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Training for Utopia

October 21st, 2009 admin No comments

Training for Utopia (TFU) was a metalcore band which existed from 1996–2000. The band first signed with Tooth & Nail Records and was later moved to Solid State Records, the Tooth & Nail sublabel which promotes heavy Christian music. Training for Utopia subsequently became popular in the Christian metal scene during its active years, although its music was not specifically religious.

Their brief existence included a tour with Zao and at the time the upcoming band Spitfire. It was during this time that the band hired Carlos Colón (later to join The Deadlines) for their 1998 tour providing synthesizers to their live show. Immediately following the tour Carlos left the band to pursue other aspirations. After a temporary hiatus the band returned with their second full length “Throwing a Wrench into the American Music Machine”. After a small tour of the material the band disbanded.

At the demise of Training for Utopia, members Ryan and Don Clark announced that they were starting a new project called The American Spectator which never was realized. Don and Ryan Clark started “Asterik Studio” in Seattle, a graphic design shop where they completed many projects, including album artwork for former label-mates. In 2000, they founded the Christian metal band Demon Hunter.

Members of Training For Utopia:
 - Ryan Clark – vocals, guitar (Currently with Demon Hunter)
 - Don Clark – guitar
 - Steve Saxby – bass guitar (Currently with Out Of Place)
 - Morley Boyer – drums


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Sever Your Ties

October 18th, 2009 admin No comments

Southern California has a knack for bringing chart topping pop acts soaked in surface level appeal, yet lacking in humility, believability and most of all, faith. The men of Sever Your Ties are not the typical Southern California product. Comprised of six best friends, Solid State Records’ most recent discovery is more than just a young band intent on proving themselves and finding success. Rather than aiming for the top of the charts, Sever Your Ties instead targets the hearts, minds and emotions of those who are willing to listen. This noble approach has brought the band immense success, a strong fan base, and the ability to spend their nights picking their fans up, spreading their message and living their dreams.

Choosing to stay close to home for the recording of their Solid State debut Safety in the Sea afforded the band the necessary time to craft their ideas, melodic themes and lyrical jaunts into full-blown songs and statements. Safety in the Sea, produced by long-time friend and fellow SoCal native Jeff Schneeweis (Number One Gun), finds the band digging deeper into their influences to present a cohesive, emotional and sincere record that all six members always knew they could, and would write.

“I think for us the focus was pretty clear from the very beginning of this recording: write songs that try to bring back some of the rock influences we all share without losing the aggressive nature of what we do normally. We are a band who takes pride in our live show, but more importantly, our message. We set out to write a record that would show both sides equally.” Influences as far reaching as Elvis Presley to as current as Thrice show through in the songs from Safety in the Sea. These songs make you pump your fist in the classic tradition, but at the same time make you realize that you are not alone in any situation, no matter how desperate or trying it may seem.

“I’ve always written about pretty personal subjects…relationship stuff, stuff involving the everyday struggles I go through as a man and a Christian. But I hope that all the songs are ambiguous enough that everyone can find their own meaning in my words. We aren’t in this band to make money, we are in this band to connect with our fans and hopefully have the opportunity to help someone.”

Safety in the Sea is a monumental leap forward for a band that has barely begun its career. The record is a leap forward from the past; a leap forward from the clichés and the common. It is a rocking, aggressive, emotional testament to humility, believability and most of all, faith. Safety in the Sea is the record Sever Your Ties were called upon to make, and for all the right reasons.

Safety in the Sea, released on Solid State records, will be in stores everywhere on July 8th, 2008.


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Destroy The Runner

October 18th, 2009 admin No comments

There comes a time in every artist’s life in which he must find himself through his medium. He must pry himself from any hint of reliance upon others and their art, and embrace who he is and what he was born to create.

Such is the case for Destroy The Runner, and their sophomore effort, ‘I, Lucifer’. 2006 saw the release of their debut album ‘Saints’, and while a solid effort, the record did not point towards a band satisfied with their sound, but rather, one developing it. ‘I, Lucifer’ sees Destroy The Runner as a band fully realized. The release boasts a radiant originality that is almost nonexistent in a practically dormant music scene.

“We realized very quickly after the release of ‘Saints’ that our musical passion had shifted” explains the band. “We knew we needed to do something on our own terms, regardless of what people thought or wanted to hear. We needed to be who we really were and make an album that reflected that.” That album, ‘I, Lucifer’, is set to change the face of aggressive music as we all know it. Full of an unbridled passion and energy, the album does not let up throughout its 11 tracks. Each track shines with a uniqueness and feel unlike its predecessor, but the album flows soundlessly. ‘I, Lucifer’ is something that artistically has not been attempted, much less fully realized, by any of the bands peers. This is the album that will put Destroy The Runner on the map and solidify their position as a forerunner of aggressive music.

Destroy The Runner have birthed a giant with ‘I, Lucifer’. Prepare yourselves.


