and victory over the Amalekites (Ex. 17), and gave them His Law and Commandments through Moses (Ex. 19 - 23), which Israel affirmed in covenant as a gathered people (Ex. 24), after which God called Moses up into Mount Sinai for 40 days to give him the Tablets of Stone and the rest of the Law (Ex. 24:9 – 31:18).

It was during this prolonged absence of Moses that the spoils of Egypt make their reappearance in the story (Ex. 32). After Moses had been gone for some time, the people demanded that Aaron make them a god to lead them (since, despite all the deliverances and miracles the Lord had done for them, they apparently thought the True God had deserted them).

Aaron responded that they should give him all the golden earrings which they and their wives, sons, and daughters were wearing (which were assuredly some of the Egyptian spoils, since all of them had been slaves prior to the Exodus, and slaves do not customarily wear expensive golden earrings).

Upon receiving the earrings, Aaron molded and formed the gold into a golden calf, announcing that the idol he had made was the god who had brought them out of captivity in Egypt. God, however, told Moses what was happening, and sent him down to recall the people to their faith, during the course of which 3,000 rebels died. Moses ground the idol to powder, poured the powder into water, and made the people drink it.

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What can we Christian artists learn from this biblical cautionary tale? Well, we see that the first use of the spoils was to beautify the people of God (a proper usage, in light of Ps. 90:17) as ornaments in their ears (the reader will note that there was no sin in having earrings, but only in removing them for sinful purposes…), just as a proper use of cultural art forms, disciplined to God’s Service, beautify the Church.

The second use of the Egyptian spoils, however, was much less salutary, as the Israelites took the spoils of the pagans and used them for wicked and idolatrous purposes, returning the liberated gifts given them as spoils by God, to idolatrous and pagan use as a false god (even blasphemously calling it the True God…).

In like fashion, many Christian artists, in appropriating pagan cultural art-forms, have, under the pressures and temptations of the lure of fame, the quest for respect and acceptance by the world-system, or the possibility of wealth and pleasure, simply capitulated to the pull of the culture from which their assumed cultural forms originally came. They thus allow themselves to be shaped by the world-system, rather than being light and salt to the culture (Matt. 5:13-19), and influencing the culture toward its potential fulfillment and destiny in Christ.

God’s People are intended to spoil the world-system, not to be themselves spoiled by that system.

In truth, the capitulation of the Israelites is not so difficult to understand, when one considers that, for 430 years, the Israelites were a part of the Egyptian culture, to some extent (remember that the Israelites were used to build things for the pagan Egyptians, and that some of them were artisans who had learned their crafts in that pagan culture, such as Bezalel and Aholiab, called of God to build the Tabernacle in Ex. 31:1-6, and Aaron, the maker of the golden calf, were). The culture they had lived in was also their own culture on some levels, and it is frequently difficult to properly critique and resist one’s own culture.

We in 21st-century America face a similar difficulty culturally, since, in many ways, the culture in which we live is only a secularized version of Evangelical culture (for more on this, see Michael Scott Horton’s Made in America). The difficulty American Evangelicals have in not being conformed to the culture around them is that it is so similar to the culture in the Church. For many modern Christians, the line between the Church’s culture and the general culture round about is hazy indeed, as Evangelical concepts of holiness continue to shrink. We have met the enemy, and, all too often, he is us.

What of subsequent uses of the Egyptian spoils by Israel? We will, Lord willing, turn to this question in the next issue.

[Kemper will be speaking at Cornerstone Festival in the Phantom Tollbooth tent on July 7-8... kempercrabb.net]

4/1/2006 12:03:12 AM

C O LU M N S 71

The way I see it Chris Wighaman

Devotions with Greg Tucker “Houston, we have a problem. It’s called porn.”

It was easier when kids were hooked on phonics, but today that same group has matured into young adults, and many of them are hooked on images of sexuality – some raw, some mild. But regardless of where one’s particular preference may be on the overall “sex-scale,” pornography is sin and it must be addressed, or it will eat your lunch.

