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JFH Staff Blog | ...where the staff speak their minds

Friday, September 23, 2016

20 Years Later - MxPx, 'Life In General'

Magnified Plaid signed to Tooth and Nail Records as high school students in the Bremerton area of Washington State.  While the original trio with Andy Husted didn’t make it past the first album, Mike, Tom, and Yuri have had a pretty successful career.  And while the band has now been together for 24 years, they released their hallmark third record 20 years ago.  Life in General put Tooth and Nail Records on the map in a big way and gave MxPx some serious notoriety, complete with MTV airplay -- especially with the hysterical video for “Chick Magnet.”  Personally, dcTalk’s Jesus Freak opened me up to a whole new world of music.  This new world paved the way for MxPx and similar bands to become the favorites for my formative years right on through to today.  MxPx singlehandedly sparked an undying love for punk rock in me that still burns bright.

These days, MxPx is known as a pop-punk band, and they certainly added a lot of pop elements into their music, but back in 1996, MxPx was way more influenced by skate punk.  The guitar, bass, and drums were set to a blazing pace for most songs and it was in an era just before pop-punk started to dominate the airwaves.  Tooth and Nail had struck gold.  Life in General has so many standards that are beloved by fans and still played at MxPx shows regularly.  “Middlename,” “Do Your Feet Hurt,” “The Wonder Years,” Your Problem My Emergency,” “Doing Time,” and Southbound” really highlight the best of what the album has to offer.  The album’s title is also quite fitting as the lyrics to these songs, as well as the others, are just about life -- generally speaking.  Themes range from love, having fun, minor problems we all face (especially when at that age) in life, to some slightly deeper issues.   

One of the best things about the album is that is still holds up after 20 years.  Those who loved that type of punk rock sound in the 90s will still dig it today, but it also plays nicely to new punk listeners wanting to discover some “older” punk music.  While not every person likes the direction MxPx headed after Life in General and Slowly Going the Way of the Buffalo, most still look back with fondness, or at the very least with appreciation, to the earlier days of MxPx.

The band’s last full-length album, Plans Within Plans, was released 4 years ago.  While the album had some classic sounding tunes and plenty of enjoyable moments, it couldn’t really compare with Life in General.  Even though there hasn’t been a new album in a while, MxPx did surprise fans on September 18th with a completely re-recorded version of Life in General.  There aren’t a lot differences in the song’s recordings overall, but there are some subtle nuances here and there that are different.  As a whole, the biggest difference in the 1996 version and the 2016 version is the tone of the instruments.  The distortion on Tom’s guitar is meatier, Yuri’s drums are bigger sounding, and Mike’s bass seems to stand out in the mix a little more (but not in bad way).  The re-recording is an interesting listen.  It’s the same Life in General, but any fan of the band would pick the songs out as sounding different immediately.  The purest in me is quite happy that the songs stayed exactly the same, but the album is set to modern recording techniques and the band is using their current effects (such as distortions).  It’s different enough to be noticed and appreciated, but it’s the same album.

It’s hard to believe it’s already been 20 years since Life in General was released, but Mike and the guys came up with a pretty cool way to celebrate.  As of now, this download was only available for one day -- September 18th.  If you missed out, see if one of your friends was able to snag the download.  Hopefully the band will release a 20th Anniversary vinyl (with a digital download), or something similar, with this recording.  It would be a shame to put all that work into this project with only some of the fans getting a chance to listen.  The fact that it was a free grab for one day only may just be leading to that type of scenario.  Fingers crossed!  As a long-time fan, though, celebrating 20 years of Life in General with this re-recording has been fun.  Something tells me that I’ll be rocking this record for another 20 years to come.

-- Michael Weaver, JFH Staff Writer

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Sunday, July 31, 2016

JFH 20 Retrospective Part 3 - The Long, Hard Road, by John DiBiase

We certainly take music’s relationship with the internet for granted now. Previously, we had to wait until we could take a trip to a local Christian bookstore or music seller to pick up an album on release day. Now, we can buy the album digitally on our computer or phone at midnight of release day from literally anywhere -- as long as our phone has a signal or we have internet access. 

And back in the late 90’s, record labels were still trying to figure out what to do with online media. At one point, someone at a label (and unfortunately, I can’t really recall which one) told me they couldn’t send us music as often as we needed it because they didn’t believe the internet was an legitimate form of media. 

Ha, times have changed, haven’t they?

But the first record label to really take note of JFH was Forefront Records (home to DC Talk, Audio Adrenaline, Rebecca St. James, DeGarmo & Key, Bleach, etc), and we started up a friendship with the label that would last a few years. In the summer of 1998, while I was helping out the label’s street team (called “The Buzz”) at Creation East Festival, the head of the team offered to help us migrate the site to an official dotcom with server space on NetCentral in exchange for JFH helping to do grassroots promotion for DC Talk’s brand new “Supernatural” album. They'd cover the costs to help us get going and give us any server space we needed. It was a dream come true for a broke 18-year-old Christian music enthusiast fresh out of high school… and since we’re all Christians here, it just couldn’t get any better… right?

JFH front page in August, 2004

Aside from stating the obvious that promises that had been made were not kept, I’ll just say that the experience was a life lesson and an unfortunate one. However, the silver lining to the whole mishegas was that it did help us get the site onto Jesusfreakhideout.com officially (and… by 2001 -- almost three years later -- I was able to fianlly get the ownership rights back to it…).

Life for me has changed drastically since being a 16-year-old kid with a minimal social life who started a very time-intensive website in JFH. I started college in the fall of 1998 and majored in Advertising/Design. And after 5 semesters there, all I knew is that I’d wanted to just work on JFH full-time. I took a part-time job doing web support type work at a local company in 2000, got engaged to my girlfriend in 2001, married in 2003, bought our condominium in 2006, quit that job later that year, and finally took JFH full-time. In 2010, our son Will was born (after a miscarriage the year before), and life changed dramatically yet again. All the while, the music industry was going through its own growth spurts… and then deep dives. Twenty years in, JFH is a part-time project once again and the time I’ve had to spend on it has been cut down drastically from a decade ago. But thanks to the incredible staff of volunteers who help out on a regular basis, JFH prevails. And hopefully it will continue to do so for as long as God allows or wants it to.

So, with that said… here’s to whatever the future holds in store next for Jesus Freak Hideout! Thanks to everyone who has supported us over the years!

 -- John DiBiase (JFH founder / Editor / Writer)




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Wednesday, July 27, 2016

JFH 20 Retrospective Part 2 - The Birth of 'The Jesus FREAK Hideout' by John DiBiase

In early 1996, my family got the internet at home for the very first time (dial-up! Ugh…), and I used to love scouring the new sites on the web dedicated to the individual bands or record labels and the few existing Christian music media sites at the time, like CCM Magazine or a pretty cool little independent one called The electronic Lighthouse Magazine (or “TeLM”). But I remember visiting artist sites and wondering what was newly added to the site, as they didn’t always list what was changed, so I had to spend time browsing multiple pages in an effort to find something new.

On August 13th, 1996, a couple hours before my family was going to take us to a Jars of Clay / Duncan Sheik concert at Tink’s Entertainment Complex in Scranton, PA, I read a tutorial on basic HTML on Angelfire.com and started my own website. I still remember sitting in the car, on the way to the concert, and turning to my dad who was at the wheel and telling him “I started a website today!”

Who knew?

My goal for the site was a one-stop place for all things Christian music. If you wanted the latest news, it’d be there. Tour dates? Sure, I’ll copy them from every artist site I could find and paste them onto one page. (THAT time-consuming idea was short-lived. Ha!) The Yankees won the World Series? (My dad’s favorite baseball team) Sure, I’d slap that on the front page. Why not? It was just a little webpage, but there were no rules as to what had to or didn’t have to be on there.

But that name, “The Jesus FREAK Hideout.” What’s the deal?

Before I started the site, I would frequent the Christian chat rooms at NetCentral.net, and at one point, they offered free private chat rooms. I used to use the handle “Jesus FREAK” in chat rooms, and then got sick of the “Are you a male or female?” questions every time I met someone, so I changed it to “mR. Jesus FREAK” (which didn’t stop some people from asking, of course). When I created a free chat room, I called it “The Jesus FREAK Hideout.” It seemed fitting. I ended up never using it, but when it came time to naming my new little free web page on Angelfire.com, “The Jesus FREAK Hideout” just kinda seemed to work for me.

The following year, in 1997, the site had started grabbing the attention of publicists. I remember the very first press kit we ever received -- it was for the band Eager, which featured one of the original members of one of my favorite bands, PFR. But in addition to PR, the JFH started also getting the attention of record labels. And the very first label to contact us would change the course of the site’s history forever…

 -- John DiBiase (JFH founder / Editor / Writer)




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Sunday, July 24, 2016

JFH 20 Retrospective Part 1, by John DiBiase

Twenty years. It’s kind of amazing to even think about doing ANYthing for two decades. I’m hesitant to say “any job,” because Jesus Freak Hideout was born out of a passion for something and was never meant to be a job – even if that’s what it did become for some time.

I had always grown up with a knowledge of Jesus and what He meant to us, but I didn’t really invite him into my life as my Lord and Savior until the early 1990s. And then, my mom’s love for the classic rock act Foreigner and a list of “If you like this artist, then try this Christian artist” in a magazine called “YOU” lead us to a Christian bookstore where we could listen to demos of Christian music and pick out music we were interested in.

It all started with a band called Idle Cure. They were popular in the early 90s for being a Foreigner sound-a-like with an overtly Christian message (and it’s a slightly guilty pleasure to revisit those albums from time to time ;) ). After we exhausted the Idle Cure discography, return trips to the bookstore cultivated a love and appreciation for Christian music we’d discover – not on the radio, mind you – but via demos and magazine articles and advertisements (and endcap displays at the store). I also loved a Christian music video show called “Signal Exchange” (which was hosted by the super talented Cory Edwards, who went on to direct an animated film called Hoodwinked years later). It was through that show that I’d see music videos by artists like Audio Adrenaline, Dakoda Motor Co and Switchfoot and would soon fall in love with each of those – and many more.

I’ll save you ever minute detail in my personal history of being introduced to Christian music, but the fact is, these artists – and a burgeoning love for Jesus – sparked a passion that still remains today (although it’s certainly changed).

Which was the first CCM artist you ever heard (that introduced you to Christian music)?


-- John DiBiase (JFH founder / Editor / Writer)



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Tuesday, July 05, 2016

A Look At The Lyrics Of Jon Foreman, Part 2

No Cheap Inspiration Here

A Look At The Lyrics Of Jon Foreman, Part 2


In September, I released Part 1 of a look at the lyrics of Jon Foreman and Switchfoot. With Switchfoot just about to release their 10th album, Where The Light Shines Through, and Foreman having released a steady stream of great EP’s over the last few years--and to honor such a prolific and heartfelt songwriter--I’d like to examine the Jon Foreman songs and lyrics that mean the most to me. This is part two of a multi-essay (okay “blog”) effort to wrestle with the life of the mind, with what happens when other’s art and your own heart collide. You can read part one of this series here

