Tag: 1990s

AP2 was the continuation of, or the evolution of the forerunner Argyle Park. The first incarnation of the band recorded one album, Misguided, for R.E.X. Music in 1994, performed only one live performance at Cornerstone Festival in 1995, then broke up shortly after amidst a plethora of controversy in Christian music circles. The bulk of the controversy involved the band not being positive enough or evangelistic enough. While the bands’ members were all known by pseudonymous aliases, it is fairly well-known that the creative forces behind the project were Scott Albert (AKA Dred and Deathwish) of Circle of Dust/Celldweller and childhood friend Chris Martello (AKA Buka), who at the time worked for MTV Sports and was responsible for getting lots of Christian alternative/punk/hardcore bands into MTV programming.… Continued →

One of Christian metal’s most prominent acts during the genre’s Golden Period (roughly 1986-1992), Barren Cross rocked a traditional heavy metal sound, managing to stay both heavy and melodic without ever succumbing to glam on the one hand, or thrash on the other. The band released 4 full-length studio albums, a live album and a handful of singles & EPs before calling it quits in the mid-90s. A pair of compilations appeared in 2007 and 2014, respectively. Members (especially vocalist Mike Lee) have been active in a number of other projects including Barebones, Michael D.R.I.V.E.,… Continued →

The Christian indie scene suffered a great loss last week, losing notable drummer Geoff Riley, known best for his immaculate time-keeping skills in the band Puller. The band was formed by Mike Lewis (ex-For Love Not Lisa, secular grunge/post-hardcore band), and hailed from Oklahoma. Mike posted the news of Geoff’s death, and some very poignant thoughts about Riley’s life and artistic contributions to the independent music scene via Instagram. Because it can’t really be said any better than this, I’m linking the post and including the entire text here: Geoff Riley Instagram Announcement “Hearing the news of my friend and music partner Geoff Riley passing is an overwhelming devastating loss.… Continued →

Alternative/folk/pop duo Say-So comprised married couple Jim and Kim Thomas. They had actually been making music together for over a decade when their eponymous debut was released in 1997 for Organic Records. The album featured a fresh take on folksy, rootsy, alternative pop-rock that was ‘light’ enough to appeal to fans of CCM, yet unconventional enough to appeal to listeners with more alternative-leaning tastes. The band’s sound sat comfortably with artists like Sixpence None the Richer (especially their earlier material), Rich Young Ruler, and Five O’Clock People.… Continued →

Indie pop duo Bon Voyage was a collaboration of Jason Martin (Starflyer 59, and about a dozen others) and his wife Julie on vocals. The project was somewhat accurately described as “Starflyer with female vocals,” which is not inaccurate though not really complete either. Whereas SF59 added layers and layers of guitars and fuzz, Bon Voyage stripped things back to the pop essentials. Julie’s vocals are akin to Julee Cruise, most famous for her work on the Twin Peaks soundtracks. The band released three albums for BEC and/or Tooth and Nail, and we haven’t heard from them since 2008.… Continued →

Legendary hardcore band Focal Point, from Northern California, is well-known not so much for the music they created (tragically), but for the groups that had their origin in the quintet. Training for Utopia, Demon Hunter, Nyves, and Low and Behold all trace their origins back to Focal Point at least in part. As important as those connections are, it’s a shame that too few actually remember the music of Focal Point, as it’s probably my favorite of all the aforementioned. They arrived on the scene late in the “new school hardcore” movement of the early 90s as hardcore was becomingly increasingly more metallic, and yet hadn’t fully shifted into metalcore, which would happen a year or two after Suffering of the Masses dropped.… Continued →

One of the few bands in the Christian scene that played in the groove metal style (that slightly slower, but just as intense cousin of thrash) was the Canadian band Erase. I remember when Mental Overload first came out and it made a huge impact on the then-stagnating Christian metal scene. The band’s popularity was, in part, owed to Jason Campbell, the ex-Mortification drummer, who was now pulling double-duties on vocals and guitar. Sadly, they only released one album (for David Villalpando, AKA Burrito’s Morphine Records label) before going their separate ways.… Continued →

Let’s get this out of the way. Some of you hate U2 for one reason or another–the ‘pompous’ nature of the lead singer, the ‘self-importance’ of their message, the fact they had the audacity to include a free digital album to people who didn’t ask for it. Others of you will love U2–the ingenuity, the forward-thinking approach to a genre that was struggling when they reinvigorated with new life, and the sincerity with which they tackled a whole host of social issues. Then a few more will be indifferent to the band whatsoever.… Continued →

Every Day Life, commonly known as E.D.L., was an early innovator in the rap-core scene, fusing hip-hop and hardcore into something new, several years before it morphed into nu metal and became ubiquitous on rock radio. The band came from Southern California, and while musically innovative (our featured track also has a slight nod to industrial), they were also not afraid to touch controversial subjects in their lyrics, especially those related to racial relations in the United States, and other social topics and justice-related issues. Their debut album cover featured a scene from the L.A.… Continued →

