Author: Loyd Harp

I’ve been listening to Ronnie Martin’s music since the late 80s, when he and brother Jason (of Starflyer 59 and many others) were known as the duo Dance House Children. That group reveled in synth-pop, but with a super quirky edge. There was nothing in the Christian nor secular markets quite like it. After two underrated albums, the pair split. Jason started the legendary indie rock monster Starflyer 59, while Ronnie carried on with synthesizer-created music in the form of Joy Electric. Picking up where Dance House Children left off, Joy Electric took the quirkiness to extreme new levels.… Continued →

I haven’t yet featured any post-rock on the Song of the Day series, so it’s time to remedy that. Circle of Birds was a one-off collaboration between members of Ester Drang, Unwed Sailor and Lasso. The vast ensemble (encompassing nine members!) allowed for a true spirit of improvisation. The resulting 3-song EP is entirely instrumental, but it’s a very satisfying listen. Characteristic for the genre, 2 of the 3 songs clock in at over 7 minutes long. Check out the title track here.… Continued →

For a brief moment in the early 1990s, it looked like electronica (or techno, or rave as it was being called at the time) was going to take over popular music. It had a huge following in Christian alternative music for a good two years. Although the synthesizer-driven genre had little to do with the guitar-dominated alt-rock, grunge, and hardcore punk of the era, what it did have in common with those genres was simply being an oddball style of music with which to glorify God.… Continued →

Metalheads are divided over whether the subgenre dubbed “speed metal” actually exists or not. Often confused with shred metal and/or Neo-classical (yes, those guys play fast, but that’s not the same thing), it’s almost synonymous with thrash except there are often clean vocals and/or slightly cleaner guitars. In the Christian scene, the most obvious examples are the seminal and fantastic Valor, Tourniquet’s early work (also adding a progressive element) and the mighty Deliverance. While Deliverance has flirted with a lot of different styles (speed/thrash, gothic metal, alternative metal, groove, etc.),… Continued →

This veteran, Canadian singer-songwriter has been active since at least the early 70s (probably earlier), since his debut eponymous album came out in 1970. I first became acquainted with his music in the 1990s, reading an album review in CCM Magazine, but also hearing equally about his accolades from the secular press. I took a chance on buying a live album, when I found a copy of his 1990 live album (he’s done at least 5 live albums), Bruce Cockburn Live on cassette. I’d heard he was a folk artist, and a songwriter, so I was prepared for the mostly acoustic sounds on the tape.… Continued →

Hailing from the fertile heavy music scene of the greater DFW region, and specifically Ft. Worth, Travail mixed heavy rap-core and nu metal riffs with dark tones and lyrics about the Christian struggle. Heavier than most in the genre, the band was sometimes referred to as “gothic rap-core” due to the darker tones and minor keys. Yet the lyrics pointed to higher things: I’ve failed you I’ve lied to you Yet you forgive and let me live Oh God help my weakness Oh give me your strength Father help me I’ll go to any length On my face, on my chest, on my knees God help me please My spirit is willing but my flesh is weak The band released a split EP with Luti-Kriss (who, of course, eventually became Norma Jean), and two full-length albums: Anchor of My Soul for the secular Pluto Records and Beautiful Loneliness for Metrovox, a sub-label Metro One.… Continued →

Hailing from Portland, OR, Cicero began in the mid-00s and called it quits a few years later, only to reform last year. Greg Dimick (Crux, Empty Tomb, Govt Hate Mail) got me a copy of their new album so I could review it, and I’m grateful for the opportunity. You Can’t Outrun Your Mouth is being advertised as 90s emo, but in some ways that’s a disservice to the band. While there are certainly hints at Midwestern emo, particularly the more subdued Christie Front Drive-take on the genre (listen to “Monsters in Masks” and tell me you don’t hear it), YCOYM is more nuanced than that.… Continued →