This Is Your Life (From The Beautiful Letdown) 
“This is your life / Are you who you want to be?”
Socrates is reputed to have said "the unexamined life is not worth living." Yet so much of the time I'm not really giving much thought to why I do what I do. It's all too easy to fall into familiar patterns or let my desires control what I do. Some call it "the chasing of the belly and the bowl." And all that unexamined life can lead you to being the shell of a person, broken and wondering how you got here, shipwrecked. "Where did it all go wrong?" you think.
That may be overly dramatic, but so is breaking down on the roadside after you've been ignoring the "check engine" light for a month. You knew there was trouble, all the signs were there, but there were just other things to do. (And sometime, in my younger years, I would just turn up the music if my car was making a funny sound.)
But asking yourself hard questions is important. There are only so many days in your life left, and if I want to “live them well.” I have to ask the questions and pray the hard prayers. “Lord, search me, is there more you have for me?”
I’m about to hit the big “four-oh”, and asking myself this question everyday is critical.  
“Live It Well” (From Where The Light Shines Through)
“Life is short / I want to live it well”
“Teach us to number our days” the Psalmist says. The clock is ticking down, and all those years you thought you had are drifting away, minute by minute. My life is short (especially measured against that rock my daughter found on our hike the other day, or that massive oak tree we passed).
Foreman hits this theme time and time again over the course of his band’s albums, but he never ceases to find new ways to say it. If you combine that important sentiment against the swelling, U2-like structure of the song, and you get an anthem that not only uplifts, but challenges. Theme songs don’t come much better than this. It’s the soundtrack to my days this summer; getting in shape, loving my family well, working hard at the gifts God has blessed me with.
May we all “live it well”.
“Company Car” (From New Way To Be Human
“I've got the company car / I'm the one swinging at two below par
Yeah, I've become one with the ones / that I've never believed in
But I've got the company car”
In college, I had the nicest car I will probably ever own. It was a sporty black Saab that was completely ridiculous and bought with trust fund money that should have been spent on something more practical, and modest, to drive. I stood out like a sore thumb at my Bible college, where most ministry majors were driving beat up cars and focusing on more important issues.
But I thought I needed to have it. In my insecurity about who I was, a flashy car seemed like some kind of answer, and since I could buy it outright, why not?
What you drive is a measure of success here in the U.S., and Foreman’s lyrics about a person who thinks they’ve made it because they are driving the company car (most likely a car that is nicer than one they could afford) speaks to the vanity and confusion of our times. A nice car is nothing to live for. It rusts eventually. The motor goes south and all you have left is the payments. 
Foreman has long made status symbols a theme of his writing, with terms like “Lexus cages” sprinkled throughout. On each album, you can count on at least a song or two where Foreman is urging his audience to live for more, and it’s a theme that cannot be overstated. Life is about so much more…
“Adding To The Noise” (From The Beautiful Letdown)
“If we're adding to the noise / turn off this song 
If we're adding to the noise / turn off your stereo, radio, video…”
The 21st century is sure noisy. And it’s become even more so in the 12-plus years since this song came out in 2003. There was no social media then (not in the way there is today) and there was still music on MTV. But Foreman got this right. If the stuff we consume just adds to the chaos of our lives, it’s time to turn it off.
Silence is going to be the great currency in the future, the thing that people crave and will seek out. And the reality is that the Lord’s still small voice comes through best in silence. Elijah in the cave sat through a tornado, an earthquake and a forest fire, but the Lord was not in those things. I listen to music a great deal, and much of it is music that relates to my faith directly. But turning it off to listen is imperative now and again.
Learning To Breathe (from Learning To Breathe)
"Hello, good morning, how you do? / What makes your rising sun so new?
I could use a fresh beginning too / All of my regrets are nothing new
So this is the way that I say I need You / This is the way that I'm learning to breathe"
A fresh beginning is another constant theme with Foreman. “Dare You To Move” (“I dare you to move like today never happened“) and “Always” (“every breath is a second chance”) hint at this theme too, and show Foreman to be a man who is in touch with his sinful nature. 
And there’s not a day that goes by that I don’t need a new beginning too. Grace says that there is always a fresh start, always a cleared path ahead of you if you will only ask for it. Sometimes it's easy to get in a funk when personal failure and you are intimate friends. But as the book of Proverbs says “a righteous man gets up seven times”. It’s about the getting up and not the falling down. Because falling down is pretty much guaranteed. It’s those who finish the course that change things. 
Grace says “get up”, I’ve got this, you just keep going.” And as I grow as a believer, I realized that grace is the constant wind in my sail that I forget is even there. Growth is realizing how free I am because of Christ‘s death on the cross, free to fail, free to get back up again. It’s not up to me, so why pretend that it is.
It’s like breathing, sometimes you have to remember to do it. Learning to live in grace is learning to breathe, learning to do something naturally. If I lived in grace, and showed it in everything I do, if I reflected the grace I’ve been shown, how would that change things, my relationships, my work?
It would change everything…
Thank you, Jon Foreman for constantly making me think, reflect and sing along at the same time. I’m looking forward to seeing you in concert this summer.

 -- Alex Caldwell, Jesusfreakhideout.com staff writer


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Wednesday, May 04, 2016

Great Comfort Records - A Labor of Love with Lenny Smith

Great Comfort Records is an indie label that has been releasing organic indie projects since 2009. Founder and singer/songwriter Lenny Smith spoke with us recently (interview below) and shared seven releases with us from Great Comfort Records catalog (starting with two compilations from 2009), as well as a solo release from Smith from 2000.

Looking over the collection of records, we'll start with Lenny Smith’s Deep Calls To Deep; the album is an independent release (pre-Great Comfort days) that has a southern, folk sound. Lenny captures a bit of the essence of Johnny Cash in his work, while resembling a hint of Burl Ives, vocally.

The first Great Comfort releases--the two compilations from 2009, Come O Spirit! Anthology of Hymns and Spiritual Songs: Volume 1 and Salvation Is Created: A Christmas Record from Bifrost Arts--are a nice mix of indie artists and even some well-known names. There’s a quirkiness to most of the music that Great Comfort Records offers (which isn’t surprising, considering their affiliation with the eccentric Danielson Family) and there’s a little here that’s carried over into both of these collections. My favorite of the two is the hymns collection, Come O Spirit!, which even opens with a track that features Leigh Nash of Sixpence None The Richer fame. Other notable performances include songs from Kate York, Denison Witmer and The Welcome Wagon. Salvation is Created is a Christmas compilation that is more melodic than most of the Great Comfort projects, but still has a very unique presentation that’s outside of the norm or what’s expected for Christmas music. Derek Webb even makes an appearance on this collection.

Next we have Glen Galaxy’s 2011 album, Thankyou. This may be one of the more out-of-the-ordinary worship albums you’ll lend an ear to. All of the songs came together in worship at the Abiding Place Church in San Diego (as the liner notes detail), and the album offers a folky acoustic styling with layered vocals by Glen and unusual sound effects and instruments adding texture throughout the album. The multiple layers of gritty vocals aren’t intended to harmonize, so it sounds a little dissonant at times (and there’s a surprising amount of lyrical water references that may rival Dan Haseltine and Jon Foreman), but overall the album remains refreshingly unique.

In 2012, Lenny Smith released a new worship album, Who Was and Is and Is to Come, which incorporates female accompaniment into the mix on much of the album. It’s a higher quality recording overall than his 2000 release, and offers a nice mix of folk, rock, a little rockabilly, and even a softer approach, like in “Arise My Love,” which is one of the album’s best.

Possibly the oddest of the albums is Frog In The Reeds’ 2013 album, Walking Tour of Spiders in the Woods. Quirky may be the best way to describe this one, which features female fronted vocals from Mary Brewer in an often dissonant manner. However, songs like “Driving and Smiling” are more tame and melodic. The lyrics are also rather dreamy and strange, as evidenced in the song “Fish Tank Dream,” where Brewer sings, “You are keeping my cat alive / In a cellar closet / Must have gone through 40 lives.” But most of the lyrics are quite worshipful, like this line in “Melt Like Wax,” “He is a light to expose all, see and tremble / Praise Him who keeps the soul of those / Who bow before Him… The mountains melt like wax before the Lord of all the earth.

Finally, we have 2015’s Sing To Your Mountain by Rachel. Rachel Galloway is a mult-instrumentalist who performs guitar, ukulele, keyboard, flute and bells on her album. Stylistically and vocally, Rachel reminds me of Bon Voyage meets Dakoda Motor Co. There’s some surfer rock (“Oil of Joy”), but most of it is acoustic based and rather dreamy. Lyrically, the album is very reverent and worshipful.

If you’re looking for music out of the norm for Christian music, you need look no further than Great Comfort Records and their eclectic array of music makers. For more details on all of these artists and for the latest on what the label is up to, visit www.greatcomfortrecords.com

I also spoke to Lenny Smith about the label and his own music career...

John DiBiase (JFH): Why did you start Great Comfort Records (and how long ago)?
Lenny Smith (GCR): Years ago, Daniel (Smith) and I used to have monthly meetings at a local barn-like structure.  We called the meetings, Great Comfort Evenings.  When we decided to start a worship label, Great Comfort Records seemed like the right name.  We started the label in 2009, initially to be able to offer the Bifrost Arts albums to the wider church.  We later added titles and continue to add titles.
John (JFH): How long have you personally been making music?
Lenny (GCR): I started writing worship songs and leading worship with my guitar in 1965 while in Mt. St. Mary's Seminary, Emmitsburg, Md.  My son, Daniel, started his music career in high school and college bands, eventually starting the Danielson Famile band with his siblings.  He now owns Sounds Familyre Records and Familyre Studios.
John (JFH): What inspires you the most when making music?
Lenny (GCR): Most of the time, I am first moved by lyrics, which I later try to put to melody.  Occasionally, a rhythm will grab me first, but usually inspired words move me to write a song.
John (JFH): Do you have a process for working with artists for Great Comfort Records? Also, What have you learned about music-making from your experiences with the label and other artists on it?
Lenny (GCR): We are not actively looking for artists, but we are open to signing artists.  We find that few nowadays know how to write real melodies that actually go somewhere and even fewer can add to that inspired, poetic lyrics.  However, when we find them, we want them.  I personally think songwriters need to read poetry on almost a daily basis.  Worship songwriters need to also read theology and spend lots of time in the Bible.  I am really done with shallow praise and worship songs.  My heart now is all about songs TO God, ABOUT God.  I don't want to sing about me very much anymore.
John (JFH): Are there any new releases on the horizon for Great Comfort Records? Or any other exciting happenings?
Lenny (GCR): My own new album of original songs will be released around June, followed by a new album from Rachel in September of this year.  We will also be releasing a compilation album of 16 songs by 16 different writers/artists.
John (JFH): What are your thoughts on the current state of Christian music - or music in general?
Lenny (GCR): Christian worship music has become entertainment because the leaders are choosing a bad paradigm.  God is not sitting on a throne, watching and enjoying us as we sing to Him and dance about and raise our hands in adoration.  That would put us on the stage and God in the audience....as an Audience Of One.  Reality is just the opposite.  We Are The Audience, watching God performing his cosmic show of provision, guidance, healing, restoration, creation, evolution, adaptation, recovery, inspiration, and on and on,  wonder after wonder.  WHEN we see His deeds and His nature, we rise spontaneously to our feet and applaud and cry-out "Wow!"   We could call our response "worship."   True worship is not an action, it is a reaction.
John (JFH): Any other comments?
Lenny (GCR): We here on earth are just imitating what has been and is going on in the heavenlies, singing and praising and worshiping our Maker.  Even here the birds and the whales and the elephants, puppies and babies are worshiping their Maker. The church is actually late coming to the party.  In fact, most of the church doesn't even know the party has already begun.  They are waiting for the rapture or death before they join the banquet.  I blame the teachers, not the people.  Our teachers are mostly self-taught and have embraced a pop-Christianity, or are stuck in traditional structures that will not allow the Holy Spirit to improve and refine their thinking.  Yet, we progress steadily :)


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Wednesday, April 06, 2016

Switchfoot And Needtobreathe - The Spurs and Warriors of Christian Music


Music And Basketball:

Switchfoot And Needtobreathe - The Warriors and Spurs of Christian Music 
There are a few distinct things I’ve been a fan of since childhood (good books, good movies, good Chinese food etc.), and chief among them are basketball and music.
There were no real outdoor courts in my small Maine town growing up, so my crafty father built me the most beautiful and rugged outdoor court you have ever seen. I spent hours a day firing away at that hoop, imagining hitting buzzer beaters and playing one-on-one against whoever was around that day. To this day, a hoop in the driveway is a mandatory item for me, and my daughters and I spend a lot of time out there when the weather is cooperative.
Likewise, music was a huge part of my childhood. My parents owned a Christian bookstore during a pivotal period of my life, and brought home new music pre-releases almost weekly (early Michael W. Smith, Petra, Whiteheart etc.). I’d put my huge boom box (remember those?) out by the hoop, and that made for a killer afternoon in my world.
To this day, music and basketball make up a huge percentage of whatever “free time” I have, and I try to work them into the daily lives of my family, to try to pass on the love. (No pressure here girls.) I coach my girl’s basketball team in the winter months, and one of my favorite things to do is making practice play lists to blast during warm ups and drills. It makes the cold gym that much warmer, and that much more positive a place. This year Blanca, Britt Nicole, Tobymac, Owl City and Capital Kings made up a good chunk of the tunes cranked out, and it was also a neat, non-threatening way for my family to spread the gospel and to talk about our faith. 
I also love to watch basketball, and this year in the NBA, there were two teams that were heading towards breaking the all-time wins record for a season, held by the Michael Jordan-led 1995-1996 Chicago Bulls, who went an amazing 72-10. 
Both the current champions, The Golden State Warriors, and former champs before that, the San Antonio Spurs, had a chance to beat that record, (the Spurs are now out of the running, but the Warriors still have a chance to do it), and watching two teams play the game to perfection, with all the right kinds of passing, defense and  selflessness on display, is a fan’s dream come true. Two teams doing it is a one-in-a-hundred years kind of thing, like Babe Ruth and Lou Gehrig going after the home runs record in baseball while being one the same team nearly 80 years ago. 
Which brings us to the music.
Though it’s not a “competition” in terms of the art, Christian Music (loosely defined as music that is created by Christians and gets play in that genre’s outposts, though both bands mentioned here exist in a few different genres) has a version of these two teams; artists who seem to be at the peak of their game, releasing a string of great albums and songs that show spiritual rock and roll at its best and most uplifting.
Since both bands have topped JFH’s “Best Of” album list in the past few years, and both are releasing new albums this July (also, they just toured together at length), the two bands seem inexorably linked, and discussing them together just makes sense.
For Needtobreathe, I think their current hit streak goes from their third album (The Outsiders) to their last one (Rivers In The Wasteland) and quite possibly their upcoming one as well (July’s Hard Love). Switchfoot has been in full stride since Hello Hurricane.
The depth and creativity of the songs these two groups have released in their “prime” stand alongside the best in any period of Christian music. Switchfoot’s “Your Love Is A Song”, “Love Alone Is Worth The Fight”. “Vice Verses” and “When We Come Alive” are just four examples of the kinds of theologically rich, soul-searching songs that represent true artistic and spiritual depth. (Likewise with Needtobreathe’s “Something Beautiful”, “Lay ‘Em Down”, “Keep Your Eyes Open”, “Difference Maker” and “Brother”.)
Add to this some great cultural commentary (one of rock and roll’s great tasks) in Needtobreathe’s “White Fences”, “Where The Money Is” and “Money And Fame” and Switchfoot’s great take on the fear mongering of the modern news cycle (“Selling The News”) and the Church’s bad habit of emphasizing Heaven to the detriment of spiritual engagement down here (“Afterlife”), and you get two fully-formed artists plumbing some great depths of the human condition. 
And what I think is the greatest achievement of both these bands, is that they have managed to exist simultaneously in the secular marketplace (I hear both on the overhead speakers at my local grocery store) and Christian music marketplace alike. A song like Needtobreathe‘s “Brother” hits on a universal truth that we all need each other, (like the theologian R.C. Sproul said, “all truth is God’s truth”) and is the kind of unique song that crosses over barriers. (Likewise with Switchfoot’s anthemic “Love Alone Is Worth The Fight.”) I wish more “Christian” bands could write these kinds of universal songs that show the depth of what it means to be a follower of Jesus. (Like Switchfoot’s Jon Foreman said to The Rolling Stone, “We’re Christians by faith, not by genre.”)
But it is also refreshing to turn on Air 1 radio and hear Needtobreathe and Switchfoot, (and to see them at my local Christian music fest.) They represent some of the best music on that station, and they are comfortable in that world too, doing interviews and “behind the music” background spots. I’m glad they make an effort to be in this neck of the radio dial too.
Both bands represent the best of what good art in the hands of a believer can do, and that they are both firing on all cylinders at the same time is a unique moment to be savored. 
This July can’t come fast enough...