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Oh, Sleeper

October 17th, 2009 admin No comments

An empowering call-to-arms descends upon the weak-minded, the undecided, the superficially concerned with the arrival of Son Of The Morning, the new album from OH, SLEEPER. On the followup to their When I Am God debut, these Texan lads obliterate any notions of the “sophomore slump” with an alarming urgency sure to excite anyone with even a cursory interest in bands like Underoath, Slipknot or Dillinger Escape Plan. Oh, Sleeper has crafted a concept album detailing the final battle between the devil (with Micah Kinard screaming in character on the title track) and God (with Kinard answering on “The Finisher,” which closes the record) from start to finish. Produced by Andreas Magnusson (Black Dahlia Murder), Oh, Sleeper’s Son Of The Morning is poised to turn 2009 upside down.

Kinard and guitarist / vocalist Shane Blay (ex-Between The Buried And Me) offer a brilliant and somehow uncontrived vocal point / counterpoint with the ten catchiest heavy anthems of recent memory, delivering on the promise hinted at by the first album’s breakout video / single, “Vices Like Vipers.”

There is not a moment of filler on Son Of The Morning, with Kinard screaming his heart out while Blay and guitarist James Erwin add just enough shred and complexity to their blazingly memorable riffs. New drummer Matt Davis is full of dynamics and power without ever sounding needlessly busy, laying down a foundation sure to elevate him to the upper ranks of heavy music drummers. Bass player Lucas Starr, who started out in Tooth & Nail rockers Terminal alongside Erwin, injects the proceedings with power and groove which anchors everything heard on Son Of The Morning. Kinard weaves a literary and intellectual yet relatable tale of good, evil and humankind’s spiritual struggle.

If “The New Breed” and “Commissioned By Kings” (with its “Bring out the dead! Bring out the dead!” chorus) don’t get your fists pumping, nothing will. “A Banquet For Traitors,” “In All Honesty” — Epic moments, driving moments, pummeling and punishing moments — all are to be found in abundance throughout the record. A few tasteful doses of electronics can be found on the record which combined with Blay’s soaring vocal melodies lend balance to the otherwise ultra-heavy assault.

The broken pentagram adorning the cover of Son Of The Morning represents evil vanquished, both inside and out. Oh, Sleeper has brought their music to stages across the world touring with bands like Underoath, Finch, Bring Me The Horizon, Every Time I Die and more, sharing their musical and spiritual point of view.

Oh, Sleeper Members:
 Micah Kinard – Vocals
 Shane Blay – Guitar/Vocals
 James Erwin – Guitar
 Lucas Starr – Bass
 Matt Davis – Drums


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Soul Embraced

October 17th, 2009 admin No comments

Soul Embraced and their brand new album Dead Alive is a reinvigorated, brutal and precise take on the intense death metal that made Soul Embraced infamous to the underground when they began in the late ’90s. Produced by Barry Poynter (Living Sacrifice, Zao) and mixed by Hate Eternal/ former Morbid Angel guitarist Erik Rutan (Cannibal Corpse, Six Feet Under, Through the Eyes of the Dead), Dead Alive serves as Soul Embraced’s proper reintroduction to the metal community. The return of Soul Embraced has been a long time coming. Rocky Gray is now back behind the lead guitar, having spent the last few years recording and touring with the multi-platinum hard rock band Evanescence. Gray has reunited with his close friend Chad Moore, whose vocals recall the best of Carcass and At the Gates. Lance Garvin (Gray’s Living Sacrifice bandmate) is back behind the kit. The band’s founding members, who formed the band in 1997 after the dissolution of Shredded Corpse, are joined by new bass player Jeff Bowie and new guitarist Devin Castle. Dead Alive is the band’s first full-length release since 2003 and is by far their most brutal and yet most diverse offering. Look for them on the road in 2008.

Soul Embraced Members:

Chad Moore – Vocals
Lance Garvin – Drums
Devin Castle – Guitar
Rocky Gray – Guitar
Jeff Bowie – Bass


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Once Nothing

October 17th, 2009 admin No comments

Once Nothing was a self-proclaimed “Blue Collar Metal” band from Pittsburgh, Pennsylvania, and was signed to Solid State Records.

Once Nothing formed in Pittsburgh, PA in 2000. Self described as “Blue-collar metal”, they mix southern metal with metalcore and often use breakdowns and melodic riffs. In describing the concept of “blue-collar metal,” vocalist Todd Lowry explains, “Our mentality now and in the past has always been to tour as much as is humanly possible and show people what this is all about.” The band proceeded to play nearly 500 shows in the past two years alone. Although some of their lyrics have Christian meaning, they do not consider themselves to be a Christian band.

