Author: Loyd Harp

New independent metal label The Charon Collective have recently re-issued Pennsylvania band Sacrament’s debut demo Presumed Dead on CD and digital formats. The death/thrash metal band went on release two full-lengths, seminal death metal release Testimony of Apocalypse and technical thrash beast Haunts of Violence. The re-issue is accompanied by the news that former Sacrament members have re-formed as Testimony of Apocalypse, and are writing new material for a future release. Presumed Dead can be ordered from The Charon Collective here: https://thecharoncollective.bandcamp.com/album/presumed-dead-2021-remaster?fbclid=IwAR3RtKoHZ2sSGB2-zSPwhS1tABQrTwI-gVHda1Z19zNFQHrk0SluASZ4XvM… Continued →

I’m sure a few of you have been wondering when I was going to eventually get around to covering this important band. Well, wait no longer. Mortal’s roots were in a similarly-named synth-pop project called Mortal Wish. While that version of the band showed promise, it only hinted at the greatness that was to come after a minor name change and a huge change in direction. (FYI: downloads of 2 different Mortal Wish demos are available online if you know where to look for them!) The mysteriously-titled (Lusis means “freedom”), dark and brooding debut hit stores in 1992 via Intense Records, the first in the industrial genre for the otherwise exclusively metal label.… 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 →

There is simply not enough hip-hop on this site. Let’s fix that! I grew up in a small, very monochromatic town in Oklahoma, where most of the people had my skin color. In that part of the world, there were two kinds of music–country and heavy metal. In the 80s, a few of my friends who were more hip had started getting into this new “rap music” that I knew very little about. But growing up in a country-western family and then discovering rock on my own, I wasn’t really predisposed to listen to rap.… Continued →

Bestial black metal/war metal band Goatscorge has just dropped a new single in advance of their forthcoming EP. The raw sound should appeal to fans of Lucifer Impaled, Elgibbor, and Shekinah. The controversial title will raise some eyebrows for sure, but it’s a direct reference to Isaiah 45:7– “I form the light, and create darkness I make peace, and create evil I the Lord do all these things.” Thus the title is not a reference to moral evil, but rather God’s pronunciation of judgement in His just wrath.… Continued →

Havalina Rail Co. was a delightfully quirky, eccentric, genre-fusing and genre-bending experimental band from California. Across their 10-year career (give or take), the band dabbled in folk, ska, jazz, ragtime, blues, Americana, surf, and multiple internationally-themed genres. No two albums in their canon treads the same ground, and yet each successive opus is clearly recognizable as Havalina. The band stopped recording as HRC somewhere in the early 00s, but members have turned up elsewhere. Most notably are Matt Wignall who is a renowned photographer and is perhaps now best known as the producer for several Cold War Kids albums.… Continued →

Wonderfully noisy, and delightfully obscure, The Lonely Now only released 3 full-length recordings in their short career: —Captive, 1986, Narrowpath Records (cassette only) —Original Intention, 1987, Narrowpath Records (cassette, LP) —Honest Tear, 1990, Narrowpath/Refuge (cassette only) While all of their releases are somewhat difficult to obtain, ironically their final album–the only one with national distribution through Refuge–is the most difficult. It was released through the same agreement as debuts by The Crucified, Breakfast with Amy, and The Swoon. In fact, founding member Greg Sostrom (AKA Greg Strange) was the owner of Narrowpath Records.… Continued →

Swiss band Morgarten are back with a new full-length album, this time on Inner Wound Recordings. The album is called Cry of the Lost and was released in June. While the band still plays in the folk metal genre overall, the new material is heavier than their debut, and features more prominently the elements of black metal and some of the fantasy/epic battle elements of power metal, as evidenced by the accompanying music video. Slight warning: while the band’s lyrics clearly use battle stories to paint an allegorical picture of spiritual warfare and Christian spirituality, there are some moderately graphic fight scenes in the video.… Continued →

So a new friend or acquaintance finds out you’re into music. The inevitable question follows: “what kind of music do you like?” How honest are you? Do you simply say, “I like a little bit of everything?” You know that’s not true. You can’t stand Matchbox 20. Do you try something a little more honest, but still generic, like, “mostly rock stuff.” No, that won’t work either–they might think you mean Lynyrd Skynyrd. Or are you blatantly honest with them, knowing they are unlikely to have a clue what you mean: “my favorite genre is probably shoegaze.”… Continued →

San Diego-based rock band Robert Vaughn & the Shadows released their classic album Love & War in 1987. As fate would have it, it was the final release on Exit Records (home of Seventy Sevens, Vector and Charlie Peacock), and its partnership with Island Records. Due to the unfortunate demise of the label, the album never saw a CD release (only LP and cassette). While the master tapes were tied up in red tape for decades, Randy Layton of Alternative Records recently worked out a deal to obtain the original masters.… Continued →