 - Alex Caldwell


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Saturday, February 20, 2016

Revisiting Audio Adrenaline's 'bloOm' and Newsboys' 'Take Me To Your Leader'

The consumption of music has changed immensely in 20 years. In early 1996, I remember hearing new music from Audio Adrenaline and Newsboys in tiny snippets on their new websites on the internet--which was a surreal and entirely new way of hearing music at the time. I remember hearing how raw and edgy the music sounded from both bands and getting really excited for what was ahead.

On Tuesday, February 20th, 1996, I remember going to my favorite local Christian bookstore to pick up copies of both Audio Adrenaline's "bloOm" and Newsboys' "Take Me To Your Leader." I also remember getting my hands on a free "Take Me To Your Leader" promo poster from the music section of the store and standing on my bed to hang it in on the wall in my room while listening to these albums (on the stereo on my desk) for the very first time.

Not only were these two very popular Christian musci acts that you could hear singles from on the radio, but they were rock bands. And it was a time when the music--at least to this writer--felt gritty and real, and lyrically visceral. A song like "Lost The Plot" from Newsboys was not a typical song you'd hear from a band like them -- and especially not now. Co-written by the band's drummer and co-vocalist Peter Furler and producer Steve Taylor (who currently fronts Steve Taylor & The Perfect Foil with Furler as the band's drummer), the song was a clever rock ballad about the complacency of many believers... something that's far too relevant today still. Check out a portion of the lyrics here (and the full song lyrics here):

Let's be blunt.
We're a little unfaithful.
What do you want?

Are you still listenin',
'Cause we're obviously not.
We've forgotten our first love.
We have lost the plot.

And why are You still calling?
You forgave, we forgot.
We're such experts at stalling
That we've lost the plot.

There's still new music today that releases that's worth curling up on your bed and listening to while pouring over liner notes and digging into the music deeply, but it's a rarity--not only because music has changed so much (and the politics of how it's created and released), but because the WAY we consume music has changed so much too. We're less likely these days to have a musical product to hold in our hands to immerse ourselves in, considering how we can just instantly download the music to our phone, mp3 player, computer, etc at midnight on release day morning instead of having to wait to get to a store to grab a CD, cassette, vinyl, etc.

But, two decades later, I think these two albums have held up tremendously well. Unfortunately, Audio Adrenaline is virtually no more, existing mostly in-name-only with all new members and a more contemporary/worship sound (Original vocalist Mark Stuart had to quit due to vocal ailments), and Newsboys sound immensely different with DC Talk's Michael Tait on vocals (and there being a much greater focus on worship songs), while the rest of the members in the current band were present for "Take Me To Your Leader." Music production has also changed dramatically, with these albums displaying little imperfections and sound changes that wouldn't make through a pass in ProTools these days (You can actually hear the volume shift lower near the end of Newsboys' "God Is Not A Secret"). Even the structure of how albums were created and laid out has changed dramatically. Due to musical vendors like iTunes where you can buy just one song from any given album, labels and bands have had to rethink songwriting to try to write each song as singles.

These albums most certainly hold a special place in this reviewer's heart, especially since they were significant chapters in the soundtrack of my teenage years. And they're excellent albums to revisit to this day.

Do you own either of these historic records? Sound off with your favorite songs and memories below! We'd love to hear about them.

-- John DiBiase


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Friday, December 25, 2015

Alex Caldwell's 2015 Staff Picks

Being a music reviewer (or film or any other kind of art) can be a downer at times, because your intake of mediocre art can be too much. If you let it get to you, then you can wonder if there is anything good happening in your little corner of the music or art world, like somehow all the lights are slowly going out and you’re standing there trying to make sense of what is happening. 

So it’s a needed joy to take into account all of the things you liked in the year that has past. It’s refreshing to unabashedly talk about what you thought was great art, and why it has lightened up your soul. Good music can be the best thing in the world. It can speak to your heart and brain like few other art forms, and when you bond with a particular piece of art, it comes to feel like an old friend. Many of the albums on my list already feel like that, like I’ve been listening to them for a long time, though they may be only a few months out of the proverbial womb.  

And if your list, like mine, contains a lot of your long-time favorite artists, then it's critical to ask the question, “Do I love this album because I love the artist?” (in the same way I love one of my young daughter’s drawings because I love who it came from), or is this truly a stand-out piece of work that changes my life (not to put too dramatic a point on it). 

It’s a salient question, and for me, the question of my musical year. With all these returning artists on my list, what is it about their latest offering that got me so jazzed up? It’s hard to separate the love of the artist and the love of the album, and knowing where one starts and the other stops is difficult. It’s a subject worth tackling. 

By my mental arithmetic, eight of the listees (including honorable mentions) are "old friends" of mine (Andrew Peterson, Plumb, Jon Foreman, Matthew Perryman Jones, Mat Kearney, Josh Garrels, Burlap To Cashmere, Sara Groves), two are "acquaintances" that are rapidly becoming "good friends" (Rend Collective, Andy Mineo) and two feel like an artist I just met at a party and had a terrific conversation with (Lauren Daigle, The Gray Havens). So old friends and new, you all made my 2015 a year to remember by putting out the very best offerings these ears of mine heard. It’s a list of what I liked, not a defining “best of” anything (Adele, Darlingside, Mutemath and Coldplay put out a really great albums in the mainstream, too), but a list of spiritual pop that made my heart sing (and convicted it too) and my mind think deeper, rounder thoughts.




1. Lauren Daigle - How Can It Be

It’s pretty easy to write off a pop album. An “Album Of The Year” should be “dark” and “weighty” and have some kind of epic artwork that shows snowy mountains in the background, or so goes the conventional thinking. But I’ve been writing about music for almost twenty years now (thank you college newspaper!) and I can usually identify my “album of the year” upon first listen, and this year was no different. I liked Lauren Daigle’s song “How Can It Be” on the radio in the late winter, but it didn’t knock me out right away. The Adele comparisons were there, but when I queued up the album, that voice just filled up the room and the songs were a perfect fit. “First”, “Come Alive (Dry Bones)”, “O Lord” and “Salt And Light” are dynamo song sung to pieces by Daigle. Add to this the fact that she was the writer (or co-writer) of 90% of them, and you get a home run the first time at bat. 

But the prospect of such and overt pop album being the best thing I heard this year troubled my egotistical writer’s nature, and I had to find something else. This couldn’t be it. What would the other critics say?

So I searched. And I searched some more.

I thought that Andrew Peterson’s “The Burning Edge Of Dawn” might be the challenger I longed for. And for a while there, it was touch and go. To break the stalemate I took both albums on a long drive with my lovely wife and listened to both back to back. Julie and I both agreed that Peterson’s album was great, but I didn’t hold together the way Daigles’ does, it doesn’t burst out of the speakers in quite the same way.

So I pulled into my driveway, switched off my minivan and accepted that the best thing I heard this year was a pop album that I never expected. Thank you Lauren. Your tunes were an encouragement to me and my family all year.

Before I bring my need / I will bring my heart / before I lift my cares

I will lift my arms / I wanna know You / I wanna find You / in every season

in every moment / before I bring my need / I will bring my heart / and seek You first



2. Andrew Peterson - The Burning Edge Of Dawn

I was eating in a restaurant with my family after a particularly tough basketball practice for my girls, when I saw that there had been another mass-shooting in California. I quickly asked the waiter if the TV could be switched off for a while so that my family could just eat in peace and enjoy each other’s company on a rainy Tuesday night in late November.

If only the evil in the world (or in my own heart) were that easy to turn off. But it will plague us till this world is made new again. But I’m tired to trying to explain evil acts, like a mass shooting, to my two daughters. I long for a day when there is only good news continually. Andrew Peterson has made this theme the strongest thread of his career. From his first album fifteen years ago to now, the longing for the world to be made new again is common thread through all his music (and books too) and is a message that will not, till that final day, be irrelevant.

I’ve been waiting for the sun / to come blazing up out of the night like a bullet from a gun

Till every shadow is scattered, every dragon's on the run / oh, I believe, I believe that the light is gonna come / and this is the dark, this is the dark before the dawn  

3. Plumb - Exhale

Plumb is always a welcome voice in my house, and Exhale is an excellent worship album that comes from a hard-won bit of hope. Plumb has made no secrets about her difficult few last years (she’s written a book about it) and the lyrics to the title track, along with its fantastic melody and soaring, honest delivery, make it one of the best worship moments of the year. The rest of the album matches suit.

Just let go let His love wrap around you / and hold you close / get lost in the surrender

breathe it in until your heart breaks / then exhale / exhale

The world of Christian Music could use a lot more albums like Exhale; albums that portray an honest journey of faith and doubt, of hope and pain. In the near-future, when a veteran artist's sound, sensibilities and history collide like they do here, the result should be compared against this album as the metric of how to create a worshipful document of God's faithfulness through personal upheaval.

4. Jon Foreman - The Wonderland EPs

Though I always miss Switchfoot when he plays without them, Foreman is one my favorite lyricists and songwriters of all time, and I always welcome a visit from him. The Wonderland EPs are an epic idea for an album cycle that never quite matched its ambition to its songwriting. But it is still great in many places, and there are wonderful, folky songs all around, especially “Patron Saint Of Rock And Roll” (There’s a park downtown / where the homeless get ignored / where the church next door is a crowd

singing “Blessed are the poor” / where the Mercedes drive away / muttering, “druggies, drunks and whores” / where the bumper sticker displays / “My copilot is the Lord”) and “Your Love is Enough” (Who can find me in this darkness? / who will alone can help me stand? You could find a way to find me / even love me as I am / your love is enough

Your love is enough)


5. Mat Kearney - Just Kids

Kearney is five for five (or “four-and-a-half“) with quality albums, and he continues his run with the theme of taking a hard look at the past, then saying goodbye to it. With Just Kids, Kearney takes his most in-depth look at the subject yet. “Hearbreak Dreamers”, “Moving On” “Black Sheep” and the title track mine the fruitful subject of what it means to truly “grow up”. With shades of Paul Simon’s wondrous Graceland album, Just Kids is an opus to what it means for “life to be too short to stay where you are.”

And the best part of the whole package? Kearney’s hysterically terrible dancing in the Heartbeat video.

6. Josh Garrels - Home

How do you follow up one of the most ambitious albums of the last ten years, the one that put you on the map and won you legions of loyal fans? Well, if you're indie sensation Josh Garrels, you go slightly smaller. Home, the follow up to the massive (both in scope and theme) Love & War & the Sea In Between, is a decidedly scaled back effort, though not without its loud moments and big theme. But gone are the booming instrumental sections and dense word-play, and in their place are slightly mellower tunes reminiscent of Garrel's earlier releases, like Jacaranda and Over Oceans. But if album titles are any indication, Home was almost destined to be a more down-home work that the epically-titled Love & War.

7. Rend Collective - As Family We Go

These clever lads and lasses from Ireland have energy to burn, and they do it in service of some of the most upbeat and charged worship songs around. As Family We Go is pure nitro from the first song on. It would be nice if they moderated their tempos a bit, and I look forward to a slightly more nuanced batch of songs. (Actually, their Christmas album has a bit more depth of sound, which portends good things ahead.) But for pure uplift, Rend Collective is the place to go. The film companion for this album is one of the best intros to the band that you could get, and serves to fire me up if I’m finding myself dragging spiritually that day.



8. Sara Groves - Floodplain

Sara Groves is a quiet treasure of an artist, one who doesn’t overwhelm the senses at first, but grows on each listen. She’s like a gourmet meal, and Floodplain is a wonderful course in that meal. With a strong theme of battling anxiety and depression, Floodplain mines a fruitful geographic metaphor to talk about how some people’s lives are lived with a level of anxiety that most of us could never dream of.

Some hearts are built on a floodplain / keeping one eye on the sky for rain / you work for the ground that gets washed away / when you live closer

May we have compassion on those who’s emotional makeup is different than ours.