In late 2008, longtime guitarist Josh Branas, bassist Steve Lucarelli, and drummer Giuseppe Capolupo decided to leave the band. Jordan Tomb and Robert Snyder then joined on guitar and bass guitar, respectively. In February 2009, Todd Lowry announced the band was done with two farewell shows; one on April 4 at the Sterling Community Center in Sterling, Virginia (with Kodiak and In Alcatraz 1962) and another on April 5 at Altabar in Pittsburgh, PA (with The Last Hope, Neocracy, Failure To Fall, and Hyperion).

The April 4 concert featured Josh and Dave on guitars for every song, with Jordan playing for a handful. The band played an extra-long setlist featuring “… And Then Came Grace” (one of the few times the song was ever played live) and “How To Build A Sandcastle” (which had not been played for several years). One song, “Whiskey Breath”, was cut from the setlist due to noise curfew (despite the previous band, In Alcatraz 1962, having already cut two songs from their own setlist to allow Once Nothing more time).

Members of Once Nothing:
 - Todd Lowry (2000- 2009) – Vocals
 - Jordan Tomb (2008- 2009) – Guitar
 - Geoff Jenkins (2007- 2009) – Guitar/Vocals
 - Steve Lucarelli (2005-2008) – Bass
 - Giuseppe “Joey” Capolupo (2005-2008) – Drums

Former Members of Once Nothing:
 - David Burkes (2000-2007) – Guitar / Bass
 - Josh Branas (2002-2008) – Guitar
 - Ryan Carroll (2000-2005) – Guitar
 - Kevin Hough (2000-2005) – Drums


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Living Sacrifice

October 15th, 2009 admin No comments

Living Sacrifice is back. The Christian metal band’s influence runs deep throughout the scene. Former and current members of Living Sacrifice went on to play in bands such as Evanescence, P.O.D. and Norma Jean. Living Sacrifice broke up in 2002 but returned to the metal community with a vengeance in 2008.

The Infinite Order, the band’s new album, was produced by Jeremiah Scott (Destroy Destroy Destroy) and mixed by Andy Sneap (Megadeth, Machine Head, As I Lay Dying) and announces the return of Living Sacrifice with might and majesty. Powerful, forthright, thrashy and skillfully executed as ever, the album serves as an unapologetic reminder as to exactly why so many of today’s heavy music leaders hold Living Sacrifice and their legacy in such high-esteem.

“Living Sacrifice has been a huge influence on me, musically and spiritually,” states Demon Hunter frontman and Grammy nominated graphic designer Ryan Clark. “From very early in my youth, when I first started taking an interest in heavy music, Living Sacrifice stood out as a band that displayed a greater level of skill, songwriting ability and professionalism. They are one of those bands that you can count on to continually release amazing material.”

“Living Sacrifice was one of the first Christian heavy bands to be respected outside of the Christian scene,” adds Underoath guitarist Tim McTague. “They definitely helped pave the way for our band’s crossover.”

Living Sacrifice formed in Little Rock, Arkansas in 1989. Bruce Fitzhugh and Lance Garvin were teenagers when they got together with their friend DJ Johnson and later Jason Truby (who later went on to join P.O.D.) determined to create a metal band as musically uncompromising as the secular groups of the day with a positive lyrical message. This was practically unheard of at the time and to many quite controversial, blowing open doors and crossing preconceived boundaries with a mix of thrash and death metal across their first three albums: their 1991 self-titled debut, the following year’s Nonexistent and 1994’s Inhabit, a classic trio of primal heaviness all released by the now defunct R.E.X. Records.

With Bruce taking over from DJ, who left to pursue non-musical ministry, on lead vocals, Living Sacrifice as most of their fans know them came into being with the appropriately titled Reborn. Released in 1997, the album is a landmark for the genre and spawned countless imitators both within the Christian scene and outside. With boundaries further blurred, Living Sacrifice found even more acceptance by mainstream metal press and respect from fellow bands without compromising their artistic or spiritual vision whatsoever.

Rocky Gray and Arthur Green came onboard for 2000’s The Hammering Process, an even more mathematical affair that saw the further development of the band’s signature choppy, percussive riff-fueled style, all with Fitzhugh’s instantly recognizable voice, Garvin’s incredible and much-talked about drumming Gray’s adept “spider-fingers” shredding atop. Bleeding Through’s Brandan Schieppati hails the album as one of his biggest influences.

“You would be hard pressed to find bands who started during the time Living Sacrifice did that are still around making albums at all, let alone timeless and relevant metal,” says Throwdown frontman Dave Peters. “Their musicianship is unreal, but I’ve always been blown away by the band’s songwriting ability. They never fail to make their songs tell a story but without following any kind of predictable formula or spinning off into tangents. And they are a riff factory!”