The Awakening was a progressive pop-rock/AOR band from Canada, active in the 1980s–not to be confused with the goth/industrial band from South Africa. This Awakening was poppy enough to be CCM-adjacent (in fact, this is probably the poppiest SOTD I’ve ever featured), but yet had a slight progressive/alternative edge that set them apart from other bands. The band released three albums, culminating in their excellent Into Thy Hands (Reunion Records, 1988). It featured 12 tracks of progressive pop goodness, not too dissimilar to 80s-era Yes. Lyrics were filled with encouraging but never preachy biblical references.… Continued →

Emerging from the original wave of Spirit Filled Hardcore (or SFHC) came southern California’s No Innocent Victim, AKA N.I.V. In contrast to their SFHC peers like Unashamed, Strongarm, and Overcome, who often integrated metallic influences that were becoming more popular in hardcore, NIV stuck to their old school roots with a “Loud Fast Rules” mentality. In fact, their old school approach to fast and heavy hardcore played a part in sparking a revival of the style, which eventually evolved into “tough guy hardcore,” essentially an update of that old school sound with added breakdowns and heaviness.… Continued →

One of my all-time favorite record labels of the indie Christian scene was Blonde Vinyl. Run by Michael Knott (LSU/Lifesavers, and about a dozen others), it was one of the first truly indie, truly alternative record labels focusing on Christian artists. Knott never got rich off of the sales. (A few years later, Brandon Ebel would show us how to make a Christian indie label financially profitable.) Furthermore, not all of the releases on Blonde Vinyl were even that great–I won’t name any names–but all of them were charming in some way.… Continued →

For some of you, this SOTD will stretch the limits of what “Indie Vision Music” should cover. Glam metal was at the height of the commercialization of rock and roll in the late 80s, thus rendering Stryper’s inclusion here as suspect. But here are a few reasons why they absolutely deserve to be here: 1. They were, and possibly are still, the most important and/or influential Christian rock/metal band of all time. Yes, it’s true. With number one singles, album sales that rivaled their secular peers, and heavy rotation on MTV (when it still stood for “Music Television”), their impact is still felt far and wide.… Continued →

No, The Supertones weren’t the first Christian ska band. The Israelites’ first album pre-dated them by a year. But in the UK, Rev Counta and the Speedoze* (another incarnation of Ishmael United) had released a full-length as early as 1980! And perhaps some Jamaican bands that didn’t fit into the CCM/CBA mold had been active earlier than that, it’s hard to say. However, the Supertones were the first Christian ska band to release an album on a nationally-distributed label, releasing The Adventures of the O.C. Supertones just a few months before Five Iron Frenzy dropped Upbeats and Beatdowns.… Continued →

This obscure little band, while relatively unknown, has ties to some more connected acts. They only released one 4-song 12″ EP before breaking up and/or morphing into other acts. The most well-known member was Robert Vaughn, previously of RV and the Hubcaps, and who went on to play with Gloryhouse, Southside Blades of Eden (Broken Records), and most notably Robert Vaughn and the Shadows. RV and the Shadows was essentially the New Presidents line-up with a different name and slightly more mainstream style. Where The New Presidents dabbled in new wave and post-punk, The Shadows went full into power pop.… Continued →

Encryptor was one of the many projects of the multi-talented Felipe (AKA Phil) Diez, and was one of the first Christian death metal projects from the nation of Panama. Phil later relocated to Rhode Island and carried on his career there with several projects: Sorrowstorm (black metal), Entorn (doom metal), Northern Ash (death metal), and Rehumanize (grindcore). So far, Encryptor is my favorite of the lot, though I confess I haven’t heard all of his projects. The band recorded 2 albums: Drowning in Flesh (on Nascent Frost Productions), and Sermon Decay (on Dysmorphic Records), both of which were available only very sparsely, independent of any substantial distribution.… Continued →