9. Andy Mineo - Uncomfortable

Live it up, live it up / nobody ever told us we could die like this

Live it up, live it up / corrupted by the comfort we (love, love)


Andy Mineo takes on false prosperity gospel straight on all throughout Uncomfortable, and it’s a welcome broadside against the subtly-evil teaching that God wants to bless you to the point of constant leisure. Now for sure, an over-correction can cause folks to be martyrs and reject all pleasures, Puritan style. But one of art’s best roles to play is to speak truth to power, and Mineo speaks (and raps, spits, sings and yells) loudly against an American Christianity all to often (and I’m including myself in this critique) more concerned with comfort and safety than in living the kind of life that Christ did. Being uncomfortable from time to time is a sign you’re heading in the right direction


10. Burlap To Cashmere - Freedom Souls

Veteran artists crowd-funding their new albums continues to be a great story in the world of music. Signed to Steve Taylor's influential indie label Squint (home of such great artists as Sixpence None The Richer and Chevelle) back in the late 90's, Burlap wowed audiences the world over with their breakneck acoustic mix of folk (particularly the Greek, World Music kind) and rock and roll, and sold over a half-million albums on their first trip up to bat. Lead singer and main songwriter Steven Delopoulos's meditations on the darker sides of spiritual life, combined with worshipful moments, made for a potent stew that continues with Freedom Souls, the band's latest release.

Freedom Souls is an excellent record, full of both bold, eclectic music (filling a particular need in a Christian Music scene filled with so many sound-alike artists) and a strong, story-like theme of wandering and redemption.

Music is one of God’s best gifts, and I’m glad to reflect on all the great albums and songs that have moved me (in many different ways) this year.

Have a great 2016, and may your ears keep finding good things to hear.

--Alex "Tin Can" Caldwell


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Sunday, December 13, 2015

Christopher Smith's 2015 Staff Picks

2015 may not have been the most exciting year for Christian music, but there are plenty of albums released that are worth celebrating! These 10 albums have impacted me in some way, whether they have challenged me to draw closer to Christ, made me think from a different perspective, encouraged me in my faith, or even just entertained me. I’d love to hear what your thoughts are on these albums! Have any of them made your personal list? Are there any you haven’t had a chance to listen to yet? Let me know in the comments at the end of this post :)

1.  Fire & Stone, The Gray Havens - The Gray Havens, a new indie band made up of husband and wife David and Licia Radford, have crafted a masterpiece with their debut LP Fire & Stone. Most bands need time to grow and mature before they put out something they are truly capable of--just look at the DC Talk, or even more recently Lecrae. The idea that Fire & Stone is the beginning of The Gray Haven's journey is extremely exciting to me. With lyrics that are thought-provoking, beautiful, moving, clever, and lighthearted, they present the Gospel in a poetic and artistic fashion. This is matched perfectly with their self-defined "narrative folk-pop" sound which contains so many musical intricacies that only dozens of listens could possibly uncover. This has been the go-to album for car rides with my wife, serving as pleasant background music or as a catalyst deep conversation. I've recommended it to just about every person who has asked me about new music this year--it is really an amazing piece of art. If you don't believe me go check out their Soundcloud or Bandcamp page where you can listen to the songs for yourself.

2.  Mansion, NF - This young rap artist completely blew me away with his raw emotion and hard hitting beats. Mansion the only rap album to make my list this year (I haven't taken the chance to listen to Derek Minor's Empires all the way through and Andy Mineo made my honorable mentions), but man is it a good one. Of the 70+ reviews I've written so far for this site, this is the only one I've given a full five star rating. This album gets me excited every time I put it on, but it is also hard to put it on repeat because it so ridiculously weighty. The whole album is rock solid, but I especially love the songs "Paralyzed," "Face It," and "I'll Keep On." Side note: I found it quite funny how "I'll Keep On" was such a success on Christian radio. I was definitely happy to hear that people were hearing this amazing song, but it is by far the only "radio-friendly" song on the album. I can't imagine how many people bought the album for that song and startled themselves with the intense drop on "Intro."


3.  Falling Up, Falling Up - It was hard enough to materialize words to describe this album the first time for a review, so I don't even want to try to do it again. Here is my 2 cents review: "On Falling Up's self-titled final album, lead singer Jessy Ribordy's delicate, emotional vocals are paired with stunningly beautiful and dynamic experimental rock landscapes to create an otherworldly musical experience. The meanings of these songs may be elusive to most, but these masters of the mysterious still manage to captivate with their extraordinarily intricate world of silver lawns and moon dogs. Falling Up's evolution over the past 11 years has been intriguing to witness, and it is only fitting that they close their journey with one of their most remarkable achievements to date." On a somewhat related note, their acoustic EP with five different versions of these songs and a B-Side called "The Harbor" make a nice accompaniment to this album.


4.  Blurryface, Twenty One Pilots - This band is one of a kind. They aren't being marketed as a Christian band, but their lyrics are saturated with their faith. Tyler Joseph, who makes up half of Twenty One Pilots, is a fascinating front man who leaves a strong impression with his creative lyricism, energetic delivery, and heart-on-his-sleeves personality. The drum beats, courtesy of former live drummer of House of Heroes Josh Dun, are ridiculously fun and dynamic, and definitely part of the reason this music that makes it so addictive. They also do whatever they want. Ukulele? Sure! Time change? Done. There are no rules here. Blurryface was my first exposure to the phenomenon of Twenty One Pilots and while I've since checked out their label debut Vessels, there is something truly exceptional about this one.


5.  You Were Never Alone, Emery - If you know anything about me, you know that I love rock music. It's easily my favorite genre. I recently named my Top 15 favorite artists of all time and the top 5 are all rock bands. The past few years have been somewhat disappointing for the genre, but as long as bands like House of Heroes and Emery exist I will be happy. There was no song of "Studying Politics" caliber on You Were Never Alone, but front to back this album is amazing. And even at that, "Pink Slip," "Rock, Pebble, Stone," and "Thrash" are really close. The album is catchy, thoughtful, and creative and Toby Morrell's voice is so impressive, and somehow even better when paired with Devin Shelton. Also, if you haven't taken the chance to check out the Break It Down podcast by Emery's own Matt Carter, it is really really interesting to learn how these songs came together. Each song is discussed for a substantial amount of time, but it is definitely worth listening!


6.  of Beauty and Rage, Red - It took a long time for me to appreciate End Of Silence, but eventually I came around. I thought Innocence & Instinct found Red at the top of their game, but I became less and less interested as Until We Have Faces and Release the Panic were released. I wasn't sure what to expect going into of Beauty and Rage, but I listened with an open mind. Few albums have impressed me as quickly as of Beauty and Rage did. Even Fire & Stone (my number one pick) took a lot of time to get acquainted with and to fully appreciate its significance. But this album shot past all that because it encompasses everything I love about Red--hard hitting rock, emotionally charged vocals, and beautiful strings. "Darkest Part" is one of my favorite songs to come out this year, and there are plenty of other highlights like the spine-tingling ballad "Of These Chains" and the heavy-hitting "Falling Sky." It was also absolutely epic to listen to "Ascent" while driving through the Jotunheimen Mountains in Norway with my wife.

7.  Breathe Again, Spoken - I've liked Spoken since A Moment of Imperfect Clarity first came out (it's still my personal favorite record from the band). Though Illusion contains a couple of my favorite Spoken songs ("Through It All" and "Shadow Over Me") for the most part it didn't grab my attention the way Echoes of the Spirit Dwell, A Moment of Imperfect Clarity, or Last Chance To Breathe did. With that in mind Breathe Again was a pleasant late year surprise. I've played it every chance I've had since I first received my Kickstarter download--it energizes me while I'm out running, serves as a great sing-along soundtrack riding in the car, and gives me a chance to do think and pray while walking to work. There are so many ways to enjoy this album. This was definitely a late addition to my list, so it's position here at #7 is not nearly as certain as the rest, but I'm confident it is somewhere between #7 and #10.


8.  Into The Sea, Attalus - Into The Sea is Attalus' first release on a national label (Facedown) and they've already started on a such a strong foundation. This album will convict you of the sin in your life and challenge you to bring it to Jesus in surrender. Just reflect on these lyrics from "Desolate Aisle," "Are we so righteous we can make all the wrongs right? / Are we so enlightened we can turn darkness to light? / We're just the cynics proclaiming the flaws / We aim our polemic at political laws / We're fighting the symptoms because we can't see our greed is the cause." Not only does Attalus have a striking perspective of the human condition, but they know how to creatively communicate it. One song that positively and tangibly shook my faith was "Breath Before The Plunge" which tells the tale of a Christian martyr dying for his faith—and although it's fictional it provides a real sense of the unshakable faith of those who are at risk of being violently persecuted. I literally have cried while listening to this song, longing to have that kind of faith. But lyrics aren't all that is exciting about this band--Attalus' music uses typical alternative rock instruments to powerfully create reflective and chaotic soundscapes. This concept album is extremely lengthy, but it's a rewarding listen every time.


9.  This Is Not A Test, TobyMac - Phew! After such a weighty album it's kind of funny that the "feel good" album of the year is next on the list. You just gotta love Toby's catchy beats, infectiously cheerful songwriting, and diverse pop landscapes. Some tracks ("Til The Day I Die," "Move") are stronger than others ("Undeniable") but overall this is a great album that proves Toby still has A LOT of passion and creative juices left in him. One cool thing about reviewing this album was receiving an exclusive B-side called "Love Of My Life" which is a fun dance-pop love song that I'm surprised didn't at least make it onto the deluxe edition!

10.  Science Fiction, Jonathan Thulin - Prior to listening to Science Fiction I had only heard a few songs from The White Room. I only sat down to listen to it fully for the first time in preparation for my review. These two albums are vastly different. Instead of pursuing the "theater pop" style of The White Room, Thulin decided to take a more radio-friendly pop approach. On paper, it sounds like a creative step down, but I really think Thulin does an excellent job walking the line between accessibility and artistry. Catchiness and creativity often seem like two different goals, but on Science Fiction they work together to deliver memorable tunes that will have you singing along in no time. While the most fun tracks are found on the first half of the album, my favorites are found in the second half with "6 Feet Under," "Mockingbird (feat. Kevin Max & Shine Bright Baby)," and "The Ruins (feat. Moriah Peters)." This record slipped by under the radar this year, but it's only a matter of time before Thulin starts to become more noticed.


Honorable mentions



  • One Love Revolution, Pillar - Strong comeback from a Christian rock staple
  • Dawn EP / Shadows EPJon Foreman - The Wonderlands was a nice experience this year. These two stood out to me
  • Come In, Children 18:3 - Swan song? Or not? Either way, it's definitely their most accessible album
  • Vultures EP, Disciple - How were these B-sides?
  • Live From The Woods, Needtobreathe - Great live rock album
  • The Dream Alive EP, Vocal Few - Thoughtful singer/songwriter type music
  • Broken Temples, Kevin Max - Only thing holding this creative CCM project back is that there are only 8 real songs
  • Shells EP, Wilkes - Late year surprise. Earnest CCM.
  • How Can It Be, Lauren Daigle - Beautiful voice. Had a very pleasant interview with Lauren
  • Uncomfortable, Andy Mineo - I'm sure no one agrees, but I thought this was a step up from Heroes for Sale
  • Reprise EP, Wolves At The Gate - I'm a sucker for more stripped down material from heavier bands
  • Home, Josh Garrels - Not typically my style but his voice and lyrics are so intriguing




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    Monday, November 30, 2015

    Celebrating 20 Years of Jars of Clay's Self-Titled Debut

    Where to begin with an album that means so many things to me (and so many others)? An album that is tied to so many great memories?

    I would submit to you that this album is the perfect soundtrack for any activity, for any mood. Whether you're chilling, cleaning, studying, driving with the windows down, or worshipping. Now 20 years later, I still revisit this album multiple times a month and it's taken a large role in shaping who I am as a person and my musical tastes.

    Jars of Clay met and formed at Greenville College in Greenville, Illinois in the early 1990's. Band members Charlie Lowell (keys) and Dan Haseltine (vocals) struck up a friendship over a shared love of the band Toad the Wet Sprocket. Although pursuing a career in music was never the goal, they quickly gained a following from music that they wrote together for a school class project. in 1994, they released a limited pressing of a demo titled "Frail" and decided to leave school to pursue a career in music.

    Wikipedia has this to say about the album (and I concur):

    "The album has been highly acclaimed, being one of few Christian albums of the mid-nineties to achieve platinum status. As the group's debut album, Jars of Clay introduced many internationally to the group and established the group due to their distinctive style."

    This album also had the distinction of being one of very few to have great crossover impact on MTV and mainstream radio.

    Personally, I first learned of Jars of Clay as my interest in Christian music began to bloom. I had just graduated middle school and was taking the coolest of all classes at youth group camp in the summer of 1995: watching and discussing christian music videos.

    When I first saw and heard the strains of "Flood," I was hooked. I'd never heard anything like the pounding acoustic guitars that were as relentless as the rain they were singing about.  The violin breakdown in the bridge? As far as my young ears were concerned, it was perfection in a pop song. I had to find out more about these guys, and soon after camp (not soon enough!), on that fateful day of October 25th, I purchased their cassette tape and proceeded to wear it out.

    The best part, as my best friend and I were to discover, is that "Flood"--although a terrific song and most people's introduction to the band--wasn't even the best the album had to offer. In my opinion, that easily goes to "Worlds Apart," but I digress.