Conceived in Fire drove that point home further in 2002. Living Sacrifice’s first pairing with Andy Sneap as mixer resulted in another incredible slab of molten metal that turned a corner for the entire scene. Unfortunately, personal and musical commitments elsewhere (Gray’s drumming gig with Evanescence, for example) saw the dissolution of the group. However, after reconvening to record three new songs for a “best of” collection In Memoriam released in 2005, it was clear that the spirit of Living Sacrifice could not rest and the band was, once again, literally and figuratively “reborn.”

A six-week US tour heralded the band’s return alongside the self-released, digital-only Death Machine EP. Anticipation for a brand new album has built to a fever pitch with fans. The Infinite Order was recorded in Little Rock and Nashville with the band’s friend and producer Jeremiah Scott at the helm and Andy Sneap once again handling mixing duties in the UK.

The album continues to push the envelope further, incorporating new dynamics an thrashier / more aggressive elements into a formula sure to appeal to fans of Conceived in Fire and The Hammering Process in particular.

As I Lay Dying frontman / songwriter Tim Lambesis sums it up best: “You can hear Living Sacrifice’s legacy in the entire generation of bands who’ve come after them. And those bands still haven’t caught up.”


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The Devil Wears Prada

October 12th, 2009 admin No comments

The Devil Wears Prada is an American Christian metalcore band from Dayton, Ohio, formed in 2005. They are currently signed to Ferret Music. The band derives its name from an anti-materialistic mindset as stated by vocalist Mike Hranica, instead of directly refering to the novel with the same title. The Devil Wears Prada is a Christian band, consisting of the band members Mike Hranica (lead vocals), Chris Rubey (lead guitar), Jeremy DePoyster (rhythm guitar, vocals), Andy Trick (bass), Daniel Williams (drums) and James Baney (keyboards). To date the band has released three full-length albums one DVD and four music videos.

In 2005, the band released their demo entitled Patterns of a Horizon. Their debut full-length album was released on August 22, 2006, entitled Dear Love: A Beautiful Discord, which featured guest vocals from Cole Wallace formerly of Gwen Stacy. The demo version of their song “HTML Rulez d00d” was placed on the band’s MySpace profile on January 1, 2007. On July 11, absolutepunk.net began to stream their song “Don’t Dink and Drance”. Their second album Plagues was released subsequently on August 21, 2007. On a recent interview with East Coast Romper, the band states that their primary influences are Underoath and Still Remains, which was mistaken on their official website saying the exact opposite. The band performed a cover of the rap song “Still Fly”, originally performed by Big Tymers, the cover song was released on the compilation album Punk Goes Crunk.

Vocalist Mike Hranica, manages a clothing company called Shipshape Roolz Clothing with which he sponsors and endorses bands. Some of Shipshape’s scale money goes to charities such as Skate 4 Cancer. The Devil Wears Prada began writing and recording their third album With Roots Above and Branches Below after them attending 2008’s Warped Tour, the album was released May 5, 2009. Singer Mike Hranica, stated that they would add a little more production to their new album.”Expect a much heavier and more epic record,” he stated. Keyboardist, James Baney, also stated that their new album would be more mechanical but still containing their same distinct style whereas drummer, Daniel Williams, stated that the new album would be crazier and wilder than their previous albums. In Autumn 2008, they debuted a new song off their upcoming record while on tour with Underoath, Saosin, The Famine, P.O.S., and Person L.

The Devil Wears Prada have performed with A Day to Remember, Sky Eats Airplane and Emarosa. They have also performed at 2009’s Warped Tour. To promote the release of With Roots Above and Branches Below, on March 13, they released a new song entitled “Dez Moines” along with a new layout on their MySpace. On March 26, 2009, a song clip entitled “Assistant to the Regional Manager” was leaked onto YouTube. Before the release, the pre-order of their third album With Roots Above and Branches Below, the purchaser was given the option to receive several pre-orderd packages. One including a CD/DVD/shirt deal, also includes a card with a code that lets the purchaser download two new unreleased songs, “Dez Moines”, and “Assistant to the Regional Manager.” With Roots Above and Branches Below was released May 5, 2009. Since the released date, the sales to the album have been very satisfactory landing their third album #11 on the Billboard 200 for top albums.

On April 22, 2009, the song “Sassafras” was released on their MySpace profile in final promotion for the release of their third album. On the weekend of April 24-26, 2009, the entire album was available for listening to on Shockhound.com before its official scheduled release date on May 5, 2009. The band launched their official website, on May 5 2009. The song “Dez Moines” was released as downloadable content for the video game Guitar Hero World Tour on May 7, as well as the song “Hey John, What’s Your Name Again?” was released as downloadable content for Rock Band on June 30 2009. All 11 songs of their new album, With Roots Above and Branches Below, were released onto MySpace Music on Saturday, May 9, 2009. They played at the Main Stage at the 2009 Warped Tour. They played at the iMatter Festival in Elmira, New York on June 13 and played “Danger: Wildman” for the first time in concert.

