Author: Loyd Harp

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 →

Hailing from the tri-state area of West Virginia/Pennsylvania/Ohio,this metalcore band only released one cassette demo and one split CD with emocore band Pensive. What is interesting about that split–that is, besides being a spectacular release from two very good and rather unique bands–is that both bands featured members that would soon after go on to join the more well-known Zao. Pensive featured Brett Detar and Martin Lunn, as well as other members who joined Detar’s later band The Juliana Theory. Seasons in the Field featured Russ Cogdell on guitar, and future Zao screamer Dan Weyandt.… Continued →

This folk-punk band was formed as a sort of atypical worship band. Their purpose was to create “authentic church music devoid of hype.” Hailing from Pittsburgh, the band features members of Last Hope and Timbre, its roots firmly embedded in the punk scene. Their one and only album was self-released in 2010, but saw a digital re-release in 2019 via Zap Records (home of 2 Minute Minor, Voice of the Mysterons, October Bird of Death, and others). I reviewed the album in 2019, here, and really enjoyed it.… Continued →

Dr. Onionskin has a long and somewhat interesting history. Born Shane Ries, he had a brief career in the 80s in mod and power pop bands (a fact I only recently discovered), but first came into CCM prominence with the oddly effective project Hymn Jim’s Gospel Gems (1995), which fused traditional hymns with dance music. He re-branded a year later as Dr. Onionskin and changed styles to acid jazz, releasing the quirky, instrumental and semi-brilliant Split Pea Soup. Then in 1996 he changed styles again, though still building on jazz-electronica fusions, and emerged with Bully and oh my gosh, what a record!… Continued →

Hip-hop stalwarts Illect Recordings, brainchild of Josh Niemyjski (Sphere of Hip Hop, Illect, Uprok), have released a brand new playlist on YouTube of all instrumental, jazzy, turtablist hip-hop. Great for studying, background sounds, or even to practice your own rhyming skills over the top of the beats. Check it out below.… Continued →

90s alternative. People either love it or hate it. Despite the excesses of the genre, or the just plain slackness of it, I still love it. 3 Car Pile-Up was never going to win any awards for their musical contributions–unless it was maybe the high school talent show. Their one and only album is raw, somewhat sloppy, and even kind of juvenile in its approach to both music and lyrics. However, that is exactly what I love about it. If you can’t relate to the lyrics of “Dweeb” then I’m not sure you actually lived through American Christianity in the 80s/90s: When I was in grade school, my friends made fun of me They used to call me stupid names, like “Jesus Boy” or “Freak” But I knew come Sunday, that I’d be number one ‘Cuz I knew all my verses, and I would get some gum I’m a dweeb!… Continued →

Perhaps better known as the bassist/vocalist of hardcore punk cum crossover thrash band The Lead, Nina (full name Nina Llopis) released her debut album No Shadow of Turning for R.E.X. Music in 1991. As my friend and fellow fan Tim “Greybeard” Henderson (ex-Warlord) said, “This is a perfect example of 1991 music!” He’s so right. The album had hints of goth rock/post-punk, alternative rock, and jangle pop–a description which doesn’t make logical sense unless you lived through the early 90s. Musically similar to other early 90s female-fronted alternative bands like The Darling Buds and Concrete Blonde, the effort was a huge departure from her previous material with the hardcore/thrash band from which we’d come to know her.… Continued →

Geoff Mann was a fairly well-known prog rock artist in the UK, but unfortunately his renown didn’t quite make it across the Atlantic. Having been the vocalist in an early incarnation of famed UK prog rock band Twelfth Night, he effectively left the band when they moved to London and he decided to remain in Manchester. Sometime in the early 80s, Geoff became a Christian through a “deep and lasting Christian conversion” (for more info, check out this article). At this point Geoff begins making very creative, even experimental prog rock.… Continued →

This Swedish death metal band formed in 1996, and has been active ever since. They immediately began recording cassette demos, initially focusing on traditional death metal and morphing over time into more a melodic and progressive take on the genre. Of course, Sweden is known for its melodeath sound, centered in Gothenburg, but Pantokrator are from the opposite side of the southern peninsula. Lyrically the band tend to feature songs about biblical mysteries, not your typical Christian metal fare. Rather than topics of salvation and judgment, they tell stories about obscure characters like the Nephilim, the legendary and quasi-biblical Lilith, and Melchisedec, featured here.… Continued →

Singer-songwriter and indie darling, Damien Jurado, long known for his poignant songs and unique arrangements, has as of this week pulled all of his music from streaming giant Spotify. The announcement came yesterday via his blog. Jurado didn’t mince words when it came to the reason behind his decision: “I simply cannot continue to support or align myself with a corporation who continues to profit off of the musicians it refuses to pay a fair and decent wage.” Read the full statement here: https://damienjurado.com/blog/2023/01/05/leaving-spotify… Continued →

The best way I can describe Coolidge is as a sort of ‘prequel supergroup.’ All of the members are now well-known for their contributions to indie rock, though none of them were very well-known at the time, and Coolidge remains a fairly obscure blip on the map of alternative music. Formed in 1992, the band featured Damien Jurado on bass and vocals, David Bazan (Pedro the Lion, Headphones, Lo Tom) on drums, and Eben Haase (Blenderhead, Don’t Know) on guitar. They played an intense and unique form of emo-core that interweaved lo-fi indie rock into the mix.… Continued →

Haven was a heavy metal/power metal band from New Jersey active in the late 80s and early 90s. The band released two stellar full-length albums for R.E.X. and a third independent release that moved away from heavy metal into hard rock and alternative territory. Fans were often divided on Haven, particularly over the vocals. They were kind of a love ’em or hate ’em thing. Personally, I really enjoyed the unique style. There were enough similarities to Geoff Tate (Queensryche), Mike Lee (Barren Cross), or Bruce Dickinson (Iron Maiden) to draw comparisons, and yet there was a roughness to the high-pitched vocals that made them stand out.… Continued →

Honestly I think this is a song that only Half-Handed Cloud could write. Aside from the ever-present pop bliss is a song about a baby trying to reach shiny Christmas ornaments that are out of reach, and yet so desirable. But Ringhofer makes a point that only he could make, about humanity’s incessant need to grasp for shining things that are always slightly out of reach and that we really don’t need after all. Merry Christmas IVM friends–may you find the true joy of Christmas this year–the baby in the manger!… Continued →

This brilliant synth-pop band hailed from Sweden. They released one fantastic album in 1989, that hit the States the next year, then disappeared until 1994 when they re-surfaced–though just barely–with a Swedish-language album, that didn’t make much of an impact outside of their homeland. Their debut, the nearly-eponymous W.O.W., was beautiful, but sadly never got the attention it deserved. Recorded primarily in the synth-pop style, it also had hints of Europop and new wave. In short, it was too alternative to be mainstream pop or CCM, and too poppy to appeal to fans of alternative rock.… Continued →

Embraced was a short-lived hardcore band from Florida, active in the early 2000s. I was able to catch the band live a couple of times at local gigs and mini-festivals, and enjoyed their shows. I always liked their semi-melodic take on hardcore (I mean, they were from Florida, after all!) They were clearly playing HC, but with hints of emo and indie rock at times. Perhaps in a similar vein to Bloodshed, Beloved, and Underoath, but with their own take on it. The band only released one mini-album, the 7-song An Orchestrated Failure, in 2002 for Theory 8 Records (who also an album by The Goodbye Letter and an early split with Copeland and Pacifico, among others).… Continued →