Hey, I get it. 80s metal is a love or hate thing. Many IVM readers are fans primarily of pop-punk and related genres. The thought of dudes in make-up, hairspray and spandex just seems like a bad joke. But for those of us who were there, it comes with a heap of nostalgia, and occasionally some good tunes too! It’s a shame, but Watchmen never quite got the level of attention that some of their peers received (Whitecross, Guardian, Holy Soldier), perhaps because of the brevity of their career.… Continued →

Jeff Elbel has been around the block a few times. Active in one form or another since the 1980s, first via Farewell to Juliet, then Sunny Day Roses, and then Ping. He’s played with members of mainstream new wave/prog band The Fixx and also new age instrumentalists Mannheim Steamroller. He’s even had songs featured on Dr Demento! His latest project The Threefinger Opera is almost at its goal of $5,000 and boasts a wide variety of packages from downloads to CDs, vinyl, and other merchandise! With only 22 days left in the campaign, you won’t want to wait on this one.… Continued →

Contemporary Celtic band Iona have been making music since their eponymous debut released in 1990. Fusing traditional Celtic folk instruments (flutes, whistles, bodhran drums, etc.) with jazz and progressive elements caused them to stand out from their other contemporary Celtic peers. Albums from the band commonly featured worshipful tunes (“Treasure” for instance, from their third album Beyond These Shores or “Revelation” from the second one, Book of Kells), traditional Scots-Irish tunes, as well as lengthy instrumental songs, or instrumental sections within songs. One of the most stunning examples of the latter is “Bi-Se I Mo Shuil” (Irish Gaelic for “She is My Eye”), from their fourth album Journey into the Morn.… Continued →

Fluffy’s debut, Fluffy Luvs You, was a fun punk rock record, even if it was a little predictable. Featuring 3 chord thrash goodness, and nonsensical lyrics, it stood out in the Christian punk scene for its lack of preaching. So fans and critics alike were a little puzzled when the band dropped their sophomore effort, Go, Fluffy, Go! In place of the fast, simple riffs, were long, slow songs that juxtaposed indie rock, sludge metal, and noise rock–something that wouldn’t be seen in CCM by another artist for another 5 years (yes, I’m thinking of Warlord’s EP, from 1997).… Continued →

Jason Martin is back at it, never ceasing to create and release new music. The new single is called “Sunrise” and is decidedly more upbeat than the recent “Life in Bed.” Perhaps the two work as companion pieces? The 80s post-punk and new wave influences are here again, but filtered through Jason’s shoegaze and indie rock background. Check out the song on your streaming platform of choice. Be sure to download and support the artist where possible. https://starflyer59.bandcamp.com/album/sunrise https://soundcloud.com/velvetblue/starflyer-59-sunrise https://open.spotify.com/track/4o5hLF6WnULrPXFCMzmLH5?si=5ee0b792c04143d1… 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 →

You might be familiar with Sally Grayson’s name due to her collaborations with The Blamed–lending her vocal cords on their cover of the scaterd-few classic “U” (for their Quarantine Days project), or for her contributions to “Away in a Manger” on 2020’s Christmas album. The scaterd-few cover is where I first became familiar with her work. Or you might recognize her from her Ted Talk on creativity (https://www.youtube.com/watch?v=ia2ldxK2rF0), or as a member of post-punk outfit Black Swift. Or perhaps you’ve been lucky enough to catch her on tour with two other femmes de puissance Tess Wiley (solo/Splendora/Phantasmic/ex-Sixpence None the Richer) and Kat Jones.… Continued →

I first heard L.S.U. in about 1991. I had been a pretty staunch metalhead, but a few alternative rock bands were starting to open me up to new colors in my musical palette. While the experimental This is the Healing was the first album I heard from them, The Grape Prophet is a favorite of fans and critics alike. The album was one of the first and only concept albums, or “rock operas” as band leader Michael Knott liked to call them. The Grape Prophet tells the story of Ellis, an orange picker who works for Col.… Continued →

I’m a sucker for all things shoegaze, including music that often falls under the wider umbrella of dream pop, madchester/baggy, indie pop and some forms of Britpop and space rock. While shoegaze had a limited representation amongst Christian artists, there were a few who really excelled in the genre. Ypsilanti, Michigan’s Velour 100 was one such artist. Led by Trey Many (who had honed his skills in the mainstream His Name is Alive and Liquorice; also a member of indie rock supergroup Lo-Tom), and rounded out by vocalist Amon Krist (daughter of renowned folk artist Jan Krist) on the debut, the band employed a trio of lead vocalists for their more accessible and also edgier sophomore effort Of Color Bright.… Continued →

How often have you gone back to listen to an album that was more than 10 years old, only to find it didn’t hold up as well as you thought it would? A sloppy guitar part here, or a bad mixing job there, or even just song ideas that didn’t really work as well in hindsight? I first heard Atlantis in 2007 when I was asked to review it for Uprise Zine (if you remember that publication, give me a shout!) While I definitely remember liking it, I was pleasantly surprised at how good it sounds 14 years after its release.… Continued →