    As I greedily dug deeper into the track listing (I still remember the smell of the liner notes), I quickly became a fan of the opening song "Liquid." With its beginning combination of harmonious "yeah's" and chanting monks (if you've never heard it, it sounds weird but it works), along with the tight strums of the acoustic guitars and strong drum beat, I'd found my go-to song. It was the following year at another youth camp upon hearing it on a souped-up sound system that it further nailed this down as "my" song.

    My next memory of this album is singing along with my best friend in high school as he strummed the familiar notes of "Love Song for a Savior" and "Worlds Apart" as we hung out on weekends. A few years later in college, another friend and roommate frequently played "Worlds Apart," further cementing it as an all-time favorite song. There are many great lyrics, but the following have been the most meaningful to me personally:

    "It takes all I am to believe
    In the mercy that covers me
    Did you really have to die for me?
    All I am for all you are
    Because what I need and what I want are worlds apart

    I don't know about you, but that cuts to my heart every time!

    "Love Song for a Savior," although simple lyrically, may just be better than a majority of today's modern worship songs because of its innocence and purity of delivery.

    "It seems too easy to call you 'Savior'
    not close enough to call you 'God'
    So as I sit and think of words I can mention
    To show my devotion.
    ...I want to fall in love with you

    I typically find the simplest of expressions when straight from the heart to be the ones that draw my hearts affections to my Savior. This one just does that for me.

    Two other musical standout tracks and personal favorite musically are the harmonies of "Like a Child" and the swirling strings on "Boy on a String."

    Closing track "Blind" seems to be both directed at Pilate and at us.
    Pilate, who wanted to rely on logic, had finally washed his hands of responsibility for Christ's blood...

    "Crucify, and deny,
    pass the blame and burn the mission
    Till dust remains
    and wash your hands

    "You're logical
    You can't find
    Any reason to believe in love
    You are blind

    And us the often wayward believer...

    "So you fight
    and retreat
    And talk yourself out of believing
    Any peace that you can't see

    "Blind" was a great way to end the album which brings me to my one (albeit small) quibble with the album, and that is the long run time of barely audible band practice and chatter between the end of "Blind" and a hidden gem of a song, "Four Seven." This song is basically a thesis statement for the band's name (which is taken from 2 Corinthians 4:7 and its mission as a band).

    Aside from the annoyance of having to fast forward to get to the song, I felt like the song should have been given the full treatment, and placed earlier in the track listing. (A good fit could have been right after "Flood" and before "Worlds Apart.") But as I said, small quibbles. I think they remedied that small annoyance with the platinum re-issue of this album including "four seven" as an eleventh song.

    Lastly, this album is one of very few from the 1990's that I believe still holds up lyrically as well as musically to this day. Others might say that the drum loops and acoustic guitar on this album haven't aged well, but I would politely and emphatically disagree. If you missed this one, or weren't yet born, you should definitely give it a spin!

    What is Jars of Clay up to now:
    Still making music and touring (albeit at a much smaller and more infrequent pace) with their most recent full length original album Inland released in 2013. They continue to pursue a pairing of their deep and poetic lyrics with any and all styles and genres of music, as they've explored americana, bluegrass, 80's, prog rock, acoustic, worship, and indie styled music since their debut. Jars of Clay is also one of the rare bands from the era who now 20 years later has kept the same lineup which I applaud. One hopes that there are many more years of their brand of insightful, smart pop which I believe is under appreciated but sorely needed.

    -- Josh Balogh (Guest writer for JFH)


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    Saturday, November 28, 2015

    Resting in the Woods with Seth Bolt of Needtobreathe

    Seth Bolt and I have similar souls - we love the woods and realize that too much work will damage you. We live an hour apart on sizeable tracts of land in the South Carolina forests. 

    But Seth has created something that woodsmen and citygoers alike will marvel at. A two-story treehouse with beautiful glass windows nestled a few short miles from Clemson's Death Valley sits on the 40 acre farm of the Bolt family. He and his father built it themselves, and Seth built it with the intentionality that he would live there. His soul became alive whenever he was back on his parent's farm, so he decided to share it with others. 

    Since Seth is a bassist for the popular band Needtobreathe, the tree house is available for rental when Seth is out on tour. It is a popular getaway for couples, friends, and fans traveling to Clemson. (Link to book the house here: https://www.airbnb.com/rooms/8319626?s=8). Construction was finished in September and Bolt is surprised at how fast it has filled up, "We have most of 2015 booked and we even have weekends in 2016 booked. I am surprised at how fast this is growing." 

    Bolt went to Africa last year and people asked him about America. "I was honest with them. America has big houses and nice things but people here are happier. You spend more time with the ones you care about and you dont work as hard."

    This philosophy also extends to Needtobreathe. When making Rivers in the Wasteland, they worked so hard and unfruitfully that they almost split up and it created a three-year gap between the release of The Reckoning and Rivers in the Wasteland. This time, the band has been much more careful with their time as they currently work on their sixth studio album. "We are working hard but we are taking lots of time to rest. For instance, we just worked four full days this week and took three days off. That will help this be our best record yet and as a byproduct of the rest time, the songs are not as dark. I have made music a long time but it was not always joyful."

    Seth has also done what millions of Americans long to do, unplug for an entire day. "Just this past week, I took an entire day off and went into the woods. I even cut my cell phone off. I was afraid I was going to miss something at first, but once you are out there, it doesn't matter anymore. Your soul fills up and your cup is overflowing."

    If God rested and if God commands us to rest, then why can't we rest?

    -- William Corbin



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    Wednesday, November 18, 2015

    Celebrating 20 Years of DC Talk's 'Jesus Freak'

    The term “Jesus Freak” was coined around the late sixties and has been used as a derogatory term for Christians ever since.  Like the term “Christian” itself, believers began to latch onto it like a badge of honor and proudly proclaim themselves as Jesus Freaks.  Perhaps, though, none have ever proclaimed it as loudly as "two honks and a negro" did twenty years ago…

    dcTalk had fairly humble beginnings in the late eighties.  The name originated as a nickname for group leader Toby McKeehan, but later was identified as “decent Christian” talk.  Due to some success from their demo tape, the group got a deal with the CCM giants Forefront Records (which was started by Eddie DeGarmo of DeGarmo & Key).  Their self-titled debut is pretty cheesy looking back, but songs like “Heavenbound” still hold a special place in the hearts of most fans.  While most of the debut was a rap/rock mix, the group’s second release, Nu Thang focused much more heavily on the hip/hop and rap elements.  The trio’s popularity continued to rise with the release of the now classic Free At Last.  Their third album continued from where Nu Thang left off, but featured more pop elements and brought back a few more of the rock components as well -- such as displayed in “Luv is a Verb.”  The album garnered much success as it went platinum, boasted of several killer singles, landed the boys on Jay Leno's show, and even spawned a movie (that didn't make it to theaters but was released on DVD for the 10-year anniversary of the album).  Many thought Free at Last would be their most groundbreaking (in the CCM industry) album ever, but I don’t think anyone had a clue what was coming only three years later.  dcTalk decided to reinvent their sound some for their fourth record, and the rest is history.

    The lead single, and title track, released on August 1, 1995 and jaws dropped.  It was grungy.  It was hard rock.  Toby’s raps were at their best and the hook would be stuck in your head for days.  Where did this song come from?  Fan were surprised, but it only built the hype for the rest of the album.  Nearly four long months later, on November 21st, 1995, Jesus Freak hit shelves full force and debuted at number 16 on Billboard’s Top 200 -- completely unprecedented for its time.  Even more impressive may have been the fact that the album was certified Gold within a month.  dcTalk were breaking down barriers between the secular and Christian industries that had only been dreamt of before.  “Just Between You and Me” lead the way for the crossover and did extremely well on several Billboard charts.  Six of the singles released became number one hits throughout the Christian charts.  Jesus Freak (the album) won a Grammy and “Jesus Freak” (the song) was the first non-AC (adult contemporary) song to win the Dove Award for song of the year.  This is the point in history, and this is the album, that began opening people’s eyes to the Christian music scene. (Even Virgin Records, who would go on to distribute the album to the mainstream turned to look at the Newsboys next.)  Barriers began to be removed and people slowly began seeing Christian music as something artistically relevant, and not just a cheesy knockoff. 

    Jesus Freak was the first ever CD I bought.  Sure, I had cassette tapes of other artists across other genres (I LOVED Ray Stevens), but this was my very first CD.  I still own it along with the single and the Ten Year Anniversary Edition -- I’m most looking forward to the 20th Anniversary Vinyl though!  1995 was a big year for music, especially rock music, all across the board.  For a twelve year old kid just coming into youth group, this was amazing.  I was sponging up everything I could.  Many of the albums I discovered in those days have stuck with me, but nothing quite like Jesus Freak did.  I don’t think I would call it my favorite album of all time, but it’s certainly high on the list.  It’s such a special album for me in a way that’s honestly just difficult to explain.  Let’s just say that there is a special place in my heart where this album resides.  It’s a truly legit 5-star album -- and not just because our very own website was inspired by its release; it’s amazingly written.  Every single song, track after track, is on point.  The writing, the music, the message…  Sheer brilliance!  Even the interludes like “Mrs. Morgan” and “Jesus Freak (Reprise)” are fantastic. 

    The album is undoubtedly God inspired and tackles all sorts of issues.  Each song still contains relevant messages today -- 20 years later!  Jesus Freak changed the way I saw music; it changed what I thought music could be.  I still listen to it today and it hasn’t worn thin or played out.  It’s a classic.  I could honestly wax poetic and sing the praises of Toby, Mike, and Kevin all day long, but I think you get the point.  Christian music would simply not be where it is today, and accepted the way it is today, without the release of Jesus Freak.  The entire landscape of things changed on November 21st, 1995.  It’s a once in a lifetime album that had a once in a lifetime effect.  I can’t imagine that anyone in their right mind thought that the guys who did Nu Thang and Free at Last would release possibly the most game changing album in this generation.  Those seem like big words, but I honestly believe this album is fitting of such accolades. 

    dcTalk released one more studio album after Jesus Freak.  Supernatural was another rock experiment and leaned a little more on the alternative side overall.  We all know about the hiatus that occurred afterwards, and the false promise of a dcTalk reunion that was said to occur after each member released their second solo albums (this happened in 2005).  People have always dreamed of a reunion, but it’s doubtful that day will ever come.  Perhaps 20 years of looking back will inspire the guys to reunite though. (I suppose the recent guest spot on TobyMac's latest album, This Is Not A Test, will have to hold us over for now.)  Only the future will tell if and when that happens.  Until that day I’ll just keep singing, “What will people think when they hear that I’m a Jesus Freak?  What will people do when they find out it’s true?  I don’t really care if they label me a Jesus Freak.  There ain’t no disguising the truth…” 

    Top 5 favorite tracks: “What If I Stumble,” “Jesus Freak,” Day By Day,” “In the Light,” “So Help Me God” 

    -- Michael Weaver


    Remembering "Jesus Freak"...

    I've had a similar experience to Michael here. I remember getting the cassette tape for "Jesus Freak" on August 1st -- AND the CD release at some point -- and just being floored by it. That summer I went to a friend's birthday party at a park that had its own DJ. I brought the tape with me and asked the DJ to play it... but he wouldn't. I kept asking and got nothing. Finally, near the end of the party with only a core group of friends remaining there, he finally obliged. As the guitars kicked in and the song blasted through the speakers, I heard the DJ exclaim with shock and awe on his face, "This ain't church music!!" And that about sums up the impression this song and album seemed to give at the time.

    I also remember going to a very small Christian bookstore near my house and buying the full album CD for the first time (and, small bit of trivia -- CD prices were on the rise at the time because of their popularity. I'm pretty sure I paid over $18 for the CD! Who knew they would start going down once Napster came into the picture. One has to wonder if the rise in music prices helped cause the rise in piracy... and thus the decline of the industry as a whole ;) ). But this CD changed things for me, too. I'm an introvert (duh, right? What extroverted 16 year old starts a data-intensive website??), so although I was excited about Jesus, it was hard to put myself in a position to be ridiculed or shunned. But here you had a band who sounded awesome and were proclaiming their faith boldly!

    After the album's release, I would use the nickname/handle "Jesus Freak" in online chat rooms and later created a private chat room on NetCentral called "The Jesus FREAK Hideout." I never used it, but on August 13, 1996, after I read a short tutorial on very basic HTML, I started "The Jesus FREAK Hideout" on a free Angelfire.com webpage (It was 1996's equivalent of WordPress, kids). The rest -- all the mishaps and struggles, triumphs and failures -- is history.

    I honestly can't believe it's been two decades since this landmark release. Toby "TobyMac" McKeehan is still going strong solo, Michael Tait took over as lead vocalist for the Newsboys (who could have predicted that??) and after a brief stint as the replacement singer for Audio Adrenaline, Kevin "Max" Smith is still going strong with his own solo career. They may not be together anymore, but each one is still making their mark in music. And the legacy of "Jesus Freak" lives on!

    -- John DiBiase (founder of JesusFreakHideout.com)


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    Tuesday, November 17, 2015

    William Corbin's Top 5 Favorite Artists of All Time

    With the staff's recent picks of their Top 15 favorite albums of all time, I decided to pitch in... but only came up with 5. See, I am only 18 and I have only followed music avidly for a couple of years. That is why there is a lack of 1990s bands and why there are only five bands on the list.

