Tag: SoCal

The world of Christian music has lost a true icon. Michael Knott was confirmed dead yesterday, March 12th. Knott was a true pioneer in independent Christian music, leading a plethora of bands, dabbling in multiple genres, engaging prolific solo work, in addition to being a visual artist. Starting in the 1980s, Knott joined existing band Lifesavors, a Southern California power pop/new wave band, but later took leadership of the band. Initially Knott continued the new wave direction, but things took a darker shade in 1987 when he rebranded the outfit LifeSavers Underground and released one of the most influential album our scene ever produced, Shaded Pain.… Continued →

This band from Southern California was one of the first wave of bands who set the foundation for what was known as “Spirit-filled hardcore.” A wave which also included Focused, Strongarm, Six Feet Deep and a handful of others, many of which remained unsigned. The scene was characterized by ‘new school’ or ‘chugga chugga’ or metallic hardcore of the early to mid-90s, combined with lyrics that were bold and unapologetic about faith issues. The first time I heard Unashamed was actually a live show as they were the opening band at the first Tooth and Nail Weekend in 1994, a mini-fest at the Where-House in Bartlesville, OK featuring all Tooth and Nail bands (also on the bill were Focused, Chatterbox, Plankeye, Starflyer 59 and Wish for Eden who sadly had to cancel due to a broken down van).… Continued →

One of the larger, more legendary cyphers in Christian hip-hop, L.A. Symphony came to us from where else but Los Angeles. They emerged in the late 90s with a few 12″ singles and a full-length album on member Flynn Adam Atkins’ own independent label Eartube Empire, via which Flynn had also released a full-length solo album earlier. The group’s breakthrough came in the form of 2003’s The End is Now for Gotee Records. I had the privilege of booking/hosting the group for a youth event in Atlanta in the mid-2000s.… Continued →

Independent Christian music lost another legend recently. Jimmy Hotz (inventor/producer/solo artist/band member/producer/engineer/electronic music pioneer/author/multi-instrumentalist–and we’re not even exaggerating) died in June. Hotz first recorded in CCM in the 1970s with the group Dove, and then a handful of other mostly CCM artists before recording his solo album–and many would say his magnum opus–Beyond the Crystal Sea, released in 1980 on Oklahoma City-based Vision Records. Fortunately for fans, Born Twice (a division of Retroactive/Boone’s Overstock) re-issued the album in 2010. Hotz wasn’t content to release one of the greatest Christian rock albums of all time (this claim is verifiable too, repeatedly making appearances in all-time lists from reputable sources like HM, CCM, and various others).… 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 →

If you’re of the opinion that only melodic music can be godly, then you might want to navigate your browser elsewhere. If, on the other hand, you see the possibility of the Spirit working and moving in the new, the avant garde, the experimental, and the downright weird, then Ganglia just might interest you. Sometimes stylized as GÅNGLÎÅ, this one-man project was started by David Smittcamp in Los Angeles in the late 1990s. He took the already experimental genre of grindcore (lightning-fast tempos and ultra-short songs fused into an extreme form of hardcore and metal), and flipped it on its head by utilizing only electronic instruments.… Continued →

There was a lot of hype surrounding this band when they were first signed by Facedown Records, in large part based on the fact they had three vocalists. While the hype, and sadly also the band, were short-lived (they only released one full-length and one 3-way split album), they definitely generated a healthy buzz in their short existence. And for good reason too. Soli Deo Gloria (roughly translated as “to the glory of God alone”) dropped in 2001, and stylistically the album shows its age. Torn in Two were building off of the heavy, metallic, chugga-chugga or “new school” style hardcore of the 1990s, and adding more metallic leads and riffs without ever fully crossing over into metalcore.… Continued →

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 →

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 →

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 →

Among the plethora of pop-punk bands in the Christian scene, Slick Shoes were one of the best, probably top 5 out of hundreds. Formed in 1994 in Southern California (like most Christian pop-punk bands), they released their debut EP for Tooth & Nail in 1997, then proceeded to release 6 full-lengths, a split with mainstream band Autopilot Off (FKA Cooter) and a live album. The band won a lot of points with me by taking their name from one of my favorite movies of all time, The Goonies.… Continued →

I first heard Nobody Special in 1989. My local contemporary Christian music radio station (KOKF 91.1 FM out of Oklahoma City) played their new album in its entirety over the airwaves. You see, KOKF was not your average CCM station. Sure, they played some adult contemporary and “inspirational” stuff during the daytime, but as the late afternoon and evening hit, they would feature more contemporary styles including pop, rap, rock, etc. And then after 9:00, it was all heavy music–mostly metal, but with some punk and hardcore thrown in from time to time.… Continued →

4•4•1 burst onto the SoCal new wave scene in 1984, releasing their debut album on Royal Commandment Records (soon to be re-named Blue Collar Records). The band formed in 1983 in Los Angeles County, diligently rehearsing in the garage of bassist/keyboardist Glenn Holland’s parents. They recorded a 4-song demo and subsequently sent out copies to area youth pastors. The unconventional move proved successful as they caught the attention of Calvary Chapel Costa Mesa, a large church that hosted lots of concerts for Christian new wave and early alternative bands.… Continued →

Power pop was (is?) a strange phenomenon. Despite the big hooks, melodic overtones and just enough of a punk edge to keep things interesting, it never really caught on in a huge way. Although it’s made inroads into new wave and, more recently, indie pop, the leaders of the subgenre still remain fairly underground, with a few notable exceptions (Cheap Trick and The Romantics are among the few artists with major radio hits). It should be no surprise then, that in Christian circles, artists in the style were even fewer.… Continued →

I suppose that the first time you hear a band forever affects the way you think or feel about them. Although Undercover already had a long history behind them when I first heard them in 1990, I was completely unaware of it. I didn’t know the huge impact they’d made in the Christian alternative and punk scene in SoCal through Calvary Chapel, Ministry Resource Center, etc. through groundbreaking albums like God Rules and Branded. They had already morphed from a bubblegum-punk/new wave sound to darker, post-punk tones across the span of 4 albums.… Continued →

I’ve said it before and I’ll say it again: this is one of the greatest songs our scene has ever produced! It gets straight to the heart of what it’s all about: “Hey I’m talkin’ to you/Yeah, I’m trying to get through/God cares about you more than think . . . You are loved! You are loved!” It was the first song I ever heard from the Altar Boys, in the late 80s. Ironically, it was on a metal compilation where I first heard them. Though the song is nowhere near metal, it has that late 80s post-punk/power pop sound from SoCal that has loads of energy.… Continued →