The Devil Wears Prada Band Members:
Mike Hranica – lead vocals
Jeremy DePoyster – rhythm guitar, clean vocals
Chris Rubey – lead guitar
Andy Trick – bass guitar
Daniel Williams – drums
James Baney – keyboard, synthesizer, piano


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The Chariot

October 10th, 2009 admin No comments

The Chariot is a Christian metal band from Douglasville, Georgia, formed in 2003. The band has been privy to frequent lineup changes. The current lineup consists of drummer David Kennedy, bassist Jon “KC Wolf” Kindler, vocalist and bandleader Josh Scogin, and guitarists Bryan Russell Taylor and Dan Vokey.The band plays an abrasive style of metalcore that does not adhere to typical stylings like melodic/abrasive dynamics and harmony singing. They have built a reputation around their live performances, which have been called “legendary” and “destructive”. Lyrics revolve around topics like materialism and sometimes touch on Christian themes.

The band was formed by Scogin shortly after he left his position of vocalist in Norma Jean. In 2004, a record deal was signed with Solid State Records and a debut album was released, entitled Everything Is Alive, Everything Is Breathing, Nothing Is Dead, and Nothing Is Bleeding. The band has toured constantly since then. They released the Unsung EP in 2005, which was followed by two studio albums; The Fiancée in 2007 and Wars and Rumors of Wars in 2009.

The Chariot was formed by Josh Scogin almost immediately after leaving his previous band. Scogin had been lead vocalist for Norma Jean, a metalcore group based in Douglasville, Georgia; he recorded one critically acclaimed album with them entitled Bless the Martyr and Kiss the Child in 2002. Norma Jean performed at a music festival called Furnace Fest in Birmingham, Alabama later that year. After the band finished their set, Scogin shocked the audience and his unaware bandmates by announcing his departure. “I wish I had some great story about a big fight or aliens or something,” he later explained, “but really it was just something that I felt led to do.” When asked if his leaving was the result of internal conflict, Scogin replied “Not at all. My leaving them was completely a peaceful event. It was all something personal for me and had nothing really to do with the band at all.” The event generated a public outcry from fans in hardcore circles. Scogin returned to Douglasville in 2003 and started the Chariot with other musicians in the area; the first lineup included guitarists Keller Harbin and Tony “Taco” Medina, bassist Jason Beiser, and drummer Jeff Carter. The band’s name was inspired by the Biblical story of Elijah and the chariot of fire.

In 2004, a record contract was signed with Solid State Records, a metal subdivision of Tooth & Nail Records. The band traveled to Atlanta, Georgia and worked on their debut album with Matt Goldman. The entire album was recorded live in one take. “It is more comfortable for everyone,” said Scogin,” [We] wanted to record it all natural and leave many of our screw ups and many of our flaws. [...People] see perfect shows and they hear perfect recordings. We really wanted everyone to hear something that was authentically us and not a computer.” The album was released in November and titled Everything Is Alive, Everything Is Breathing, Nothing Is Dead, and Nothing Is Bleeding, which was a parody of albums that featured morbid names: “[Death], or killing, or bleeding,” Scogin explained, “[We] just sort of thought it would be a breath of fresh air to name our CD the exact opposite of all that.” The album debuted at #23 on Top Heatseekers, and received favorable reviews from critics. Touring followed with As Cities Burn, He Is Legend, and Showbread on the Young Bloods Tour in Winter.

Medina and Carter left the band soon-after; they were replaced by Brian Khounvichit and Mark Nicks respectively. Nicks was later replaced by drummer Jake Ryan. In September 2005, The Chariot began a 27-city tour at Poughkeepsie, New York with High On Fire, Every Time I Die, and The Red Chord. An EP, entitled Unsung, was released at the beginning of December. It featured two new tracks and four re-recordings from their debut. It was well received among critics. The band played shows with labelmates As Cities Burn, mewithoutYou, and Underoath later that month. Touring continued through 2006; the band shared a national tour with P.O.D. in spring, and garnered a spot in the Sounds of the Underground Tour with As I Lay Dying that summer. In June 2006, Beiser and Harbin stepped down and were replaced by bassist Dan Eaton and guitarist Jon Terry respectively. The two men had been longtime friends of the band.

The Chariot embarked on the Youngbloods II Tour in fall with Solid State labelmates August Burns Red, Destroy The Runner, Inhale Exhale. In January 2007, the band toured through Europe with Becoming the Archetype, and Shaped by Fate. By this time, yet another bass player had been recruited—Jon “KC Wolf” Kindler. In April of the same year, after delays relating to lineup changes, their second album, The Fiancée, was released. The record was produced by Matt Goldman. The writing and recording process had been driven by time constraints. “It was actually a very easy record to write,” said Scogin, “It came more naturally to us.” However, Scogin waited until the music was written before writing lyrics, an exercise he vowed never to attempt again. Hayley Williams of Paramore made a guest performance on the track “Then Came To Kill” as did Aaron Weiss of mewithoutYou when he played the harmonica on “Forgive Me Nashville”; Scogin had been friends with both artists for many years. The Fiancée broke the Billboard 200—it debuted at #169, selling 6,800 copies— and was well received in the Christian and secular markets. The group played a release tour with Misery Signals, I Am Ghost, and I Hate Sally, and then made a short run on the Warped Tour in summer. When Norma Jean vocalist Cory Brandan Putman became ill in Mexico, Scogin flew down and filled his place. Another leg of The Fiancée Tour extended into spring 2008 with LoveHateHero, Alesana, Our Last Night, and Sky Eats Airplane.