    1. Needtobreathe

    I hail from the same South Carolina woods as Needtobreathe and I have aged along with them. With a killer live show featuring varied versions of Needtobreathe classics, it is hard to not be a fan of Needtobreathe. They are catchy and real to who they are. They are the oddball on this list because they do not have a heavy side, but they appeal to my deep southern streak.

    Albums: The Reckoning, Rivers in the Wasteland, The Heat

    Songs: We Could Run Away, State I'm In, Keep Your Eyes Open, Cops, Angel at my Door


    2. Underoath (2004-present)

    Spencer Chamberlain and company are incredible songwriters and talented musicians. Chamberlain and Gillespie create a vocal combination unlike any other band. All of their albums have distinct qualities that make them refreshing, yet they all have the signature sound of Underoath greatness. The talent is evident in the music and the songs fit in arenas and will blow out your speakers. "Epic" is a overused cliche but it is the only word to describe this larger than life style of music.  I will see them live on the Rebirth Tour for the first time so get your tickets because they are almost all gone.

    Albums: Define the Great Line, Lost in the Sound of Separation Disambiguation

    Songs: Writing on the Walls, Catch Myself Catching Myself,  Desperate Times Desperate Measures, In Regards to Myself, Young and Aspiring


    3. Anberlin

    Stephen Christian's vocals were so pure and talented but the rest of the band had talent also. Drumming prodigy Nathan Young was instrumental in memorable Anberlin moments such as the intro to Self Starter. They had a varied discography and a storied career but luckily for our hearts, they are always there for us on replay.

    Albums: Cities, Vital, Lowborn

    Songs: Fin, Self Starter, Dismantle Repair, ISJW, Losing it All, Stranger Ways


    4. Emery

    Emery poses many Questions and breaks down many Walls through their music. While I dont agree with *everything* the Bad Christian movement is about, I feel that it poses important questions and is authentic. Owning their own record label means that they can do unique things and change the way music works. Emery is not as heavy as Underoath, but they are more diverse and fit a similar niche.

    Albums: You Were Never Alone, The Question

    Songs: Thrash, Walls, In a Win Win Situation, Cutthroat Collapse, Rock Pebble Stone, So Cold I Could See My Breath


    5. Wolves At The Gate

    It takes a phenomenal two albums in order to make a list with the artists above, but Wolves has talent and heart. They are theologically sound, Christ centered (for real), and great musicians. They implement spoken word, screaming, and singing into their thundering drums and guitar riffs to create excellent songs. The sky is the limit for their talent, but what stands out is their heart. When I was honored to talk with Stephen Cobucci, I realized that he is 'on fire' for God and that he uses this music to preach the gospel.


    Albums: VxV, Captors, Reprise EP, Heralds EP

    Songs: Relief, Dead Man, Man of Sorrows, Majesty In Misery, Safeguards

    Honorable Mention: Sent by Ravens was a personal favorite of mine. They didn't create their own genre or sell out arenas, but they created enjoyable hard rock that is missed in the scene today.


    -- William Corbin



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    Wednesday, September 16, 2015

    A Look At The Lyrics Of Jon Foreman, Part 1

    No Cheap Inspiration Here

    A Look At The Lyrics Of Jon Foreman, Part 1



    Back in my freshman year of college, I came across a “new artist sampler” CD in some magazine or another, and a few tracks in, these lyrics jumped out of the speakers of my college dorm room stereo and into my imagination:


    “Nothing but a chemical in my head / It's nothing but laziness / Cause I don't wanna read the book / I'll watch the movie” (From “Chem 6A” on The Legend Of Chin)


    The song, a take on youth slacker-culture, was the first I’d heard on the subject, (well, first good one) from a songwriter of faith, and I was immediately taken with the way primary Switchfoot songwriter Jon Foreman put together heartfelt, inspirational and clever words.


    I’ve been a Foreman fan since that day, and a few years ago, when I decided to take the plunge and try to become a full-time writer, one of Foreman’s lyrics inspired my first novel. In fact, his lyrics (from the song below) are the last sentence of the book, and I started with that scene, that image the lyrics conjured in my brain, and wrote the book “backwards” from that spot. His lyrics are intertwined in the sequel as well, and it’s safe to say I have a lot for which to thank Jon Foreman. 


    Switchfoot is currently busy recording their 10th album, and Foreman has been releasing a steady stream of great solo EP’s over the last few months, and to honor such a prolific and heartfelt songwriter, I’d like to examine the Jon Foreman songs and lyrics that mean the most to me. This is part one of a multi-essay (okay, “blog”) effort to wrestle with the life of the mind, with what happens when others' art and your own heart collide.



    “Needle and Haystack Life” (From Hello Hurricane)


    "You are once in a lifetime alive / you are once in a lifetime"


    This is the big one, the one that inspired the book. When my two daughters were very young, I was a stay-at-home Dad who was questioning his place in the order of things. My days were full of diapers and baby food, naps and temper-tantrums. But they were also filled with wonder, the privilege of being the first to see them walk and talk and sing. It was a wild ride that I found myself on. The day Hello Hurricane came out, I snuck out to the store for just five minutes when my wife got home from work, and I gave myself the treat of sitting in my mini-van in the parking lot and listening to the first few songs before getting back on the wild ride of parenting.


    As Foreman sings about each person being “once in a lifetime,” it dawned on me that there would never be anyone like my two girls in this world again. They are unique in the history of our world; they have never been here before.


    And neither have you or I. You are a mix of everything you’ve been through, every moment (good and bad), every meatball you’ve eaten and every movie you‘ve watched. There is no one like you. You are once in a lifetime. There’s a light in your eyes that is unique. You are irreplaceable.


    Once this truth stuck in my heart, I came to see the girls I was tasked with caring for as a unique and wonderful opportunity. There would never be anyone like this again! I had a front row seat to the lives of India and Ireland Caldwell, and that’s a privilege that I almost wished away.


    The book I wrote, India and the Eternals, is currently making its way around the desks of literary agents far and wide, and someday I have the hope and dream that, should there ever be a movie (this is a far out dream, I know) that Jon Foreman will write a song for the closing credits.


    “Needle and Haystack Life” shows Foreman doing what he does best, wrapping inspirational ideas in uplifting melodies. When you think of inspirational messages, greeting cards and internet “inspirational” photos usually come to mind. But what Foreman does is something more. It’s beyond the cloying nature of most songs that seek to uplift. In other hands, the idea that each person is “once in lifetime” might make for an unbearably sappy song. But Foreman comes by the idea honestly, and “Needle and Haystack Life” transcends the cliché to something truly hopeful and inspiring.



    “Dare You To Move” (From Beautiful Letdown)


    "I dare you to move / like today never happened before"


    Have you ever had one of those days that you wish had never happened? I have. I have regrets, things I wish I never did, words I wished I never said. We all have those dark closets we never want to be opened up. And those cumulative secrets weigh us down. Sometimes, they sink the ship.


    But grace says "you are more than your darkest days, you are more than your lowest moment." Grace says "I dare you to believe that you are forgiven. I dare you to 'get up off the floor, like today never happened before.'" Because in God's economy, the cross has made it "like today never happened before."


    And like most good art, the lyric “I dare you to move like today never happened before” can also be taken another way, as a challenge to “seize the moment”, to “number our days” as the Psalmist says; to not let a single second go by without living to our fullest. It’s all too easy to let the time slip away. Foreman dares us to move like this day is new, like it’s an adventure; like it’s “never happened before.”




    The Shadow Proves The Sunshine (From Nothing Is Sound)


    C.S. Lewis eloquently wrote a simple defense of the Christian world view in Mere Christianity, (a mandatory read for all believers, if such a requirement were possible) and one of his proofs cited of the existence of a designing higher power was the inherent knowledge in the human heart of right and wrong. Cultures may be widely different, but you'd be hard-pressed to find someone who felt good about betraying someone who loved them deeply.


    "The Shadow Proves The Sunshine" is a melancholy song sung in a supremely bummed out manner, and finds Foreman examining the news and feeling the weight of the fall, the weight of every war and famine and act of cruelty he views on the screen or newspaper in front of him.


    But what if the very fact that he's bothered at all by the "shadows" of this present age is proof they there is a loving God who is above all things? What if the shadow we feel on the darkest days down here is evidence that there is a light? There would be no shadow without the light. And as Gandalf says in The Fellowship of the Ring, "that is an encouraging thought."




    God Badge (From Fiction Family’s Fiction Family Reunion)


    "Put Your God badge down and go love someone."


    As I write this, the culture wars and political silly season are in full swing. On the side where there are a lot of folks who call themselves the same name as me, people are lining up at a court house in Kentucky and wearing t-shirts that say "Homo Sex Will Send You To Hell" and "No Homos In Heaven". There might be equally inflammatory picket signs on the other side too, but who are the people that are claiming to follow the prince of peace? This behavior is about as far from Jesus' mode of operation as the North Pole is from the south. In fact, those signs remind me of a certain religious sect that framed Jesus and put him to death.


    Our "God Badge" is that piece of identification that gives us comfort, like a membership card that tells us "I belong to something." But you can hold onto it too tightly and forget your mission. Jesus said that to love God and love your neighbor as yourself are the building blocks of every other bit of righteousness out there. It's time to let people discover our faith by how we do the TWO THINGS Jesus asked us to do, and not by the shiny fish on our car or the sad, God-forsaken statement on our t-shirts.



    Love Alone Is Worth The Fight (From Fading West)


    “I'm trying to find where my place is / I'm looking for my own oasis / So close I can taste this / The fear that love alone erases”


    This one takes the opposite tack from “God Badge”, instead of protesting and calling out bad religion, Foreman offers his vision of what the modus operandi should be for believers. I John 4:18 says that “perfect love (aka God’s love) drives out fear.” And really, isn’t that what drives bad religion? Fear? Fear causes people to say and do things that they might not have otherwise imagined they might do. Isn’t a large part of current day advertising (be it political or product driven) based on fear? The fear of the wrong kind of people taking over, the fear of missing out on the good life, the fear that somehow, someway you are being wronged and you might not even know it. Fear is common, fear is easy.


    St. Paul writes in 2 Timothy that “the Lord has not given us the spirit of fear, but one of self control, love and a sound mind.” That’s worth fighting for. I’m so prone to fighting the wrong battles, to using my energy is so many daft ways, but Foreman reminds me that the battle to love well, to see the good in people, to love and forgive myself because I’m loved and forgiven by the Lord first and foremost. Love is the only thing that is worth my energy pursuing. Love is what changes hearts and minds. God is love and to receive that love well is the true battle.


    Love alone is worth the fight.


    Thanks for reading. Look for parts two and three in the next two weeks. Next up: Jon Foreman as a motivational speaker or “this is your life / are you who you want to be?”


    Remember, love alone is worth the fight.


    -- Alex Caldwell, Jesusfreakhideout.com staff writer


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    Sunday, June 28, 2015

    'What's It Like To Start A Music Festival?' - Interview With River Rock Festival's Founder


    What’s It Like To Start A Music Festival?

    An Interview With River Rock Festival’s Founder Jeff Wall



    There are few summertime activities more sublime than the outdoor concert; sitting on a blanket on the grass or dancing (or moshing) away in front of the stage, and enjoying the sky, sun (or moon) above you. For those of us who live in the cold weather parts of this country, those precious few months where it’s sane to be outside for long stretches of time and the chance to hear some of your favorite music all in one place is a dream come true.

    The River Rock Festival in northern Maine (just over two hours from my home in New Hampshire) is in its first year, and I wanted to take the opportunity to ask festival founder (and the head honcho of The Lighthouse Christian Events), Jeff Wall, about what goes into starting an undertaking of this sort. He generously put aside the last-minute minutia of planning and spoke to me for a few minutes on the phone.

    (Jesusfreakhideout’s Alex Caldwell):
    With just over a week and a half to go till the crowds arrive for River Rock, how’s it going?

    Jeff Wall:
    (Laughing) I’m doing alright. Thanks for asking. Most of the details and major components of the festival are in motion, so it’s a bit out of my hands at this point. I’m coordinating volunteers for the festival right now, that’s my focus.

    Volunteers…that’s an important component to these sorts of undertakings, isn’t it?


    Jeff: Oh, yeah. It’s critical. Right now we have enough to staff the festival, but I’m not sure how much sleep everyone would get. Festivals and concerts need volunteers. It helps everything run smooth.


    AC: You run the Lighthouse Christian Events, how is this different than that, and how long have you been in this line of work?


    Jeff: We started in 2008 with a concert by Laura Story, and we’ve been going strong since then. Really, putting on a festival is something we’ve always wanted to do, and it’s a natural extension of what we’ve been doing. But it is a lot more of everything.


    AC: How much more? How are you sleeping lately?


    Jeff: (Laughing) I haven’t really slept in seven years. I’m always waking up thinking about things. But I love it.


    AC: So, here’s a bit more of a challenging question. What will distinguish River Rock from the myriad of other festivals out there? What would be the reason to choose this one over the other ones around?


    Jeff: That’s the question, isn’t it? I think the great distinction would be quality--getting the most bang for your buck. It’s very common, in all corners of the concert industry, to charge for everything: parking, surcharges for ticket, special “autograph” fees etc. You can go in thinking that you’re going to be spending “X” amount and realize, after the fest or event is over that, really, you’ve spent almost double what you had wanted to. We’ve always charged one flat fee for our concerts, everything included, if it’s within our power to do so. 


