Author: Loyd Harp

Contrary to what the band name suggests, They Sang as They Slew was not a metal or hardcore band, actually quite far from either. If you hear similarities to the indie rock of Luxury, it’s because half of the band came from Luxury while they were on a break from touring–namely guitarist Jamie Bozeman and bassist Chris Foley (both of whom are Orthodox priests in their day job). I hope some fans recognize the band name from the epic battle scene in Lord of the Rings (the book, not the movie).… Continued →

It’s so great to have Gary Murray and co. back to making music again after almost a decade of quietude. Gary had to retreat for a few years beginning in 2014 while taking care of aging parents and other personal matters. Monkeys & Spoons certainly reflects that solitude, as well as the grief of losing someone you’ve had close. While the album cover nearly depicts contents of jazz fusion or post-rock (both Koinonia and strangely, Talk Talk are evoked by the artwork), don’t be led astray there.… 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 →

I’m not surprised there was Christian punk and new wave already being made in the 1970s. Contrary to popular belief, believers have always found new and innovative ways to express their faith creatively. It’s the broader public of the faith community that is often slow to accept change, not the artists themselves. This is why I am, in fact, surprised that a Christian record label was publishing Christian punk in the 1970s. It seemed the church in the UK was more open to avant garde presentations of the Gospel than in the US.… Continued →

This 5-piece band from Norwalk, CA started as a metalcore band but morphed into something heavier and more technical with an interesting mix of death metal, grindcore, and the odd jazz passage. The band only released two demos. The first was a 5-song tape called “Soldiers of the Cross.” In 2006 they released their more known, somewhat ironically titled “Death Gospel” (Gospel set to death metal, get it?) cassette, featuring 4 songs. Then the band was never to be heard of again. However, just this year an independent secular metal label from Riverside has re-released the demo as a cassette-only release, with three bonus tracks.… Continued →

Some of you are going to hate me for including this (what?!? country music on IVM?!?) Others of you–maybe only a few–will recognize the importance this type of music played on the development of both rock and roll (which somewhat ironically owes a huge debt to country music), as well as to contemporary forms of Christian music, because of the strong relationship between country music and Gospel music in the middle part of the last century. Brothers Ira and Charlie Louvin began playing and singing together in the 1940s in their home in Alabama, and later branching out to nearby Tennessee.… Continued →

I can only think of 1 or 2 songs where the structure of the song is built primarily around one chord. It’s a pretty risky thing to try. Luxury did it with “South” from their debut album. While there are probably others, the only other one I’m aware of is Honey’s “The Way You Move Me” from their sophomore album, Lost on You. A one-chord song seems like it would be incredibly boring, but with the various embellishments, runs that weave in and out, and ways they alter the chord (okay, technically it’s not only one chord–but it’s built around only one) keep things very interesting and almost psychedelic.… Continued →

While I’d been hearing their name pop up here and there on the internet, I was fully introduced to Voluntary Mortification’s music when I caught them opening for As Lions and Lambs here in Indianapolis. Shortly after that press manager, Mason Beard got in touch to request an interview. I got the lowdown on all things Voluntary Mortification, including the origins of that interesting band name, when I caught up with guitarist Jacob Kanclerz, and vocalist Conner Luttig. IVM: Tell me a little about the band name.… 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 →

Dennis Childers has deep connections to the Christian indie scene, going all the way back to the 1980s and Flock 14, the most excellent new wave band he played in at the time. However, when Flock 14 morphed into World Theatre, Dennis went underground/disappeared and not much was heard from him musically save for a few album credits here and there. Nate from Destroy Nate Allen/Good Saint Nathanael got in touch this week to let me know that Dennis had a new album dropping–literally just 2 days ago.… Continued →

Many fitting tributes have been written about the one and only, the mighty drummer/musician/song-writer/animal rights activist Ted Kirkpatrick. So much has been said about his life, his music, and his impact that I can’t really add much here. Ted’s incredible musicianship is impossible to overstate. He was revered even by the most ardent anti-religion folks, for his musicality alone, including folks like King Diamond and Marty Friedman. While I never got to meet Ted, I did have the chance to see Tourniquet live once. It was their first tour with Luke Easter as the new lead vocalist.… Continued →

Rapper Braille (born Bryan Winchester) has been making hip-hop since at least 1998, first as a solo artist and then additionally as a member of Lightheaded (featured in an earlier Song of the Day), Acts 29, and most recently the worshipful project Beautiful Eulogy. The Portland-based rapper has released just under a dozen albums, including independent releases, a Japanese import, and a collaboration with Symbolyc One, not including his work in the aforementioned cyphers. Although I’d heard of him through his association with Syntax Records, it was his 6th album Box of Rhymes where I was first introduced to his music.… Continued →

Pop-punk band Twotimer released 2 albums and then called it quits. Very little is known about the band, other than their recorded output. After a self-titled and self-released debut in 1998, the band signed to punk stalwarts Screaming Giant Records and issued See What Happens from Here in 2000. The album featured snot-nosed, yet melodic tunes that bordered on pop-punk and new school/skate punk, but with vocal harmonies. Recommended for fans of Side Walk Slam, Shorthanded, and early MxPX. “I Forget” is taken from the Screaming Giant full-length album.… Continued →

If you’ve been following social media regarding the Christian scene at all over the recent weeks/months, you’ll likely be aware of Michael Bloodgood’s recent health issues, culminating in his death last week. Michael was a co-founder, and obviously namesake, of the legendary and seminal Christian metal band Bloodgood. The band has been active since the 1980s, with their first album coming out in 1986. They stood out from the pack in various ways: the theatrical singing and stage antics of lead vocalist Les Carlsen, the top-notch music and writing of the band, and their no-compromise approach to lyrics and music ministry.… Continued →

Most of you will know that Ronnie Martin has been making music since the late 80s (at least) with Morella’s Forest 1988, Dance House Children, and most famously Joy Electric, not to mention a host of side projects like Ronald of Orange, The Foxglove Hunt, The Brothers Martin, and so forth. While there’s a lot of history with Martin’s expertise in making quirky, electronic pop music, in a sense none of that matters. Not that the history isn’t respectable–but what we really want to know is, is this record going to be good?… Continued →

This Norwegian band formed in 1999, and sadly by 2007 had called it quits. Hailing from Nannestad, just outside Oslo, they played a formed of atmospheric BM that appealed to many who heard them. While their lifespan was short, their impact was huge. You can still read accolades from fans on music-related social media pages, and band members have also been associated with a number of other, more well-known bands including Antestor, Frosthardr, and Grave Declaration. “Some Day” is taken from their 3-song self-titled demo CD, which was also re-issued a few years later by Momentum Scandinavium with an extra song as Vaakevandring.… 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 →

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 →