The group’s third album, entitled Wars and Rumors of Wars, was released in May 2009. The lineup changed once again, leaving Scogin as the only member to appear on their previous records; Ryan and Eaton left on amicable terms to form the indie pop band Queens Club and were signed to Tooth & Nail Records. The album title was inspired by Matthew 24:6, which contains the passage “You will be hearing of wars and rumors of wars…” Scogin explained that the album title referred to internal conflict that people experience, not literal war. The band hand-made the artwork and liner notes for the first 25,000 copies of the album. Wars and Rumors of War debuted at #112 on the Billboard 200, their highest to date. Critical reception was very positive about the release. The Chariot performed on the Scream the Prayer Tour with Haste the Day, Oh, Sleeper, and Project 86 that summer. Beginning late November, Norma Jean will headline the nationwide Explosions 2009 Tour with a group of handpicked artists, including The Chariot, Horse the Band, and Arsonists Get All The Girls.

The band’s music is characterized by a metal sound, and the screaming vocal style of band leader Josh Scogin. Journalists have frequently referred to the music as “chaotic”; Allmusic writer Alex Henderson described it as a “dense, clobbering sledgehammer”, while Brian Shultz of Alternative Press called it “manically pounding, distortion-soaked exercises of catharsis”. The Chariot has often been labeled a metalcore band. However, the music generally defies genre standards like melodic/abrasive dynamics and harmonizing vocals; it wouldn’t leave room for the “nonstop firestorm of exploding drums, heaving guitars, and visceral shrieking,” as Allmusic writer Corey Apar put it. The band utilize time changes and start-stop shifts, and typically write very short songs. Some journalists believe the music is challenging and an acquired taste.

Live performances are very important to the band. “We love playing live,” said Scogin, “That’s what this band are all about: playing live shows.” This mentality leaked into their recording process; the band’s first album was recorded entirely live in one take. Their next two efforts followed more traditional recording sensibilities: “We may go in and [fix] this one part,” explained Scogin, “but [...] there’s lots of stuff we probably should have tightened up. [Laughs.] But that [keeps] it feeling like a real record.” Despite their attentiveness to the recording process, Scogin has maintained that their focal point is live performances, “…recording records, that’s all circled around hopefully bringing more kids to the live show so we can perform for them.” The band’s shows have built up a reputation; MTV called them “the thing of metalcore legend”. When tasked to describe their set on the Scream the Prayer Tour, HM Magazine president Doug Van Pelt wrote:

“The best word I can find is destruction. There’s a frantic mix of bodies flailing, limbs flying, strings bending [..] Scogin threw his microphone twice, the guitarist climbed up on the stack of amps and hung from the rafters twice, and the set ended with the band piling up amps, drums, mic stands, lights and instruments in the middle of the stage and scraping their guitar strings across the edges of the pile. I wouldn’t have been surprised if they poured gasoline on the mess and lit it up.”

Artists who possessed strong showmanship skills have largely influenced Scogin; some of these artists include James Brown, Frank Sinatra, Jerry Lee Lewis, and Elvis Presley. He is also fond of Arcade Fire, The Beatles, Björk, Interpol, and The Killers. In an interview, Scogin expressed a desire to have seen At The Drive-In and Nirvana before they disbanded.

Scogin’s introspective lyrics have covered topics like materialism, death, and the Nashville Christian music industry. The lyrics for Wars and Rumors of Wars were formed after a family loss: “…only a year ago my father passed away. And I hate to say this, because it sounds like such a band-dude thing to say, but the lyrics are a lot darker than any other record just because of how personal they are for me.” Scogin usually refers to his lyrics as poems and has maintained that “a song is never finished but abandoned.” “…as an artist you can forever be changing a song or making a song ‘better’ or whatever but the moment that you stop recording and send it off to be mastered you have not ‘finished’ the song…you have only abandoned the song and that is how it will stay forever.” His lyrics sometimes espouse Christian themes and beliefs, albeit subtly. For example, the track “Yellow Dress: Locked Knees” from Everything… contains the Spanish lyrics “Jesus, yo quiero que este mundo te conosca.”; when translated, it says “Jesus, I want this world to know you.” The song “And Shot Each Other” from The Fiancée contains the lyrics “How happy is a child of grace, who feels his sins forgiven / This world, he cries, is not my place / I seek a place in Heaven.”