    AC: “I have a story about that. A few years ago my family was at a fest, and my daughter and I stood in line to meet an artist she loved. I was a little out of it due to sun and loud music, so I didn’t read the fine print of all the signs around the signing tent. When we got to the front of the line we discovered that there was a $30 signing fee that we had to pay. My daughter was upset, and I was frustrated. $30 for what most of the other artists were doing for free. It was too much and seemed greedy.


    Jeff: I hear that kind of story all the time. There are countless little ways to make money on an event, but honestly, when I get to heaven I don’t want to say “Lord, I sold 10,000 travel mugs with your name on it and I made a few extra bucks off parking.”


    AC: That’s a great line. “Lord, there are 5,000 key chains out there with 'River Rock Festival' on them!”


    Jeff: That’s right. We don’t take any percentage of artist merchandise sales either. That’s a pretty common one.


    AC: Yeah, what if you are a smaller artist and just starting out? Those t-shirt sales become pretty important for getting back home in the van.


    Jeff: That’s exactly right. We made a commitment not to do these sorts of things when we started out, and so far, the Lord has honored that decision.


    AC: Are you and your family taking a big vacation after this event?


    Jeff: It’s interesting that you say that. We all enjoy this so much that we don’t really need the standard vacation thing. Right now we’re on the road, coming back from a Kari Jobe concert we put on, and we’re heading to the Norman Rockwell museum along the way. This job is crazy on one level; the details, the schedules etc. But my family gets to see so many places; we like to treat those times as a vacation.


    AC: Well, God bless you guys as you head into the last few days before the festival.


    Jeff: Thanks so much. We’ll be seeing you soon.


    For more info on River Rock Festival -- which is being held July 3rd and 4th -- visit http://riverrockfestival.com/


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    Friday, June 12, 2015

    Real Deep: Aaron Watkins of Random Hero

    Aaron Watkins grew up despising what he ended up loving - music. Wyoming born and Colorado raised, Aaron has seen and survived a lot of things. His father was an alcoholic who played in some fairly well known bands, and he did not want that lifestyle for himself. He toured with some bands right out of high school and escaped the music scene in his mid-twenties when he finished up his bachelor's degree. He then said, "God, I'll do whatever you want me to do." God wanted Aaron to do what he hated in his childhood - perform music. Random Hero was formed by guitarist Joshua Bertrand the year prior. Aaron's manager told Aaron about the audition they were holding for a singer. Aaron auditioned and was awarded the slot, forming the nucleus of Random Hero. God changed his heart and gave Aaron the desire to be in music and the desire to tour.

    God also gave Random Hero the revolving door of drummers. Aaron quipped that "We fight to do this because this is what God's called us to be. The timeline has been crazy, so you know when God is leading someone in or out. He takes people in and out until we have the right mix." Four drummers in eight years is definitely an uphill battle. For a while, the services of Air Force serviceman Josh Tarrant were utilized. It got to a point where it was impossible to balance the two and he left. Then the band found Patrick Madsen in 2014, and Aaron raved about him. "He has the greatest heart and is a phenomenal drummer. I always wanted to be a drummer so it is so much fun to watch him play." Ironically, drums are the one instrument Aaron can't play. His toddler son (Huxley) can play the drums, which you can watch on his Instagram @aaronthewatkins.

    I also asked Aaron what goes into the recording process, what is 'mastering' and 'mixing'. His combined thoughts: "You are always constantly writing, and it may or may not see the light of day. We have written hundreds of songs. You set a date to record and twelve to fifteen songs make the chopping block. The songs need to be the best representation of who you are, and they need to be the best songs. The producer will likely make you rewrite half of the songs, which is painstaking and time consuming. Everything from vocals to guitars to drums to the special instrument is recorded separately so each thing can be edited. If one part needs to be reworked, the whole band doesn't have to play the part fifty times. Mixing is what your songs sound like and are built." How loud are the vocals compared to the guitar, bass, drums, and so on? "Mastering is when you take the volume up several notches so it sounds 'beastlier'. The worst part of making a record is waiting for it to be finished. You are always learning and evolving like we did from Carry Me, Bury Me to Oceans of Change and we will in the future."

    Making an album is not an easy endeavor, and being in a band involves great dedication. When a band 'trains' a new musician, it isn't just "teach them the hits and go on the road." The prospect has to have the drive and the will necessary to be in the band and to learn the songs. They have to be willing to come to practice and to receive constructive criticism. They have to learn every song in the repertoire to be ready at any point. It isn't a mechanical 'this is the exact way you play it' with no deviations, but there are the main parts to every song you have to have down. There is room for improvisation and personalization occasionally. We started practicing two times a week, and to be a new band you have to practice a ton to be your best. Now we practice two times before leaving on tour because it is all muscle memory at this point. Speaking of touring, Random Hero is touring with good friends Spoken this June.

    Random Hero was (and is) under the tutelage of former longtime Skillet guitarist Ben Kasica. Ben taught the band how to be marketable, and to blend Aaron's pop influences with Josh's progressive metal influences. Random Hero strives to be themselves while maintaining the marketability, and they don't want to restrict themselves to the metal market. Everybody in the band needs to like the songs and to have input in the process, but you won't find Random Hero writing a six minute song. Aaron finds that after three minutes people zone out and are ready to go to the next idea, so they strive to create an album with twelve radio hits.

    Keeping this in mind, Random Hero changes the set list nightly. The radio songs are always on the list, and fan favorites are usually on the list. The set list is dynamic, yet some songs may be played rarely or occasionally. A typical show lasts thirty to forty five minutes; with material from the Breakdown EP, Carry Me Bury Me, and Oceans of Change. Random Hero doesn't hang out away from fans in a mysterious green room after their set. They often stay until the doors close while taking pictures, signing autographs, and hanging out. The band used to wear makeup and face paint on stage, but as they have matured they saw it as more of a nuisance and slowly stopped to have a more mature look.

    Some bands rarely produce EP's, but Random Hero embraces the EP. "An EP is an exciting taste of what is to come. For us, Breakdown set the tone for how we write as a cohesive unit. An EP is a good feeler to determine if the fans like a new evolution or not, and what to change for an LP." Random Hero left Red Cord Records and signed with Pando Records/Warner/ADA. The band will be back in the studio soon and will come out with a new EP later this year. Aaron Watkins also will be releasing a solo album on August 11th.

    Despite the business aspect of music and the unusual lifestyle, Random Hero's mission is to glorify God. These "musicianaries" strive to please God in every area (not just certain areas). God is the boss and Random Hero aims to be willing servants.

    -- William Corbin


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    Saturday, May 23, 2015

    Inside the Heart: Jeremy Bates of Embers in Ashes

    Jeremy Bates was so desperate to get back into music that he registered twelve band name ideas before he even had a band. Embers in Ashes signified his desire to continue music as his childhood dreams were mostly dead, but the embers of his desire kept burning. When he was in early elementary school, he learned to play the piano. When he was eleven, he fixed up a broken down electric guitar his cousin gave him with the help of his father, who was an engineer. At fourteen, he started a band that played Bleach covers. The band grew and soon they were travelling locally and playing their own original songs. But they went their separate ways after they graduated high school and his music dreams faded... or so he thought.

    A decade or so later, Jeremy was a pharmaceutical sales representative. He was married to his a girl he had known since the day she was born. Her father was the best man in his father's wedding, but love did not come at first sight for Jeremy. At one time, he had found her so annoying that he avoided spending time with her family until she was sixteen and he realized she had grown up. She had a thing for him, but he was hesitant because they were family friends. I asked Jeremy what would have happened if they had broken up. His reply, "We didn't." His wife noticed his desire to be in music again and told him that she would become a pharmacist so he could focus on music. He then started planning and assembling the band.

    Embers in Ashes began in 2010, but they only played one small gig at a church. The lineup changed significantly as the guys had to figure out if they were out or all in. Their first EP, "Sorrow Scars," was produced in 2011 by the members themselves, only numbering three at the time. A friend recorded the drums, and each band member contributed to the bass tracks. From that point on, the group was on the road consistently and was signed to Red Cord Records. The band learned the pros and the cons of the industry, but they decided to go independent with their second album. That meant spending more time in the studio, more time writing, and more time praying.

    Like everything Embers in Ashes does, "Killers and Thieves" involved a lot of prayer, passion, and hard work. Jeremy recalled, "The title track wasn't even supposed to be on the record. We really felt that God wanted it on the record though. It was completed on the last day of recording; the process was so quick. It was inspired by God." "Killers and Thieves" is stamped with Embers in Ashes' signature sound: bold guitars, Jeremy's intense vocals, and solid drumming.

    The story of how Andrew became the band's drummer is an interesting one. He was a fill-in for rhythm guitar and they thought he was good. At one show, they'd needed a drummer. Andrew played, and the band was impressed. Jeremy described him as "on another level."

    Embers in Ashes would consider themselves a Christian band, but they have a missionary mindset. Jeremy was in youth ministry for a while, and that influences his approach and his music. "I don't want to sound harsh, but I don't really want to just go in church circles and only have church kids buy our stuff. I want everybody to buy it and enjoy it. I want it to plant a seed that God waters and eventually they come to Christ." I told him how I have friends that aren't Christians and won't buy any music labeled Christian (regardless to if it is or not) and my frustration with it. He said that Embers in Ashes tries to break that mold: "We have a message in our music and we aren't ashamed of our faith but it isn't preachy. We play with a lot of secular acts in mainstream places. We pray on stage before every show. I've had guys come up and say 'Hey man, I'm not a Christian but I think it's cool you pray on stage'." 'Musicianaries' is how Bates described what the band is, playing music and reaching people for Christ through it.

    2015 has intentionally been slow for Embers in Ashes. They're working on their next album and spending much needed time with their families. "This is the first time I've been home in March in five years. We usually tour a lot for the first half of the year and we intentionally decided to slow it down" he said.

    A new album is in the works described in the veins of "old Anberlin." For more on Embers In Ashes, check them out on



    -- William Corbin


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    Friday, April 10, 2015

    10 Years Later - House of Heroes, 'House of Heroes'

    We love House of Heroes here at JFH. Their albums always chart on our Staff Picks and Highlighting Artists, and at one point or another, they have even nabbed the number one spot for both features. They have the first album to receive two five star reviews in JFH history. Additionally, when you click on an ex-reviewer’s name, reason #7 of possible explanations this person is no longer on staff reads, “Didn't like House of Heroes' The End Is Not The End album.” (Even if that was listed in jest.) And hey, they seem to like us too, they even performed a special acoustic concert back in 2010 in honor of JFH’s 14th anniversary!

    One of the things I respect most about the band is their commitment to their craft. They don't write records to create radio singles (save “Constant”). Nor do they put out the same album twice. They push themselves, experiment with their sound, and never settle for mediocrity. 

    While this self-titled album was the first national release from the band, this was not their first exposure to the music scene. In fact, this debut was a long time coming. Journey back to spring of 1996. Young high schoolers Tim Skipper, AJ Babcock, and Nate Rothacker formed a band called Plan B. Two years later, Colin Rigsby--Tim and AJ’s friend from youthgroup--replaced Nate Rothacker as the drummer, and the band became No Tagbacks. The boys released their first and only album under that name in 2001--an under-produced pop/punk record entitled Ten Months. Soon after Tim, AJ, and Colin (all accounted for today) decided to change their name to House of Heroes and shift to a pop/rock sound. The band released their first House of Heroes album What You Want Is Now in 2003 through the independent label Vanishing Point Records. In 2004, the band caught the attention of Gotee Records. After several months of issues with Vanishing Point the band finally signed with Gotee and released this self-titled national debut in April 2005. 

    I first learned about House Heroes right here as a reader on JFH, from a review by former JFH writer (and now YouTube sensation--thanks to Blimey Cow) Josh Taylor. While first listening to the album, I was impressed with their fresh rock sound, the impressive voice of Tim Skipper—who I have come to regard as one of the best voices in the industry—and unparalleled backing vocals of AJ and Colin.

    This album covers a broad range of themes. “Pulling Back the Skin” and “Suicide Baby” talk about broken romantic relationships. “Buckets for Bullet Wounds” provides a voice for social injustice. “Make a Face Like You Mean It (Vampires)” calls out record labels for manipulating artists. “Fast Enough” puts you in the shoes of a woman looking for purpose: “All the lights are on, it comforts no one but your silhouette.” Whatever the message, they pack a lot of emotion into the song, all the while blending creative songwriting with pretty melodies. 

    HoH finds a unique balance between technical proficiency and casual jamming. They deliver crunchy guitars, gritty baselines, and rhythmic drums with occasional dramatic bursts of energy and emotion. Coupled with the album’s weighty lyrics, the music can pack a pretty significant punch. Despite this, it is a relatively optimistic record as a whole. This is accomplished with minor details like handclaps on "Buckets For Bullet Wounds" and the circus-styled guitar in the bridge of "Friday Night," as well as bigger picture characteristics like the catchiness of the album and the playful nature of how the drums, guitars, and bass work off each other.

    One of the album highlights, “Friday Night,” starts off slow, but it isn’t long before it shifts to an upbeat rock number. In the second verse, Tim passes the vocal reins to AJ Babcock while he sings “the record keeps on spinning” and plenty of “oh’s” in the background. Hearing AJ so prominently here--and on other parts of the record--is a real treat, especially because of its rarity on following records. The most powerful song on the album is the lead single, "Serial Sleepers.” This song and its accompanying music video serve as a wakeup call to those have become apathetic in their faith. It's one of the few spiritual moments on the album: "rise up, O Sons of God, and sing the song that hides behind your teeth."

