Reviews

“I have no song in me. There is nothing in that I have to say that my brother can’t say instead,” feels like a fitting set of lyrics for Jacob Goins’ newest collection of largely-instrumental song. Opening track “No Song” sets the scene with a tale of lack: Goins address the God who makes the white snow while admitting his own impurity; he speaks of the God who gives birds flight while he at the same time seems immobile. Thus, A Spring May Well Up is a journey of sorts through deadness and dryness, often conveyed through meditative quietude of sorts.… Continued →

After Sower first came on my radar earlier this year with debut EP THE SOIL, I was greeted with a collection of songs that were both sonically refreshing and biblically-literate. Project mastermind Eric Tuffendsam describes the project as “biblical indie rock” and the emphasis here is two-fold: these aren’t your musically-tame church songs, nor are they lyrically esoteric like many modern rock songs. Sower has something to say, but, to borrow from the defunct Attalus, “the music is original but the words aren’t.” Sower relies on the Bible as historically understood to create a sort of musical catechism that walks through the fundamentals of the Christian faith.… Continued →

Shamash is one of the few (only?) Christian metal bands from Malaysia. Vocalist/guitarist Andre Chiang has a lengthy history with Christian metal going back to the late 90s with thrash/death metal band Necromanicide, and more recently as a member of the transcontinental act Vultures Gathering. Distinct from those bands, Shamash plays in a hybrid style fusing elements of metalcore, death metal, and black metal to interesting and effective results. “Not by My Heart” opens the album with a mix of metalcore and melodic death metal with some blackened vocals on the verses.… Continued →

Breakaway is a one-man oi/punk band from south Texas. In fact, all guitars, bass, “beats” (does this mean a drum machine?) and vocals on Warrior are handled by David Burke. The EP is produced by Breakaway as well, which I assume means Burke again. While this is impressive in many ways, it can also be limiting. We’ll come back to that as a recurring theme on this EP. The tempos, for the most part, are fast and furious, and yet there is a rock and roll undertone to the sounds.… Continued →

I have never been the kind of person to cheaply review an album. I’ve written a fair amount of things over the years, so I’m well acquainted with how much time goes into penning each lyric, and, to a larger extent, the intentionality placed into each note and melody. Sometimes this means I listen to an album for upwards of 20 hours beforehand to do it justice. So, when I was presented with Zane Vickery’s upcoming 77-minute, 17-track behemoth of a record, I can only say that I felt immense pressure to give it proper honor.… Continued →

It feels improper to simply open with the fact that Attalus’ Facedown debut Into the Sea is the better part of a decade old at this point, but it’s probably how most people are familiar with Seth Davey. After the band’s arguably-untimely end shortly thereafter, life moved forward, and while the album continued to be one of the most captivating releases from the label, there seemed to be a huge need for similar works that spoke so adeptly toward the intersection of historic Christian tradition and our strange modern moment which such artistry.… Continued →

Resurrected Divinity Lycanthropy II (Broken Curfew Records) For the uninitiated, Lycanthropy II is essentially a deluxe reissue of the Lycanthropy 4-song EP, but with an additional 5 bonus tracks extending the release to a full-length. Several of the bonus tracks are covers from a wide variety of bands, making this an interesting album all the way around. The album wastes no time getting started. “Suffer With” comes right out of the gate with blastbeats and growls. No lengthy intros needed here. This is old-fashioned death/grind here with lots of tempo changes—alternating superfast blastbeats with slowed-down sludge riffs, and then occasionally incorporating both into a singular section by taking the rhythm section double-time.… Continued →

Typically, when I get an album in advance, I dive right in. I play it on repeat. I soak in it for hours, digesting every word. Benjamin Daniel’s (Ben Kunz) latest album somehow alluded me. Maybe it was because it was in a Google Drive file or maybe it was because I was closer to the album this time around by helping with a music video. That’s not to say I never played through it or hadn’t already found some of my favorites, but admittedly listening through things post-release feels less spoiled than usual.… Continued →

RIYL: Attalus, Valleyheart, sosaveme, My Epic, Manchester Orchestra, Copeland There are artists you run into tangentially – someone you know shares might follow them or you hear a clip of a track, but things get buried. I’m ashamed to say that Sower is one such project. From the very first notes of the project’s first EP, I couldn’t help but hear elements of many of my favorite bands. There’s a varied indie-rock sound which ranges from the fringes of post-hardcore to the glowy emo of bands like Mae and Copeland.… Continued →