The Chariot is frequently called a Christian band, which Scogin agreed with in a 2005 interview: “We are Christians in a band therefore we are a Christian band. We are not ashamed of our beliefs but we don’t force feed people what we believe either.” In 2006, he reaffirmed his previous statements and further opined, “When I was growing up, if I liked [a band], I listened to it — and I went to the shows. If I didn’t, I didn’t. It wasn’t like, ‘Oh, they don’t believe the same thing I do,’ [...] People care too much about the fashion of it all. To me, a band’s either good or they ain’t, and that’s the only thing that should matter.”


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Pillar

October 5th, 2009 admin No comments

If you were in a genre-leading rock band that had sold nearly one million albums, tallied 10 No. 1 radio singles, 13 additional top five hits, a GRAMMY nomination, four Dove Awards and headlined nine national tours on your way to performing for three million people, what would you change about your band’s approach?

That’s easy: Absolutely nothing. Yeah?

But you’re not Rob Beckley, founding front man and leader of Christian music’s premier alt-metal-come-hard-alternative band. He knows change has played a recurring and pivotal role in Pillar’s success since its formation. For starters, consider the five former members who have come and gone during this impressive run, Pillar’s continually evolving post-grunge sound, or even the ease with which the band continues to move between the Christian and general markets.

And now comes Confessions, the Essential Records act’s sixth studio album. Change may have been a key ingredient before, but this time around, it was a bonafide litmus test. First up, the recent additions of bassist Rich Gilliland (KJ-52, Brandon Heath) and drummer Taylor Carroll (After Edmund) to Pillar’s lineup. “Every single step of the way over the past 12 years, God has always put the right people in place for Pillar to take a huge step forward,” affirms Beckley. “And we can already tell this time is no different. In the past, we have had great bass players and drummers, but no one ever talked about our rhythm section as a unit.” That was then. As he explains, “We’re still a guitar-driven band, but now, for the first time, we have a tight rhythm section with a serious groove. Musicianwise, this is the strongest lineup we’ve ever had.” And both on the road and Confessions, it shows. (But let’s not get ahead of ourselves)

As if entering the recording studio with a game-changing rhythm section wasn’t enough, Beckley and Pillar guitarist Noah Henson–the band’s principal songwriters the past eight years–made an unprecedented move in pre-production by collaborating with several prolific writers outside the band. While Beckley once again handled most of the lyrics, he and Henson teamed with the likes of Chris Stevens (tobyMac, Sanctus Real), Skidd Mills (Saving Abel, Skillet), Keith Wallen (Fuel), Red guitarist Jasen Rauch, and Building 429 front man Jason Roy to take Pillar’s music into yet further new territory.

“When you’ve got four or five brilliant minds creating songs with you, it brings magic into the creative process,” says Pillar’s Henson. “That’s why collaboration is the ultimate musical standard these days. A perfect example is our new single at rock radio, “Fire On the Inside.” Chris Stevens wrote the chorus, I wrote the riffs on the verses, and Jason Roy co-wrote the lyrics with Rob.”

Given the lineup of guest writers, it’s no surprise Pillar decided melody, composition and hooks would rule the day in these songwriting sessions, and insisted that emphasis continue after the band entered the studio. To seal the deal, Pillar turned to versatile producer/songwriter Rob Graves (Red, Wavorly). A graduate of Berklee, the renowned music conservatory in Boston, Graves marked yet another dramatic change by Pillar. Indeed, each the band’s five prior studio albums had been produced by the brilliant Travis Wyrick (P.O.D., Superchick), and in an admirably selfless relational turn, Wyrick considered Pillar’s new direction and strongly supported their desire to work with Graves.

The decision paid off in spades. Says Beckley, “I had never gotten goose bumps listening to our own music before, but the production on Confessions is just a whole other level.” While the band’s previous album, 2008’s For the Love of the Game, was “100 percent old-school Pillar,” Confessions is the kind of record that will make CHR (contemporary hit radio) listeners fans of hard music. The 11-track disc, which features songs ranging from muscular, guitar-driven gut rock to beautiful, orchestral ballads, gives Pillar unprecedented commercial appeal. Confessions may be musically intense and layered, but melody is king. Beckley offers further insight concerning the album’s production. “As a producer, Graves is not only a master of the big picture, he’s a formidable guitar player himself, extremely good with melodies, and as deliberate as you can get with songwriting,” he explains. “He pushed us places we never would have heard us going.”

