Author: Loyd Harp

This band released one devastatingly heavy album in 1999 for indie upstart Takehold Records, and then like so many other metalcore bands, disappeared after only one album and one split (with fellow-Floridians Set Apart) never to be heard from again. A few members turned up elsewhere–some in the mysterious metal band Yeti, while drummer Nathan Warshowsky served as a studio drum tech for artists as diverse as Forever Changed, Underoath, Day of Fire, and even Paramore. Deathmask Grin came out just as metalcore as a genre was really taking off, and it was a significant contribution to the genre musically, despite it being heard by so few people.… Continued →

I was listening to my old Live at the Strand CD recently. It’s a compilation of artists who played at the legendary Strand Theater in downtown Marietta, GA, just outside of Atlanta. It had been years since I heard the CD and only remembered a few of the tracks on there, and then this absolute banger came on! I looked through all of their albums to see which one it came from, so I could find the studio version to feature here, but I couldn’t find it.… Continued →

Alternative folk-pop trio Lies Damned Lies formed in Glasgow in the late 1980s. Alternately flirting with Scottish modern rock sounds (a la fellow Scots Simple Minds) or with literate folk stylings, the band had a lengthy career through the 1990s and into the 2000s, though they were fairly unknown this side of the pond. They were regulars at the UK’s Greenbelt Festival, and while their lyrics pointed to their Christian faith, several of their releases were on mainstream pop-rock record labels. “The Divine Image” comes to us from their 1993 full-length The Human Dress.… Continued →

Dallas rapper Sivion has a new record coming out in September, this time a collaboration with Malex. The LP version comes on a beautiful translucent red vinyl, and digital versions will be available too. Pre-orders for both are live now, as well as 3 songs ready for listening. https://illect.bandcamp.com/album/str8-shot… Continued →

This old-school punk rock band The Combat Junkies, hailed from North Carolina, and featured a classic hardcore punk sound mixed with hints of oi/streetpunk and new school punk. To be honest, I’m not sure why this band didn’t make it bigger than they did. Their raw yet appropriately produced sound would have appealed to fans of 7-10 Split, Squad Five-0, One-21 and the like, and yet they seemed to fly underneath the radar of most fans. The Combat Junkies released two full-length albums. The War Within came out in 2002 on Clumsy Records, and Fight or Die .… Continued →

NoiseArt Collective is essentially David Schmidt, an Australia-based experimental artist who creates “industrial-tinged synth rock with goth undertones.” From that base, he branches out, dabbling in various forms of experimental, electronic based rock music from extreme metal (synth-based) to noisy hip-hop to weirdo/freakout pop music. The project is incredibly prolific, releasing multiple albums per year. In fact, since the project’s genesis in 2017, they’ve released over 30 recordings, including one recording of Schmidt reading his own poetry. When a band has this much material, it’s hard to choose an appropriate introduction point for the new listener.… Continued →

California band Minor Rockstar just released a five song Wasted EP today through Thumper Punk Records. The band feature a style of rock-n-roll that blends 90s alternative with a touch of punk rock. Their debut single “Wasted” can be streamed at: https://youtu.be/IToO7F8X5gk The full release can also be streamed or downloaded via the Thumper Punk bandcamp page: https://thumperpunkrecords.bandcamp.com/album/wasted… Continued →

Everyone has their gateway. That first band or artist that got them into a particular style of music. I got into Christian rock in 1988, first hearing and enjoying artists like Petra and Russ Taff, and then quickly moving on to Jerusalem and Whitecross. But this band right here–Sacred Warrior–was my gateway to true Heavy Metal with a capital HM. They had no pop songs, no sleazy hooks or glammed-out looks, but their debut album Rebellion was full of heavy riffs, melodic (but not glam) vocals, and super-heavy and dark chord progressions.… Continued →

Warning: this is a perfect pop song. If you haven’t ever heard one, brace yourself. The simplicity of pop, yet the nuance of alternative music. Lyrics that long for something deeper, more meaningful in life, reflected in the writer’s interaction with art . . . Words that form a sentence Words that form a phrase In a poem, or a letter Could not convey the meaning Of what this man has done In a painting, on a canvas Bear in mind these guys wrote most of their debut album when they were still in high school.… Continued →

While I was first introduced to Sally Grayson formally in 2020, during the covid-quarantine era, it turns out that I had already heard versions of her music many years prior. She’d fronted Black Swift (based in Germany where Grayson transplanted) for a number of years, but long before that she was in Michigan-based (her native homeland) Standbye, an emo/indie rock band by whom I owned a CD. All that to say that while Sally’s name may not be familiar to the masses, she’s been making credible musical art for well over two decades now.… Continued →