It’s always interesting to hear artists re-record their older songs. Copeland has done it, Emery has done it, Car Seat Headrest has done it. But in the case of theLionhearted, this album is not so much a reimaging but a perfecting of songs that have become staples over the past few years. Mastermind Richie Pete Ares took these seven tracks and poured blood, sweat, and tears into rerecording them. The result is a far more polished and definitive form of the record. And quite frankly, if you haven’t listened to theLionhearted in years (or ever), this is a great place to start.… Continued →

xREDLINEx is somewhat of a supergroup, from the DIY/independent hardcore scene, featuring ex-members of Zao, 2Minute Minor, October Bird of Death, Blindside (the one from Chicago, not Sweden or Pennsylvania), and several others. The music on Tongue Tied features a throwback sound that is a mixture of late 80s hardcore and mid-90s metallic hardcore. Unlike 2Minute Minor, there is not a strong punk presence, and while there is no metalcore whatsoever, there are some clearly metallic riffs a la 90s ‘chugga chugga’ style hardcore. That’s all cool in my book as that’s one of my favorite subgenres of hardcore, and there seems to be a real lack of the style is the current scene.… Continued →

Two raw European black metal bands meet head to head on this new split CD. Both of the ‘bands’ are effectually one-man projects. Duister Maanlicht hail from the Netherlands, while Kärv is from Sweden. The first thing we’ll notice after popping the CD into the player is how well produced this is. The style is raw/primitive or “old school” black metal, but fortunately for the listener, this doesn’t sound like it was recorded in a metal barn. All of the instruments come through clearly, and yet nothing is too polished or over-produced.… Continued →

This split LP is a vinyl release featuring two hardcore/metalcore bands from Las Vegas. It appears from the photos that both bands also share some members. One of the first things you’ll notice about this 12” is the provocative cover art and exquisite packaging. Liner notes are printed on a full 12” booklet with glossy printing. It’s very similar to the booklets that have traditionally come inside CD packaging, except this is like 4 times the size. I don’t know if this is becoming a trend in vinyl packaging, but I’ve never seen anything quite this extensive.… Continued →

This punk rock supergroup features ex-members of Crux, Empty Tomb, Cicero, and Gov’t Hate Mail. So you can see why I was excited about hearing this disc. The EP contains 7 songs, clocks in around 17 minutes, and comes as a pro-CDr in a standard jewel case with a single panel insert with credits and no lyrics. Musically what we have here is no frills punk rock and roll. It’s not quite as spastic as Crux, and doesn’t have the hardcore/thrash leanings of Empty Tomb. When comparing to its members previous projects, it’s probably closest to Gov’t Hate Mail, but just slightly heavier than that project.… Continued →

Life often moves in cycles; sometimes those cycles repeat, while other times the seasons are delineated more clearly. American Arson has been an IVM favorite since its inception, and many readers are familiar with Evan Baker from Good Luck Varsity even further back. While there’s always been a core of rock, pop punk, and post-hardcore at play, American Arson’s independent EPs were all adorned in unique personalities and moods. And when the band signed with Facedown Records to much acclaim, their sound continued to shift even further.… Continued →

Marc Cohn’s “Walking in Memphis” meets The Assembly Line’s “Tonight” on “You Will Find”, the first track off Joseph Cutshall’s latest release. While Stay Close is branded as folk rock, there’s something a bit more intricate at play here – hints of 90s and 2000s singer-songwriters, subdued ambience of acts like The Frozen Ocean, and even more standard indie fare in general. Don’t expect a mostly-acoustic, Americana-flavored release. This is a record adorned in dynamics, evident from its first notes. Neither so is the record fixated on any singular subject for too long – a true theme might like wrestling in the valleys between sight and certainty that we call faith.… Continued →

This album came out last October, but I was only recently made aware of it when guitarist/vocalist Craig Phillips reached out for coverage, just before moving to Eurasia to work overseas. Although released on Roxx Records, Where the Wondering Got Us is a distinct departure from the label’s usual heavy metal roster. On the contrary, Puddleglum have a sound that revels in reminiscence of the 1990s. It’s what one might call ‘slacker rock.’ It’s fairly simplistic alternative rock, or maybe just rock and roll. The songs, musically speaking, feel lazy though not necessarily in a bad way.… Continued →

While I was first introduced to Sally Grayson formally in 2020, during the covid-quarantine era, it turns out that I had already heard versions of her music many years prior. She’d fronted Black Swift (based in Germany where Grayson transplanted) for a number of years, but long before that she was in Michigan-based (her native homeland) Standbye, an emo/indie rock band by whom I owned a CD. All that to say that while Sally’s name may not be familiar to the masses, she’s been making credible musical art for well over two decades now.… Continued →

I’ll be honest – Former Ruins’ (Levi Dylan Sikes) latest album is one I’m cautious to provide any sort of commentary on. It can be easy to be flippant with certain, or, to be frank, a majority of albums and not fully grasp the humanity behind them. And in many ways, that is the essence of No Creature Is Hidden – what does it mean to be a creature, to be seen, to hold fast to our weaknesses and beauty alike in the eyes of Christ Who saves?… Continued →