I am addicted. There I said it. It’s out there, so look down on me if you need to. I am addicted to information … I read constantly and I read everything. Subscriptions to SI, ESPN, Wired, HM [of course], PASTE, Group, Youthworker, Martha Stewart Living [I’m an open book here, this one is my wife’s fault, though], and the local paper constantly appear at my house. Weekly trips to the library where I tend to check out about 5 books at once are not uncommon. Recently I’ve read Blink, Tipping Pont, Freakonomics, Untied States of America, and The Flash [I’ve got to have some light reading, right?]. I also like to dip into the Christian stuff. I just f inished Rob Bell’s Velvet Elvis [You must go read this book, it is one of the better books I have ever read. If you do read it I’d love to discuss it with you, just send an email to HMChris@gmail.com].

I have about ten thousand bits of information floating around in my head, but it’s just that, bits of info floating around. I’ve amassed all this info and the question becomes why? What do I do with it? How is it useful?

This must have been a problem with the early church. There was so much to learn, debate, and explore in those early days of The Faith.

People began to amass theories and ideas and discuss them because everything was so new, but some must have gotten hung up there because in his open letter to the twelve tribes James writes this: Dear friends, do you think you’ll get anywhere in this if you learn all the right words but never do anything? Does merely talking about faith indicate that a person really has it? For instance, you come upon an old friend dressed in rags and half-starved and say, “Good morning, friend!

Be clothed in Christ! Be filled with the Holy Spirit!” and walk off without providing so much as a coat or a cup of soup – where does that get you?

Isn’t it obvious that God-talk without God-acts is outrageous nonsense?

I can already hear one of you agreeing by saying, “Sounds good. You take care of the faith department, I’ll handle the works department.”

Not so fast. You can no more show me your works apart from your faith than I can show you my faith apart from my works. Faith and works, works and faith, fit together hand in glove. [James 2:14-18] The idea of a faith based solely in things you think and believe is about as useful as the loads of info floating around in my head with no place to go and nothing to do. James knew faith was central, but knew that if you really believed something it was reflected in the way you lived your life.

One of the deepest challenges in the Church today is for people to stop talking about their faith in Christ and instead start living it out.

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According to Family Safe Media, 60 million Americans admitted to purposely visiting Internet porn sites in the past 12 months. By any standard that’s an epidemic, but words like “epidemic” mean nothing to the addict who’s reading these words right now, his heart beating a little faster. Pornography becomes a worldwide problem when it grabs you, because the world it destroys is yours.

If you’re married, porn is the ultimate insult to your wife. You compare what you know about your bride with what you don’t know about the airbrushed beauty on the screen, and your life partner will lose that contest every time. To the single man, no woman will meet the standard of “perfect” that’s burned into your mind. No one ever could.

But there is hope. David struggled with pornography, you know.

That’s King David. David who wrote the Psalms, the same guy who remained “a man after God’s heart.” Pornography wasn’t born on the Internet – that just made it easier. Before the Web there were magazines; before Playboy there were strip clubs; and in Old Testament times men relied on simple voyeurism. In David’s case, he was watching a woman bathe who was not his wife, and that’s when the trouble began. (Read 2 Samuel 11) Fortunately, David allowed God to restore him to wholeness, and even spiritual greatness!

If you feel locked into porn use – maybe not addiction, even, but regular use – you’ll find great comfort in 1 Corinthians 10:13. That verse should be underlined, circled, and highlighted in your Bible.

Also, here are four clear steps for climbing out of the cellar of pornography.

• Admit you have a problem – admit it to yourself, as well as to a trusted same-gender friend • Pour out your heart – to God, not the friend. The idea is to be one with the One whose Holy Spirit can change you from the inside out. Confess your sin and commit to trusting his lead.

• Set up some accountability – have someone who can ask you a set list of questions every week about various purity and spiritual issues. And just for kicks, include “Are you lying to me?” at the end.