I first heard Sixpence None the Richer while listening to a cassette demo in the Christian bookstore in 1993. They had me from the opening acoustic guitar riffs on “Field of Flowers,” the opening track from The Fatherless and the Widow. That album was fantastic, but even so, it was only a foretaste of what was to come. While the band are largely known for their romantic pop radio hit, “Kiss Me,” from their self-titled third album, many fans and critics alike are drawn to their sophomore album, This Beautiful Mess.… Continued →

What does a Christ-oriented gothic band do during a global pandemic? I had a lengthy conversation with Skot Shaw to find out. We talked about tours in Mexico, how he came to be part of Jesus People USA, and the goodness of God. IVM: Why don’t you start by giving IVM readers an introduction to the band. How did you get into doing goth music or death rock? Why does Leper exist as a band? Skot: Can open. Worms everywhere! I’ll tell ya . . .… Continued →

Y’all better to get ready to put your boxing gloves on. You ready for this? Pokinatcha is the best MxPx (Magnified Plaid) album. Why? It was melodic, but still very much punk–bordering even on old school hardcore at times. It’s by far their most unique record, before they settled into the more polished pop-punk sound that everyone remembers. To be clear, I have no problem with the direction they later took (except for maybe moving further away from Christian spirituality and theology as the years went by, but that’s another post altogether).… Continued →

This hardcore band hailed from Colorado Springs. They infused their heavy chugga chugga rhythms with melodic parts without ever getting whiny. This led some fans and writers to dub them post-hardcore, which isn’t fully accurate, but I can see why they said that. What strikes me about this song is the passion behind both the music and the clear-cutting lyrics: Where is the hope? Where is the love? Without these your system will self-destruct While it might seem that the song was aimed at society in general, it is actually pointed at the failures of the Church to stay true to the pure message of the Gospel.… Continued →

The 1990s saw a huge revival of ska music–that funky fusion of reggae and punk, or so it seemed at the time. The real history of ska was much deeper than that. Unbeknownst to the general populace, ska actually pre-dates reggae, going back to at least the 1960s. It fused traditional calypso beats with horns and sounds gleaned from New Orleans jazz. Reggae emerged in the 70s, as tempos slowed down and the overall feel became more relaxed. In the 1980s, amidst emigration from the Caribbean to England, ska mixed with punk and/or new wave to create the “Two-tone” scene, a sign of racial integration amongst working class punks and skinheads represented with the ever-present black and white checkerboard imagery.… Continued →

One of the most beloved and respected bands in the traditional heavy metal scene, Apostle was a slight anomaly in that they never released an album on a record label. Formed in 1983 in Jacksonville, FL, the band released a total of 5 independent full-length albums (not to mention EPs and compilations) all while remaining an unsigned band. Apostle opened for Christian metal stalwarts Whitecross on a national tour, and also had a song featured on East Coast Metal for Regency Records, in 1988, where I first heard the band.… Continued →

There is an absolute plethora of underground black metal bands in the Christian scene. While this is a fact to be celebrated, at times it is difficult to judge the quality of releases, when there are so many. Antivenom actually managed to escape my attention until recently. This band, like many in the scene, is fairly mysterious. I don’t know where they are from, although one member (whose name will be recognized by Christian bm aficionados) is Armath Sargon (Armath Sargon, Elgibbor, Katumus, Light to Dead, others), who is from Finland.… Continued →

Legendary, underground, Midwest technical hardcore/metalcore band Subsist announce a vinyl pressing of their acclaimed (and originally self-released on CD only) album The Rhythm Method. The Midwest band released 2 CDs in the late 90s/early 00s before calling it quits. Those in the know have always been aware of their greatness, despite their underground status. This first-ever vinyl pressing is a co-release through Steadfast Records and Dropping Bombs. See the Big Cartel link below for ordering info. Pre-orders are live as of today.… Continued →