Borrowing its namesake from a Watashi Wa song, Colorado Springs-based Fepeste craft similarly-intricate, chill songs. Fepeste’s second album expands on its predecessor, opting for a greater focus on electric instrumentation and guest collaborations. The result is a surfy/psychedelic approach to songwriting anchored firmly in Scripture. These latest offerings may feel oddly seaborne given their origins in the shadows of the Rocky Mountains, but rest assured Eric Jett and crew know what they’re doing. There’s a strong sense of simple honesty at play – the ruminations of an adult with children, navigating hectic life in our post-truth world.… Continued →

There are certain things that are assuredly deceptive in their simplicity – like the grainy, low-res, underexposed photo of some non-descript church which adorns Nick Webber’s latest album. In fact, if I hadn’t stumbled onto it prior to seeing the art, I think I might have skipped it entirely. I’ve crawled through Bandcamp quite a bit and I’m come to realize that bands who take their music seriously tend to pair it with artwork of a similar level. While the picture might not adequate describe the quality of All the Nothing I Know, it perhaps describes the thematic form – one that hazily trudges through pain, uncertainty, and cynicism.… Continued →

Dylan Case White’s debut LP, Remind Me Your Name, has been a long time in the making. Its genesis is fraught with the loss of entire songs, working remotely with Allen Odell for production, and the realization of musical concepts that go back years at this point. White’s previous work includes a project under the Spoken World moniker (which is NOT spoken word) and some demos from Glow in the Dark. And while these hinted at what he was capable of, Remind Me Your Name feels like the awaited fulfillment of some distant promise.… Continued →

I’ve been sitting on this review since last November and since I tend to move slower these days with my writing contributions, it’s better later than never. Let me start off by saying that Craig’s Brother have been a favorite of mine since I first heard “Homecoming” all those years ago (25!). Their blend of melody, aggression, and thought provoking lyrics set them apart from the rest of the pack. I once had a label spinoff of Indie Vision Music and in 2019 I put out their “Devils in the Details” EP, one of the best accomplishments in all my years of running IVM.… Continued →

Benjamin Daniel follows his triumphant 'Shelterheart' with a grief-stricken sister release that explores an uncomfortably-personal look at faith and grief through a year following the death of his mother.

Last October, Rockfest Records announced a new band on their roster, but not just any band. World Gone Cold is a hard rock band known as a “supergroup”. In case you’re unfamiliar with the term, this indicates that the group is comprised of artists from other well-known bands. The group is rounded out like this: Ryland Raus (vocals) of Inhale Exhale and Attack, AttackTraa Daniels (bass) of P.O.D.Tim “Yogi” Watts (drums) of Demon HunterMark Anthony (guitar) of The Letter BlackAndrew Stanton (guitar) of Disciple Nice, right??… Continued →

Nashville songsmith Chase Tremaine has not slowed down one bit over the past few years, from releasing his debut record to releasing (and re-releasing, to incredible effort) his sophomore album in a short span of less than three years  (as well as a stripped-back album). This is an all-the-more impressive effort given Tremaine finds time to juggle all vocal and instrumental responsibilities while also working full-time and being (mostly) newly-married. Now, in partnership with Post Emo Records, he has unveiled his third album, Accidental Days.… Continued →

Brandishing a not-so-subtle love for the likes of Starflyer 59, Jacob James Wilton has finally arrived with his latest LP after months of waiting. Life Wide Open is ambitious, dreamy, and infectious just as much as it is pensive and energetic. Wilton has dabbled in a number of disparate styles over the years, but this album feels like the pinnacle of his work. There are tastes of shoegaze, Americana, indie rock, and alternative. While his approach is undeniably modern, he pays respects to artists of two decades ago (writing this made me feel old).… Continued →

Every now and then, an artist comes along that makes it clear they mean business. These aren’t typically the arena-rockers or bombastic pop acts. Instead, like Elijah’s encounter with the Lord, these artists employ a certain mundane simplicity in their presentation that places the focus on the message before all else. Don’t mishear me – that’s not to say these artists don’t write incredible compositions with powerful production. But all of this is very much secondary to the lyrical focus. I can’t help but think of Former Ruins, Zambroa, Allen Odell, or Benjamin Daniel who all, to some degree, subvert the typical expectations of the singer-songwriter niche.… 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 →

Zane Vickery broke onto the scene last year with his debut album, Breezewood, an album of mythic proportions where the real and fantastical coalesce in parable fashion. It’s an album of love, loss, and lessons that assumes the posture of piano-driven indie pop. Now, he’s following the album up with a collection of decidedly-different songs – both musically and lyrically. Where is Your Faith?: Volume One is, per the title, part of some larger body of songs yet to come. Self-contained, it’s fairly concise. It sits at four songs of which two (“Is There Room Enough for Me” and “I Never Left”) were released as singles.… Continued →