Thanks to other brothers in the faith, you don’t have to walk alone.

• Establish a system for success – The old adage says, “if you’re trying to diet, don’t hang out at the chocolate factory.” Know yourself, define your areas of weakness, and make plans that will help you stop at the very thought of temptation. You can check out xxxChurch.org for some tools.

Wonderfully, God wants to see you free from this and every sin, and he is faithful to apply his great strength to the situation when you make the simple decision to walk in purity.

4/1/2006 12:03:25 AM

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

PICK OF THE LITTER Jonathan Hape This singer/songwriter from Lexington, Ohio is quite prolific. Armed with a minimal amount of instrumentation, he crafts one gem after another on the 11-track Letters To India. With a slightly sultry voice and little more than a whisper, he tells stories that pull you in with their personal minutiae and particulars in regards to relationships in just the most charming ways. Like the music that accompanies it, the lyrics take a subtle and detailed route to carry the story. The title track, “Letters To India,” is a short story set to song of a girl that has to get married too soon and later takes a trip to remember what her life might have been if she had made different choices; but now she sits in her new home of India. This guy’s home needs to be on indie rockers’ maps, that’s for sure.

(Doug Van Pelt) myspace.com/jonathanhape

Torn From Red

Trouble With Ferguson

Not getting enough emo pop for your diet? Here’s another in a long line of melodic rock. Good instrumentation, a solid mix, and pleasant vocals make their 3-song EP beg for more. (DV) tornfromred.com

When a 21-year old college student labels something “not bad emo...” it’s not always a putdown. The deal with today’s market is that the revolutionary heart-on-sleeve genre is now everywhere.

Still, a good voice and solid playing are great to listen to. (DV) troublewithferguson.com

Northern When you’ve got a voice that can stand up on a display of piano, drums, strumming guitar, and a plodding pace, you should show it off, as Jeff Perez does with this brilliant outfit. Think of Keane, Travis, and The Myriad and you’ll be somewhere in the neighborhood of the high quality that’s evident all over this 5-song EP. (DV) listentonorthern.com

Apathetic

Goth Dressed in a black DVD case and the simple title, Goth, I opened with great anticipation. Inside was a dark hip-hop project that works on many levels. The anger projected by his rhymes mix well with the doomy heaviness of the loops and instrumentation. (DV) goth-music.com

AfterTheTragedy

Solid and hard modern rock. Mix the accented voice of Gavin Rossdale or Chad Kroeger with the plodding rock of Kroeger’s Nickelback or Stand. Apathetic is a good companion to Kutless. (DV) band@apathetiq.com

Churning, driving guitars, counter scream vocals and a frenetic drum beat keeps this melodic rock band going strong. Comparisons to Anberlin’s feel-good sound are sure to come, as the anthems stake out familiar territory. These boys bring the rock. (DV) afterthetragedy.com

Hulsey

Children 18:3

Good packaging can’t save a collection of bad music, but sometimes you can judge a CD by its cover. Something about the care and quality with how it was put together lets you know that the tunes inside are great. So it is with the beautiful melodic rock of Justin Hulsey. Sweeping atmospheric instruments accent his Jeff Buckley quality voice and well-written lyrics. There might be a slanderous and profane remark about the devil in track “Comedy for Prophets.”

Hmmmm. (DV) myspace.com/hulseymusic

These mile-a-minute punks are staying busy, churning out new songs at a pretty good pace. The old school mixture of guy/gal vocals are a great ingredient that pull the listener into these 8 songs. (DV) children183.com

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My Children My Bride Rolling drums and building chaos mark this great band’s powerful music. The twin guitars of Kyle Ray and Corey Brandon dance atop the thunderous drums of Brian Hood with plenty of speed and steely distortion. This is intense metallic hardcore and I love it! (DV) mychildrenmybride.com

4/1/2006 12:51:45 AM

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