Welcome to the 1990s, the decade of alternative rock, grunge, flannel, and a time when MTV still played music videos. While the Christian music scene had tons of alternative rock bands, few were as effective as Springfield, Missouri’s Johnny Q. Public. The band found the right combination of distortion, melody, noise, and big rock hooks (but not too big) to make a huge impact on the music scene. They released two albums, 1995’s Extra-Ordinary (for Gotee Records) and 2000’s Welcome to Earth, which was also on Gotee but licensed to the mainstream Roadrunner Records.… Continued →

Lugnut was a hardcore punk band from Northern Florida, only active for a few short years in the late 90s/early 00s. Their sound was somewhat melodic, but they were way too intense and too fast to be pop-punk. Some have called this sound skate punk or new school punk. They only released one full-length album entitled . . . Like the Dickens and a split release with fellow JCHC punk Officer Negative. Both releases were on Screaming Giant Records. In the band’s ashes, members went on to play in a number of other acts.… Continued →

Early 90s indie pop darlings The Swoon have just released a new version of a long-lost track from 1990, originally released on a demo cassette. The band have premiered “Army of Plenty” on YouTube, and have been hinting at the possibility of a new release in the near future.… Continued →

One of the “Big Three” in Christian ska, The Insyderz formed in Detroit, MI in 1995 out of their Salvation Army worship band. Like their counterparts in The O.C. Supertones and Five Iron Frenzy, the band featured a mix of third wave ska, punk rock tempos, and worshipful lyrics. Unlike their counterparts, The Insyderz were the first of the group to release an entire album dedicated to ska-core worship songs. For their second album, the aptly-titled Skalleluia!, the band assembled a setlist of mostly modern praise and worship songs and turned them into ska anthems.… Continued →

Truth be told, heavy metal was my entry point into any kind of independent Christian music. I mean, I started out on Petra, Amy Grant, and Russ Taff as a young teenager, but it wasn’t long before Jerusalem, Whitecross, and Sacred Warrior were taking up my listening space. One of the pioneers of Christian metal was Swedish band Leviticus. The band formed in 1981 in the town of Skövde. They recorded 4 albums, plus an alternative/Swedish language version of their debut, before breaking up in the early 90s.… Continued →

SoCal rapper Peace 586 (born Rene Vasquez) has been hitting the hip-hop game hard since the late 80s (first as M.C. Peace), as a member of the seminal and innovative Freedom of Soul, and through numerous collaborations with artists like S.F.C., Jon Gibson, Scott Blackwell, J.C. and the Boyz, and many others. He went solo following the break-up of Freedom of Soul and released his first solo album in 1996. As impressive as that is, what’s even more impressive is the fact that he’s still been active as recently as 2023, releasing a full-length solo album on his own label.… Continued →

Impossibly difficult to categorize into any nice, neat genre, Norway’s Drottnar originally formed as Vitality, in 1996. They began playing death metal, but changed names when their sound shifted towards black metal. The band’s sound continued to evolve more and more, incorporating progressive and technical elements into something more avant-garde over time, while still retaining elements of black metal, death metal, and other extreme sounds. It is this level of experimentation and excellence that both sets them apart from their peers musically, and simultaneously makes their music less accessible to the general populace of listeners–even amongst fans of heavy music.… Continued →

Paradigm Shift was an electronica duo based in the Dallas, TX metroplex. They released one full-length album (for N-Soul/Velocity) and a 4-song CD EP. Unfortunately, very little is known about the group despite lengthy web searches. And the common group name doesn’t help! The one and only full-length album was self-titled and featured some of the most creative electronica the Christian scene ever produced. In contrast to the over-saturated techno/rave scene as well as the popular praise-house genre (that often tended towards the generic), Paradigm Shift featured a creative take on house/breaks that featured both funky retro and forward-leaning/futuristic sounds.… Continued →

As you’ve undoubtedly already read elsewhere, and seen all over the chrindie corner of the internet, Michael Knott died earlier this week. Much has been written about the man, the music, the iconic artist, so I don’t intend to re-tread any of that ground here. This is a Song of the Day post after all. Nonetheless it does seem fitting to use this week’s SOTD column to feature more of Knott’s work. He wrote and recorded so many incredible albums from the 1980s through the 2020s that it’s hard to pick a “best” or even a “favorite.”… Continued →

While German metal band Chryztyne may have formed in 1990, their sound is pure 80s! Traditional heavy metal with touches of glam/melodic metal abound in their material. The band formed in Karlsruhe in SW Germany in 1990, and released a 5-song demo cassette in 1992. Shortly thereafter, they signed with Pila Music, one of the larger Christian music labels from their home country. Their one and only full-length Tales of Paradise released in 1993 on the label, and featured 11 tracks of pure 80s metal. This, of course, proves the rule that although heavy metal had gone by the wayside–in the wake of grunge and alternative rock–in the United States, it was alive and well in other parts of the world, particularly in Europe.… Continued →