One of the longest-running indie/alternative bands in the Christian scene, The Choir emerged in the 1980s initially as Youth Choir, shortening the name after the release of one album and one EP. The band formed in 1983 and were instrumental in the early 80s Calvary Chapel scene in Southern California, that also included stalwarts like Undercover, Altar Boys, and 4-4-1. Where some of their counterparts flirted with punk and harder alternative sounds, The Choir’s sound rarely ‘rocked’ so much as it created atmospheres and layers that have never been easily pigeonholed into any particular scene or sound and yet have toyed with dream pop, indie pop, and at times even shoegaze.… Continued →

First things first: I must apologize for missing a couple of weeks on my Song of the Day features. We’ve been in the middle of an international move. Yes, after 13 years of life in the UK, my family and I have returned to the United States! And we’ve been living out of suitcases while we finalize our housing. So do please forgive me for missing a few posts. However, I hope a new song from Starflyer 59 this week can make up for it. The first thing I noticed from the track was the eerie new wave keyboard sounds and quasi-goth guitar leads.… Continued →

The amazing thing about “Martha” from Bloodshed’s 1995 self-titled EP isn’t just how complex it is. Yes, it hits that sweet spot, distinctive of top-notch emo-core where the perfect balance of harsh and soft, noisy and melodic come together. It’s also not how mature the lyrics are. They’re inspired by a poem written by a young girl (the song’s namesake) during World War 2. It’s also not how proficient on the instruments the members were. The track features complex, angular riffing that wasn’t all that common in mid-90s hardcore, a mixture of clean singing and hardcore screaming.… Continued →

It’s amazing how one can listen to music for years, decades even, and still find an obscure gem from days gone past that was missed out. Vancouver’s Cannon Heath Down only released one album: 1987’s Heart-Throb Companion (and a cassette demo 2 years later). The self-produced album was only released on LP, and its stellar take on indie pop will appeal to fans of The Ocean Blue, Morrissey, Game Theory, Riverside, The Mighty Lemon Drops, etc. The album fetches top dollar too, as I’ve seen copies listed at triple digits.… Continued →

Arizona’s No Laughing Matter were kind of a ‘love ’em or hate ’em’ kind of game. Dark and broody, they didn’t fit in with most CCM at the time. Heck, even the alternative stuff wasn’t quite this dark, for the most part. Scott Roman’s dramatic wail was an acquired taste. The guitars alternated between goth-rock and the occasional nod to funk (see “Helltown”). Of particular interest were the deep bass grooves. They were one of Christian music’s very few, true “post-punk” bands in the proper sense of the term.… Continued →

Code of Ethics hit on the Christian music scene in 1991 with their brilliant debut Visual Paradox for R.E.X. Music (later re-issued on Forefront), having already released an independent cassette demo a year prior. The album was a synth-pop triumph, taking the best of techno-pop and alternative dance and fusing them into a singular whole that was as danceable as Information Society, but as catchy as Pet Shop Boys or Erasure. I once had a chance to catch the band live, opening for The Prayer Chain.… Continued →

Veil of Ashes was a college rock band from Oakland, California, who debuted with the critically-acclaimed album Pain on Graceland Records (an imprint of Frontline) in 1989. While they had started out as a post-punk outfit with goth leanings, most of that influence had faded by the time their debut hit. A second album The Young and the Reckless: The Regression of Veil of Ashes was released on Blonde Vinyl in 1992, but it was actually a retrospective release of earlier demos. That same year the band shortened their name to Veil and released their final studio album (before taking a long hiatus and re-forming in the late 90s) Mr.… Continued →

I’ve got a confession to make. I don’t know a lot about electronica. As much as I love genre-fying musical artists and trying to pinpoint them within their style or scene, I just can’t get my heard around the hundreds of subgenres of electronic dance music. I was never one for going to nightclubs (where the genres and all its cognates developed), and the scene is just too huge to know thoroughly without being immersed in it. However, I do know what I like, and occasionally an artist or album comes along that just sounds good.… Continued →

If you turn the Christian indie shaker upside down, not too many psychobilly bands fall out. One of the first and best was The Calicoes, from Texas. They released one fantastic EP called Rumble (the title a contextualized reference to the battle between good and evil), and a full-length named Custom Acceleration. For my money, the EP is the better release song for song. It’s more primitive and raw, which suits the style better in my view. You can’t go wrong with any of those 6 songs, but check out track 5, “Read.”… Continued →

In the mid- to late-90s when all of the other Christian hardcore bands were doing new school/chugga chugga style hardcore with increasingly metallic influences, Bakersfield’s Chasm were drawing on earlier inspiration. These influences came mostly from the 80s British hardcore punk/d-beat sound (Discharge, Conflict, etc.), although somewhat ironically this track has elements of early black metal in the guitar riffs (a la Venom or Bathory). Nonetheless it’s still filtered through a hardcore punk sound. The band released one 7″ (Squander, Squander the Bright New Dawn) and one full-length (Gye Nyame, from whence our featured song is taken).… Continued →