Destroy Nate Allen is a fun, energetic band that mixes the simplicity and energy of punk rock with the acoustic sounds of folk, making for an interesting take on folk-punk. Quirky but sincere lyrics and vocal styles combine with straight-forward messages–usually on subjects other artists don’t want to touch–make for both a challenging and entertaining listen. Take “Boobie Bar” for instance. On the one hand it’s a crude song whose title I had to censor, just so it doesn’t get picked up by filters. On the other hand, the intent behind the song is just about as pure as it gets: Don’t go down to the boobie bar If you want a real relationship, you won’t get far Don’t go to that boogie bar The song comes from their 2012 album, With Our Powers Combined.… Continued →

Famed Jamaican reggae artist Lieutenant Stitchie already had a lengthy career as a dancehall reggae artist beginning in the late 1970s. His first album hit in 1987, and he released 7 full-length albums and nearly 50 singles (yes, 50!) all before becoming a Christian. As the story goes, he was on his way to perform in Montego Bay, but was injured in a car crash. Against the advice of doctors, he proceeded to perform anyway. After the show he was given a Gideon’s Bible and as a result of reading the Bible in his hotel room, he gave his life to the Lord.… Continued →

One of the few rockabilly bands in the Christian rock scene, This Train was even more rare in that they focused on more traditional rockabilly sounds, as opposed to its faster, punked-up cousin psychobilly, which was better represented in our scene (The Calicoes, Ruby Joe, Prophecy, Blaster the Rocketman). I’ve always found it curious how certain subgenres really catch on in faith circles (metalcore, metallic industrial, emo), while others go largely untouched (EBM, post-rock, folk-punk, etc.) Maybe someone could analyze that and write a PhD dissertation on it!… Continued →

Chicago posi-core band 2Minute Minor have released a new single. The old school hardcore song features lyrics about “mental health and struggling with the strength to push on.” Fans can download the track via Bandcamp here: https://2minuteminor.bandcamp.com/track/held-down-no-longer?from=fanpub_fnb_trk… Continued →

Ambient Theology was an (wait for it . . . ) ambient side-project from the people behind Virus and The Bubblebaby Experience. It wasn’t ambient in the Brian Eno elevator music sense–having a much more rhythmic feel to it–but it was ambient electronica nonetheless, perhaps more akin to the “ambient techno” genre. This project only released one self-titled album in 1995, although there were at least 5 other full-length albums released via the various other projects. Ambient Theology was an interesting concept. Since electronica is more often than not dominated by instrumental music (sans vocals), the ‘theology’ portion came in the form of well-written, deeply thought out devotionals.… Continued →

This thrash metal band hailed from Brazil in the region of Belford Roxo, just outside of Rio de Janeiro. They were active in the mid-90s, playing a form of thrash that was occasionally influenced by related styles like death metal, groove metal, and metalcore. They broke up in the late 90s and then re-formed in 2001, and have been active on and off. This video was posted in 2017, but I’m not aware of an accompanying album to go with it. Nonetheless, the band has had at least one full-length and one EP, both on the Brazilian indie label Força Eterna Records.… Continued →

This was one of those ‘one and done’ bands, meaning they only released one album as Lovelorn. However, they were connected directly and indirectly to a number of other projects. Vocalist Jayson Holmes had been in metalcore band Eso-Charis, and later formed The Handshake Murders (who mostly recorded on secular labels). Corey Putman (Eso-Charis, Norma Jean) and Arthur Green (Eso-Charis, Living Sacrifice) also made appearances on the album. The album is a wonderfully strange concoction of emo-core, hardcore, indie rock and math rock–almost like Roadside Monument meets Coalesce, but with bits of Karate thrown in just because.… Continued →

Titanic’s founder Bill Menchen has been active in the Christian metal scene since the 1980s, first with his band Redeemer, and later with a number of other metal-themed bands including Seventh Power, Menchen, Rev Seven, and perhaps his most well-known, Titanic. Although they formed in the 1990s, they still played traditional heavy metal without any hint of alternative, grunge, or punk, which were so prevalent in that decade. The only 90s influence in Titanic’s music was the updated sonics and production techniques, which added a lot more crunch to the guitar tones than what 80s metal was known for.… Continued →

It’s been a while since I’ve featured any industrial music, so this seems like a good time to remedy that. globalWAVEsystem has been around since the early 90s, playing a harsh form of electronic industrial or EBM. At times the music is danceable, but it had a much harsher, darker edge than Deitiphobia or November Commandment. Yet the songs were more structured than Mental Destruction or Blackhouse and there were never any guitars present. In fact, their niche take on the genre is probably what kept them from getting broader exposure and more fans than their counterparts in Mortal, Circle of Dust, and the aforementioned artists.… Continued →

Early 2000s emo, you gotta love it! One of the best, and painfully one of the most obscure in the genre was twothirtyeight (or sometimes 238). The band hailed from Pensacola, FL in the state’s panhandle. Florida seemed to be a haven for emo and hardcore during that era, and many of those bands ended up on Birmingham, AL’s Takehold Records, and then eventually on Tooth & Nail when they bought Takehold’s roster and much of its back-catalogue. Twothirtyeight played a style of emo that minimized the hardcore influence and instead delved into a deeply emotional form of indie rock, like secular counterparts in Braid, Cursive, or Christie Front Drive.… Continued →