Caustic Eminence was a raw, fast, hardcore punk band from Marion, IN. The band formed when they met as students at Indiana Wesleyan University. They released 2 demo cassettes before issuing the fabulous Another Day, Another Dollar 7″ through Cling Recordings in 1996. Not much else is known about the band other than their recorded output. Their take on punk was fast and furious, raw and lo-fi, contrary to the gamut of pop-punk bands that were popular at the time, which were moving towards more sophisticated sounds and production techniques.… Continued →

Blonde bombshell Windy Lyre appeared seemingly out of nowhere in 1991 with her self-titled debut on Blonde Vinyl Records. Truth be told her connections to alternative Christian music ran deep, but on a personal level, which is not appropriate to go into here. The album was a refreshing display of acoustic alternative, which hinted at folk rock, jangle pop, and in a way preceded the dream pop/alt country craze that swept the middle part of the 1990s and beyond. Lyrics and music were all written by label owner Michael Knott (LSU, Lifesavers, Aunt Bettys, etc.)… Continued →

Tonio K. was one of those hard-to-classify artists. He employed elements of rock, alternative, new wave, singer-songwriter, and more. He was too alternative for the mainstream, but not quite weird enough for indie rock. Let’s just call it rock and roll, shall we? Born in Southern California, the son of Armenian immigrants (born Steven Krikorian), K began his career with garage rock band The Raik’s Progress (who opened for Buffalo Springfield), then played a stint with Buddy Holly’s band the Crickets, but he got his first real break with a publishing deal for Intersong.… Continued →

While the alternative rock revolution was exploding all over the 90s, another musical genre was becoming ever more expansive in the same decade–electronica. Faith-based artists were pursuing new subgenres from house to techno/rave to EBM and lots of other styles. One pioneering artist in the house genre was Rhythm Saints, comprised of husband Stephen Nixon and wife Lee-Jane Nixon. Although Stephen was British born, the couple were based in Los Angeles, whence their inspiration for this track emerges. While most of the album channeled house and progressive house sounds, this track (incidentally the only one I could find from their debut via YouTube) dabbles pleasantly in ambient as well.… 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 →

Poor Old Lu are/were one of the most celebrated alternative rock bands in the Christian scene. They hit at the height of the Christian indie scene in the 1990s, and formed a core unit of alternative rock bands that included The Prayer Chain, Plankeye, Starflyer 59 and a handful of others. Hailing from the Seattle area, the band also had close ties with others in the scene like Pedro the Lion, Damien Jurado, Blenderhead, and even Sunny Day Real Estate (vocalist Jeremy Enigk provided guest vocals on one POL track).… Continued →

Cast in Stone was a hardcore band from California, who recorded their first cassette demo in 1998. Their early material was that old school meets new school subgenre sometimes called “tough guy hardcore.” It’s no surprise then that some of the members also did stints in Sleeping Giant, xDEATHSTARx, mainstream Bleeding Through, Point of Recognition and hardcore supergroup Dodgin’ Bullets. They recorded an EP for indie Warfare Records in 2000, a 3-way split release with Point of Recognition and Torn in Two for Facedown in 2001, and then a final cassette demo in 2001.… Continued →

Early Christian rap is a thing of beauty. Similarly to mainstream rap, early examples–though they give insight to the development of the genre–often suffer from simplistic lyrics, weak production, and/or rapping styles that are now outdated and sound lazy by today’s standards. However, we must remember that the genre took decades to develop. In fact, the early 90s were a tough era for the style. It had started to become mainstream and risked disappearing into a subgenre of pop music until it was rescued by gangsta rap and alternative rap a few years later, pushing the genre to new styles and heights, though not without controversy.… Continued →

Lugsole was a noisy indie rock band from Birmingham AL with hints of post-punk and emo in their sound. Despite a significant number of releases–both independent and label-issued–they remained a fairly obscure act, whose fans were either music critics or diehard independent music aficionados. Recorded output begins in 1995 and ends in 1998, and in those four short years, they managed to release three cassette demos (two EPs and one full-length), a split 7″ with Dear Ephesus, an EP on compact disc via Daddy-O Records (who also released the first Dear Ephesus recordings), and a 3-way split CD with mainstream acts The Paper Chase and E-Class.… Continued →

Okay, Mylon LeFevre is a stretch for inclusion on Indie Vision Music. But hear me out. He wrote a hit song for Elvis Presley in 1964, “Without Him” for the king’s Gospel album How Great Thou Art. He was only 17 when he wrong the song (in 20 minutes according to the songwriter), and was paid $90,000 for it. He walked out with a paper bag full of cash and bought his first car, a Corvette. His connection to Gospel music came earlier, as he performed with his southern gospel singing family The LeFevres.… Continued →

British-born poet/artist/performer Steve Scott has been involved in or connected with Christian alternative music since 1983, having emerged from Croydon (South London) via the Bowery (New York City) before winding up in Sacramento, CA with the Exit Records scene there (Seventy Sevens, Charlie Peacock, etc.) where his debut album Love in the Western World was produced by Steven Soles (of Alpha Band fame). His solo work was a gleefully artistic take on new wave and/or post-punk with literate lyrics that pointed to his art school upbringing.… Continued →