While Confessions’ music will be the first thing to raise eyebrows and win new fans, a thoughtful listen to the album’s lyrics sheds new light on Pillar in more profound ways. “Rob wrote about subjects I’ve never heard him hit on before,” says Beckley’s longtime writing partner, Henson. He’s right. As it turns out, the breathtaking changes in the band’s approach to songwriting sessions and studio production, not to mention half its actual line-up, were enabled in part by significant growth on a personal and spiritual level. The catalyst for much of this growth was a confessional curriculum–called “My Secret”–taught in the Tulsa, Oklahoma church attended by three of the band’s members. (Pillar’s new bassist, Taylor Carroll, attends Hope Presbyterian Church in Memphis where his father, renowned recording artist Bruce Carroll, is worship leader.)

“The ‘My Secrets’ study and the small group I was in rocked our worlds,” says Beckley. “We had a girl who confessed to having an abortion, a couple shared the fact that they’d both had affairs, just wild stuff coming out into the open. The important thing is, at those moments, a life-changing healing began during each confession.”

The members of Pillar realized the significance of what was taking place within their church, indeed within themselves, and prayerfully decided to pay it forward as a band. Beckley begins to explain, “As one avenue of response, our church had created a message board people could go to and pour out their hearts anonymously, and the confessions there were just overwhelming.” That message board served as Pillar’s blueprint for engaging its audiences on tour. “As a band, we wanted to take that out on the road, do something to give our fans a way to pour out their hearts anonymously and start a healing process in people’s lives at each stop,” continues Beckley. “So on our next outing, we took a confessional booth with us.”

During the aptly named “Confessions Tour,” which took place in early 2009, Pillar spoke from stage about the importance of confession and made the special booth available so that anyone who entered would be isolated and have the opportunity to respond via blank confession cards. “If you went into the booth, it was your moment with God,” says Beckley. “1 John 1:9 says, ‘If we confess our sins, God is faithful and just to forgive us our sins and cleanse us from all unrighteousness.’ And writing it out is an act of confession. It definitely brought kids to the point of acknowledging their sin and what was going on.”

Pillar’s fans weren’t the only ones the tour left an indelible mark upon. The band’s members read and prayed over each audience’s confession cards, and, as Beckley explains, “more than ever, the experience put things into a perspective of ‘what we do matters.’ Pillar’s veteran guitarist agrees. “We saw kids struggling with deeply painful life experiences, suicidal thoughts, cutting, addictions…,” says Henson. “And we truly saw the confessions being used as a tool by the Holy Spirit.” Naturally, Pillar looks to take the confessional booth out on the road again.

Lyrically, Pillar’s new album picks up where the profound “Confessions Tour” left off. “Every song on this record could be broken down to ‘If you just confess,’” says Beckley. “Confess your secrets.” Under this umbrella, recurring themes on Confessions include unity, commitment and perseverance. Consider the album’s lead single to CHR radio, “Secrets and Regrets.” Beckley, himself, put it best when he said, “If there was a title track, this would be it.” Thick on guitars and even thicker on melody, “Secrets and Regrets” emotively confronts the destructive cycle of hiding secret sins and the toll it takes keeping those secrets. Pillar simultaneously slows things down and turns the beauty factor up to ten with the genuinely moving, symphonic rock ballad, “Will You Be There.” The song’s multi-layered lyrics were born with a vulnerable, remorseful chorus Henson wrote for his wife. From there, Beckley composed a relational song about being committed to one another through life’s mistakes and hardships while, at the same time, grasping to comprehend God’s unshakeable love for each of His children. For the up-tempo active rock track, “Whatever It Takes,” meanwhile, Beckley reflected on the extremely determined way he pursued his wife relationally while they were dating. Comparing a man’s feeble efforts to pursue a woman of his dreams with the way God pursues each of us, Beckley concludes in a nutshell, “God will do whatever it takes to get you.”

On an album completely loaded with potential CHR radio singles, yet another must-highlight is Pillar’s cover of Collective Soul’s modern classic “Shine.” Whereas the original 1994 No. 1 smash was just a demo recorded on a 4-tracks complete with simplistic programmed drums, Pillar’s version increases the tempo and features beefed up production with full instrumentation. While most of the song’s basic arrangement is loyal to the original, Pillar’s take features both a shredding guitar solo written and deftly performed by Henson and an artful scream-lyric Beckley tags on as his exclamation near the song’s conclusion.

To say Pillar’s emotionally attached to the Confessions album would be an understatement. Even with five previous albums, listening to their own songs had never made Beckley or Henson tear up before, but this time both have been thus moved by the new material on Confessions. “I poured my heart lyrically and vocally into these songs,” says Beckley, “and a couple of them just wrecked me when I heard the overall sound, the production of the final mixes.”

And his audience–how will Confessions hit them? “I believe God’s going to use these songs to touch people in ways I haven’t even thought of,” he says with both anticipation and humility. All things considered, Pillar may be more intentional about ministry than ever. One thing’s for sure, Beckley & Co. are committed to mentoring an audience seeking deeper relationships with God and others by using confessions as an entry point for a real faith. How’s that for intentional? And not just intentional, but intense.


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