    While the majority of this album was new material, "Mercedes Baby" and "Kamikaze Baby" (renamed "Suicide Baby") were both re-recorded from What We Want Is Now: "Mercedes Baby" is a fun upbeat rock number with a thick baseline and a catchy chorus. I’ve heard many fans say they prefer the raw emotion of the original, but personally, I find this version tighter and more suited for the encouraging message. But man, that is one killer breakdown in the original. "Suicide Baby" is a significant improvement from the original, especially in the vocal department. This song also has a memorable chorus but is a more laid back in the verses.

    Closing out the album, "Angels In Tophats" is an emotional song about a boy and a girl who got into a car wreck. The girl is in the hospital while the boy is pleading and praying for the girl to wake from her coma. This nine-minute roller coaster ride requires complete focus to fully appreciate, but those with the attention span to sit through it will vouch for their ability to capture a story with songwriting and music--something they mastered in The End Is Not The End.

    Overall, this is a solid rock album. Many recent fans discovering this gem for the first time may find it different from their more polished successors, but multiple listens would reveal that this is the same clever and talented band. It's not necessarily a masterpiece like the band’s magnum opus The End Is Not The End, but it holds up well to Suburba and Cold Hard Want. One important note is that Mono Vs. Stereo (Gotee’s sister label) re-released this album as Say No More in 2006, introducing two new songs into the mix: “You Are The Judas of the Cheerleading Squad” and “Invisible Hook.” They are both fantastic songs and though they don’t quite fit with the original tracklist, it works well enough to make the purchase a little more valuable.

    Today, the band is independent and working on their first "true" concept album. The record is being funded by a $50,000+ IndieGoGo Campaign (which was 160% of their $35,000 goal). During the campaign, the band released the stellar six song Smoke EP. Since then, we have been treated to the Hark! The House of Heroes Sing Christmas EP and have also been promised an acoustic EP this spring. As a "Member of the House," I've had the pleasure of seeing the early development of this concept album and judging from the jam sessions and story ideas we have heard so far, it will be well worth the wait. I'd love to tell all you wonderful JFH readers more details about the record, but I think we have to keep things confidential. But I think I'd be okay to share a still shot from one of their jam sessions in AJ's mom's basement. Here’s to another 10 years for the beloved rock band, House of Heroes.

    -- Christopher Smith



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    Wednesday, March 11, 2015

    Exclusive - Kevin Max's Behind-The-Song for 'Broken Temples' Album

    Check out this JFH exclusive behind-the-song look at Kevin Max's new album, Broken Temples, written by Kevin himself!

    1.Good Kings Highway (Kevin Max, Josh Silverberg, Kipp Williams)
    I started writing this song during the 2nd year on the road with Audio Adrenaline. This song came about one morning at Capitol records in Nashville, writing with my good friend Josh Silverberg.  Josh, Kipp Williams and I began to put together a track based on a melody that I had running around in my head.  We wanted to make the intro to the song a bit more epic than usual, so the original demo was much longer in scope. As the melody came into focus I started formulating lyrics on the spot, in the studio...I basically wrote out the finished lyrics within an hour or so.  The meaning behind GKH was taken from my visits to Haiti and seeing the lifestyle of the people, in conjunction with Hands and Feet orphanage.  I noticed so many men and women that had been displaced, and seemingly surviving on their own without any help.  There were many children growing up without a home or shelter, in the toxic conditions of a country on the edge of sanity.  I pictured a child in Haiti growing up trying to make his or her destiny happen without a parent or a society that could intervene. God's grace comes into play, and His natural way of helping us without us even knowing. The image of the open road or highway is a parallel to life… we walk down this road not knowing what will become of us, but trusting that somehow we will survive. The vibe of the song was obviously taken from the U2/Bruce Springsteen playbook…


    2. You Light Me Up (Kevin Max, Jon Steingard)
    This song was a grand experiment into writing a radio single. I have never really felt like I had the tools as a solo artist to accomplish this. Even on my first album, Stereotype Be, and its lone radio single 'Existence,’ I felt bewildered by the task. Radio has changed so drastically from the days of my early songwriting in the 80's and 90's.  I turned to a friend that had success within the marketplace and on radio, Jon Steingard of Hawk Nelson. We got together at his home and literally wrote 'Light Me Up' from scratch within a couple of hours.  The song came into being with me singing a falsetto line through a distorted guitar pedal. The opening vocal melody gave way to the overall track direction.  The lyrics of the song are obvious… well, at least to me they are… it’s a song about redemption, basically my story. 


    3. Just As I Am (Kevin Max, Josh Silverberg)
     I have always been a fan of 80's music.  My first concert was Howard Jones in Grand Rapids Michigan, my hometown, followed by Adam Ant & U2. I wasn't like the other kids in my private Christian school who listened to soft rock or hair metal. I was fully committed to the New Wave. Those influences play directly into some of the songs on this album, and probably even the most obviously on 'Just As I Am.' Again this song came out of a publishers’ writing session with Josh and Kipp. I wanted to write a song about the prodigal son aspect of my life and that is the direction of the story. I would say that it is one of the more personal songs on the album, even though it feels like a dance track.  I have always loved the contrast between moody, heavy lyric content with joyful chord structure. *(See Morrissey or The Smiths for examples.) 


    4. Clear (Kevin Max, Jeff Pardo)
    Another experiment that I am trying to perfect in my writing process is the aspect of space within a track. The more you add to a song musically and instrumentally, the less space and or groove a song will have. By doing away with things that do not matter, you get to the heart of the vibe and the feel of the melody. When writing ‘Clear’ with Jeff Pardo in East Nashville, I brought him a recording of me singing the melody, and also a bass line that I had sung into my iTalk recorder. It might sound strange to start writing a song based off of a bass guitar line, but in this case it proved correct. This again shows the influences of my 80's New Wave self. In the vein of Duran Duran or Roxy Music, ‘Clear’ is definitely one of my favorite songs on the album.  It’s also very much my blueprint within music - mixing those 80's sensibilities with honest lyrics.


    5. When We Were Young (Kevin Max, Sam Timminez, Josh Bronleewe)
    The subject matter of this song was far more important than the melody or track, in my opinion.  I wanted to write about the fact that in this day and age, we are losing our innocence across the globe. I remember growing up and never worrying about terrorism or witnessing the grotesque nature of ISIS. As I was born in 1967, it wasn't until I studied history that I realized how much atrocity lived in the world. Slavery, war, bigotry, greed, malice… we as a human race have proved how evil we can become. It is through the grace of God that we can overcome this, and the song 'When We Were Young' proves that children are our better selves.  Going back to the start and realizing that we were once pure of heart was a concept that I wanted to convey.  It’s a bit like an early John Lennon song about hands across the world, but it’s also a spiritual application and extremely relevant. It also subconsciously deals with the fact that we have become desensitized through modernization. The Internet and television have dropped the veil from guarded innocence, and now we broadcast our hatred and judgment across the computer screen to the world. We may think we have learned from our past from our issues with segregation and judgment, but it is apparent we haven't done much about it.  The style of the song came from the capable hands of Josh Bronleewe, a great programmer and musician.  I wanted this song to again have a dance quality to contrast against the heavy lyric.  Its sister song on the album 'Lay Down Your Weapons My Friend,' was its predecessor.


    6. That Was Then & This Is Now (Kevin Max, Cory Basil, Stu Garrard)
    Before I agreed to become the new lead singer of Audio Adrenaline I had recorded a few songs to be a musical companion to my novel Fiefdom of Angels.  One of these songs didn't fit that structure and I kept it hidden on my computer for quite some time. In the early stages of joining Audio Adrenaline, I stayed at Michael Tait's house in Brentwood, as I had sold my home in Nashville and had bought a new home in Grand Rapids, Michigan.  Moving back to Nashville was an easy enough process for me as I had lived there for over 2 decades prior. Before finding a home in Franklin for my growing family, I stayed with Michael. He was on the road all of the time with Newsboys, so his house on the hill in Brentwood was constantly empty. During those first few weeks of house hunting, dieting and exercising, I wrote songs in the basement of his home.  Armed only with my trusty synth I began to flesh out the song "That was Then'… from the earlier demo. I invited my good friend and artist buddy Cory Basil to come by one afternoon to listen to the song.  He added some ideas and with that I took the finished product to Stu G (formerly of Delirious) to finish the track.  Stu brought his British sensibilities to my obviously dated-80's-cinematic-guilty-pleasure song. When Josh Silverberg and I began to perfect it again, as an 11th hour addition to this album, I envisioned the tune being something on a soundtrack like the film Drive.


    7. White Horse (Kevin Max, Brent Kutzle)
    In the mid 2000's I lived in Los Angeles, California and performed constantly on the Sunset Strip. At the legendary 'Viper Room' I had residencies back to back. During those years I performed with several bands that were up and coming as well as big names that had already become successful. Katy Perry, then Katy Hudson, shared the stage with me as well as a band called The One Republic.

    I began a friendship with Ryan Teter and we wrote a couple of songs together before their hit single 'Apologize' blew them into the universal orbit.  I met Brent Kutzle during those years and called on him to help me with a track on this album.  ‘White Horse’ is a song that Brent had written and I only helped him flesh it out to a finished track.  Josh Silverberg co-produced long distance with Brent and we saw it come into shape over a few weeks of back and forth.  It’s obviously an apocalyptic subject, but I also feel an undertone of modern worship in the music. White Horse was something, much like "Kings and Queens' from the Audio A 2.0 album, that I could have never written by myself. 

    8. Another Big Mistake (Derek Webb Remix) I am not a fan of re-mixes, let me state that first and foremost.  Whenever I see artists putting out a whole album of re-mixes, I cringe. I think it’s a lazy way of putting out product without having to create something through hard work. So… the reason I put a couple of re-mixes on this album are this. 1. I didn't want this to be an EP, and at the time we didn't have financial means or schedule to produce more songs. 2. My great friend Derek Webb, with whom I have the utmost respect for as a musician, agreed to performing his 'deconstruction' of my songs. Like a musical Picasso, I wanted Derek to take my two favorite tracks on the album and turn them upsidewaysdown.


    9. Going Clear (Derek Webb Remix)
    Same rules apply...

    10. Infinite (Kevin Max, Kyle Lee)
    ‘Infinite’ was the second song written for Broken Temples.  The first was a song that never saw the light of day called 'Outside The Door.' It was a song I pitched to the early songwriting process of the 'Kings and Queens' album. It was deemed too 'Beatlesque' so I tampered it and wrote a song called 'Infinite.'  I recorded this demo on my trusty iPhone, iTalk app and brought it to a writing session with a gentleman named Kyle Lee. Kyle was set up in Toby Mac's studio in Franklin, TN, just down the road from my house.  Within a few minutes, we had the beginnings of the song already recorded. I'd like to say it was the quickest and most simple song I have written in quite some time. A friend of mine likened it to a nursery rhyme or Sunday school song… I take that as a compliment. The subject material of the lyrics is obvious.  Taken from the playbook of C.S. Lewis and William Blake, God is bigger in depth and scope than we can imagine.

    11. Freak Flag (Kevin Max, Jason Walker)
    During the 'Kings & Queens' process I wanted to write several old school Audio Adrenaline rockers. I was a big fan of their early career, as they were our compadres on Forefront. (dctalk discovered the band at Kentucky Christian College and brought their demo to the label ). I loved songs like 'Mighty Good Leader, Chevette & Scum Sweetheart'….but the 90's had come and gone in Christian Music, and sadly even when we played these old hits live, the crowds didn't seem to get them. That opportunity to write these type of songs never came, as management and label wanted a more mature AA. Mark Stuart and I actually did write a couple of songs that bordered on the old style, but the songs eventually saw their demise. ‘Freak Flag’ was written for the Audio A 2.0, album 2, which never came into being. Jason Walker, my friend and fellow band member and I sat down at his home studio and laughed our way through the first demo stages of the tune.  It was shelved for quite some time as I went through the gauntlet of the changes that would see me becoming a solo artist again and not moving forward with yet another incarnation of the Audio A brand. I took the song in its unfinished form and Rob Hawkins, the producer of the 1st side of the album, worked it up into what you hear now. It’s an anthem, its tongue in cheek, it has time traveled back from the 1990's, just for you.


    12.  Lay Down Your Weapons My Friend  (Kevin Max, Paul Moak) Paul Moak… what an artist… what a guitar player… what a producer.  Paul auditioned as a very young lad with a very large pedal board for the dctalk solo tour.  He became my guitar player for my segment of the show.  He would open each performance playing a real Sitar. Many moons have passed and now Paul is one of the premiere producers in Nashville.  Situated in the most fantastical studios in Berry Hill, he creates the anthems for hipsters and serious musicians daily. I asked him to write a song for me in the early stages of writing for 'Kings & Queens.' We wrote this song in a day and recorded it.  Later, Paul put his finishing touches on it without even letting me know.  He sent it through the Internet completed and feeling like a track that John Lennon would have been proud of. Stylistically it also hearkens to the 1950's, with Stephanie Smith singing great background vocal embellishments. The lyrics are heavy and represent one of the biggest issues we are dealing with today: Forgiveness.



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