The 90s comprised an amazing decade for alternative Christian music. We had metal, punk rock, emo, industrial, and out of left field we also had an amazing run of alternative-tinged folk rock. I was primarily a metalhead/hard alternative guy when I got hit by this amazing run of folk acts like Lost Dogs, Nicolas Giaconia, Acoustic Shack, and the UK’s own Eden Burning. While Eden Burning had been going in their native England for several years prior, their first US release was Vinegar and Brown Paper, for Storyville Records, a folk imprint of R.E.X.… Continued →

If anyone asked me to name my favorite Christian hip-hop project of all time, it is without a doubt Brainwash Projects, and their sole album The Rise and Fall of . . . . Perhaps the album title was a hint at how long the project would last, and we all just missed it at the time. Rise and Fall had everything: lyrical witticisms, dope beats, funky rhymes, and humor by the bucketloads. While the whole album is worth listening to straight through without skipping any tracks, one of the strongest singles is “Want for Nada,” a testimony to God’s faithfulness.… Continued →

Synth-pop is sort of the illegitimate child of alternative rock and disco. Although it’s not obvious, its roots like in experimental forms of music like krautrock and post-punk. As new wave splintered further and further away from punk, and added more and more synthesizers, synth-pop was being birthed. In the mainstream, acts as diverse as Kraftwerk, New Order, and Pet Shop Boys were solidifying the sound. I loved 90s synth-pop, or simply “techno” as we called it then. It was fun and danceable, dark and poppy, all at the same time.… Continued →

Brace yourself. The Souls Unrest has one of the more complicated histories in all of Christian metal. The roots of the band lie in old school punk band Spudgun, who released one album on Bulletproof Records (a division of Gray Dot). That band got heavier and darker, changing styles so much that a new name was warranted–World Against World. That version of the band also released one album (an amazing album at that) for Bulletproof, before morphing again. A short-lived project called The Orcrist followed, but released no official recordings.… Continued →

This band was the epitome of one of those all-too-common scenarios in 90s Christian music: the frustratingly great one-album wonder. Driver Eight released Watermelon via Tooth and Nail Records in 1996, to high acclaim from fans and critics alike, and then disappeared into the . . . well, that’s just it–we don’t know what happened! The album featured a highly-effective mix of alternative rock styles including Britpop (even though the band was American), quasi-shoegaze, and jangle pop. It seemed that they were channeling equally such disparate influences as Smashing Pumpkins, Catherine Wheel, R.E.M.,… Continued →

Danish experimental grindcore band Corpse Under Construction only recorded 14 tracks in their short existence–and at grindcore tempos and song-lengths, that’s just over 10 minutes of recorded material. They were released on the split CD 4-Way Noise Explosion, which also included Eternal Mystery, Rehumanize, and Long Suffering (2008 on Sewersound Records). What made the band particularly interesting–to me, anyway–was that the band consisted of just 2 members, brothers Martin Svinth on vocals and David Svinth (also of post-hardcore band Magtesløs) on vocals and programming. That’s right, just 2 guys and a drum machine–no ‘real’ instruments.… Continued →

We’re digging deep into the archives for this one. For those not familiar with electro-funk, it was an underground genre in the 1980s that bridged electronic dance music and hip-hop. In fact, in many ways it was a predecessor to the proliferation of rap music. The genre was known by a variety of names: electro-funk, techno-funk, and simply electro (not the goth/industrial version from a few decades later). In the mainstream scene, some of the most well-known names were Newcleus, Shannon, Egyptian Lover, Afrika Bambaataa, and some of Midnight Star’s mid-80s material.… Continued →

If you’ve been around the Christian punk/metal/hardcore/indie scene for any amount of time, you will likely have heard the name Burrito. Not his real name, of course–the man David Villalpando was a legend in the underground scene. Sadly, the man that many called a friend passed away this week from covid-related illness. For those who didn’t know him, it is difficult to overstate his impact on the scene. From a musical standpoint, while none of his projects ever achieved mainstream success or financial prosperity, they were always on the bleeding edge of innovation.… Continued →