Since the genre first emerged in the early 1980s, hardcore (originally hardcore punk) has splintered into dozens of sub-sub-subgenres including melodic hardcore, beatdown, old school hardcore, new school/chugga chugga, d-beat, crust punk/crustcore, metalcore, emocore, and so forth. By and large my favorite artists have generally been those who kept closest to the genre’s origins, even if they took those beginnings in new directions. The old slogan (which I’ve often quoted here on this site) “loud, fast rules!” is apropos here. In the late 90s/early 00s a revival of the style emerged, sometimes referred to as “tough guy hardcore.”… Continued →

Gosh, this song . . . this band . . . has a way of evoking memories of a certain period of my life. Lo-fi indie rock with only 2 members. One on guitar and vocals, and the other on drums. They released a very short–only 3 songs–but brilliant self-titled EP on Tooth & Nail in 1997. T&N had a fantastic run of EPs around that time (Pedro the Lion, Warlord, Inner Means, Training for Utopia, etc.) and this was certainly one of them. The songs were lo-fi, but not noisy.… Continued →

Not for the Crowd was one of the few Christian ska bands who didn’t go the third wave/ska-core/ska-punk fusion route, instead focusing on more traditional and/or two-tone style ska sounds. In this they shared some similarities with The Israelites, except NFTC featured faster tempos. Sadly, I don’t know anything about this band–where they were from, who the members were, or anything of the sort. I first heard of them through a few ska compilations in the late 90s, and IVM’s own “Ska Lives” series. I only recently discovered that the band had released an 8-song album in 1997 called Morningstar Radio Hour for indie label Morningstar Records.… Continued →

The most legendary holy hip-hop cipher of them all? Perhaps. Tunnel Rats’ debut Experience (1996) was truly mind-blowing. It’s one of those rare albums where the line between art and artist was completely blurred, if it even existed in the first place. The lyrics (as well as the passion behind them) reflected absolute love of hip-hop music and culture, and absolute love of God and his Gospel. Very few artists, very few albums or artistic endeavors reach that climax of full integration where neither the message nor the artistic medium was compromised in any way whatsoever.… Continued →

The first time I heard this band, I was completely blown away. The year was 1988. I was about 14 years old, and I had just started getting into Christian metal via bands like Jerusalem, Whitecross, and Barren Cross. Sacred Warrior was probably the heaviest I’d heard at the time. Then one night I was listening to KOKF 91FM out of Oklahoma City, a Christian radio station that had a late night metal show. I heard the most intense, loud, gnarly thing I’d ever heard in my life.… Continued →

Grave Declaration is (was?) a symphonic/atmospheric black metal project from Norway. While that’s not so unusual, what set the band apart was its distinct emphasis on worship. Self-touted as “worship metal” the band’s lyrical emphasis was on a praiseworthy connection to the Creator. Their sound is firmly within the atmospheric branch of black metal, as opposed to the more raw, primitive sounds often associated with the genre. With ties to stalwarts Antestor, and underground legends Vaakevandring, Grave Declaration had the pedigree and the chops to prove their worthiness.… Continued →

Elim Hall was ahead of their time in so many ways. It’s a real shame that they are just a blip on the radar screen of indie rock nowadays, as their preeminence is hard to over state. One of the earliest alternative rock bands to be signed to a major label in the CCM market, their only label release was snappy, melodic, memorable, and well-produced (somewhat surprisingly by Gary Chapman, along with veteran Jesus rocker Tim Marsh). This Canadian band wrote incredibly catchy, somewhat complex (for pop music) songs that were primarily in the power pop realm, but infused with touches of new wave and at times a punk-like urgency.… Continued →

I first heard of this LA punk band when I was running distro in the early 2000s. They had an EP out on The Legion (short-lived label that only released 3 titles), which I began stocking, and then they put out another release on the upcoming Clumsy Records (also home to Combat Junkies, The Stivs and a few others). I had the chance to catch them live at Cornerstone 2002, which was a fantastic show! In fact, that year was a great year for punk at the festival, as I also saw Huntingtons, The Remnants, One Bad Pig, World Against World, and Headnoise that year among others.… Continued →

We’re digging deep into the archives for this one. Azitis was a psychedelic rock band from Sacramento, originally formed as “Help” in 1966, but they had to change the name for legal reasons because of a British band by the same name. The band’s name was taken from the Lord’s Prayer: “Thy will be done on earth ‘azitis’ in heaven.” Having come up through the late 60s garage rock scene, by the time they recorded their debut, there was a plethora of original material to choose from.… Continued →

Greg Minier, the famed guitarist of The Crucified (and later of grunge/alternative/metal project Applehead) released a solo EP of straightforward thrash metal (the yin to The Crucified’s crossover yang), under his last name. The mini-album contained 7 songs and featured Greg playing all the instruments as well as handling the vocal duties. I remember talking with several metalheads at the time and we all agreed it was unfair for the Lord to bless some individuals with so much talent, while others of us got so little!… Continued →