By Robert Ham

He refers to it as “the song” or even more vaguely as just “a song” that he wrote. But if you know the name John Mark McMillan, you know that “the song” he’s referring to – “How He Loves” – has quickly become one of the most revered worship songs in the world, and has been recorded by luminaries such as David Crowder, Todd Agnew, and Flyleaf.

 In spite of the song’s successes and his rabid fan base, McMillan has largely flown under the radar of the contemporary Christian music world. This will likely change for the 30-year-old singer/songwriter with the upcoming release of his third album The Medicine. It is his first album to be released by a major label (Integrity/Columbia), a move that will likely find him an even bigger audience for his potent blend of pop smarts and folk/blues grit.

 We caught up with McMillan before a tour stop in Seattle, Washington. Sitting in a local coffee house, nursing a cappuccino, he spoke about his still-young career, the move to a major, and the still-debated issue of David Crowder changing the lyrics of “the song”.

How did you get started playing music?

 My dad had a storefront church near Charlotte and they’d have musicians there, people coming in and out. Afterwards, I’d get them to show me some chords. I was terrible at sports. I was not very attractive to the girls. I thought I’ll learn some music and play some chords and maybe the girls will notice me. It didn’t really work but I started to fall in love with sounds. Later on, I really fell in love with songwriting. I came across Dylan and Springsteen and started to really enjoy the kind of things they had to say. More than what they said. It was what they did, the way they gave the average person a language. If you listen to Springsteen, he’s singing about regular people the things they go through and the things they do. I love that.

Did you always imagine you’d be a worship singer/songwriter or did you ever think, “Maybe I could be Springsteen”?

 I sing about Jesus because I like the story and I know what it’s about so writing worship music came naturally at first but we played other venues for a while. But the church thing started to take off, when I wrote a song that a lot of other people started singing. It came more naturally so we ended up doing a lot more of that kind of stuff.

How has that felt having people latch on to this song and watching your career grow from where you started from and where you are now?

 It’s been great. It’s been real interesting with the song. Because I grew up in church but I was never connected with any sort of mainstream Christian music. I probably couldn’t tell you four or five of the biggest artists even right now. It’s been really crazy how big that song’s become. A lot more conservative type folks listen to the music, which is cool. But people ask me questions about stuff that no one had really questioned before as far as how you do things. People have these super traditional mindsets in these areas where they might expect me to act a certain way and do certain things but I’ve never had that pressure before. It’s kind of a weird thing about the way I write songs. People feel like you have to write about certain things and do it a certain way or it’s wrong. I never wanted to be a Christian artist. I just wrote what I was thinking about and what I was feeling. People aren’t used to hearing different kinds of songs connected to the same things.

It’s interesting that you said that because I was chatting online with my sister today, and I told her who I was interviewing and sent her a link to your web site. I mentioned after the fact that you were a Christian artist and she said that she would never have guessed that based solely on your music. 

 I never thought the word “Christian” described the music really well. Maybe I’m crazy maybe I just think more of myself than who I really am. But I’m not sure my music fits with what you would consider Christian music. I have a real problem in the airport people ask what kind of music I play. I’m trying to figure out what to call it. I did an interview on TV and I told them I think I’ll call it gospel rather than Christian music.

How has it been now that you are transitioning to a major label from releasing things on your own? Do you feel any friction concerning not wanting to label yourself as a “Christian artist”?

 There’s definitely a little bit of that friction. Before when I was just independent, I didn’t have to label myself as anything. I’d just put the stuff up on iTunes and sell it at shows. I don’t really understand what world my music exists in. But I had an issue with being part of the Christian organization with the music. After a while, I realized the huge proportion of my market were believers. And it took me about a year to sign with Integrity maybe because of that I didn’t sort feel like I fit with the vibe of the company overall. But there are some really great people on the team. They spent a year to convince me they really wanted to try something different and they really do. They’re really taking a risk that a lot of other Christian companies would have taken.

How so?

 Christian music is heavily driven by Christian radio, and they have specific things like certain frequencies that they want you to mix your song. They want it this length. They want the chorus to come in within 30 seconds. They want it mixed a certain way they want certain frequencies within the mix and I just don’t like that sound at all. Many of the other labels said, “You can do what you want with the album, but let us mix two or three singles and produce them for the radio.” Integrity hasn’t asked me to do any of that. They’ve let me do the songs the way I want. They’ve been super cool and understanding of what I want to do. I’m really blown away at how much they’ve been willing to take risks in those areas.

Has anything from the record made its way on to Christian radio?

 They’ve serviced it to radio and some stations have picked it up, but none of the big ones. I think their view is that there’s not really a big radio home run on this album.  They’ve put a little energy into radio but they haven’t pushed it. I think they’ve known that I’m not super excited about radio.

Are you worried that you are going to get any pressure from them for the next record to move in that direction and cater it toward the bigger marketplace?

 There’ve been nights that I’ve laid awake thinking about that. They say that they’re not going to do that. I know the label is a business and they exist to make money. They want to make your audience bigger one way or another. But I’m cool with that. That’s part of the reason I came to the label. I want to grow our audience too. I don’t feel like they’re going to do it. I just won’t do it. I think they know that. I can do a lot of things but I just can’t do something that I don’t believe in. I don’t think I can hear my song mixed a certain way and be able to live with myself. I don’t need the money that bad. It’s not like we’re making that much money anyway. Most artists get into the business when they’re 18 or 19. I’m 30 and I just now signed a record deal. I took the long road and I’m willing to stick with it.

You posted something on your blog recently encouraging songwriters to make “dangerous music”. What did you mean by that?

 What I was talking about there was this idea that the church has become too safe in a lot of ways. You read the Psalms, which is based on musical worship and has become the model for what we do. There are issues that they deal with that most churches won’t even touch. 20% of the songs in there are the happy and joyful. Those are the only songs that the culture of church wants to have anything to do with. The other 80% of Psalms – the angry Psalms, the sad Psalms, the Psalms that question God – the church won’t deal with it. If you want to question the existence of God and the goodness of God, they don’t want to hear it. But it’s in the Bible. Some of the most revered people in the Bible had moments where they questioned God where they had to search out those kinds of things. They were angry or they cursed people. I feel like its time for worship people to explore some of those and feel comfortable exploring those things. To write music that isn’t so safe and it maybe not be dangerous for people outside of the church.

The reason I asked that is because of David Crowder’s version of “How He Loves” and his changing the lyrics of the song because it was bothering people in his church. That really goes against this idea of making “dangerous music.”

 It totally does. With Crowder, he called and asked to change the line. He said, “Can I change this one line?” And I said, “Why do you want to change it?” He said that a huge group of people that need to hear the song would never hear it because of this lyric. That’s the thing about Christian radio. There aren’t “rules” that say they won’t play it, but I know they won’t play it. So I assumed that’s a major reason that he changed it. And I got to the point that there was so much heat on the song and so many people doing it. And I know the label talked about other people doing that I wasn’t very excited about it. I thought it was just a matter of time before somebody changes that line. I like David and I thought if it’s going to be someone it might as well be him. I never knew it was going to be a single. I thought it was going to be on the back half of his album. But, lo and behold, it’s maybe the biggest single he’s ever had.

 We actually worked together a little bit on the song. He had a couple of things that didn’t really work. And he came up with the “unforeseen kiss” and I said, “Well, let me try this.” And he said, “Well, I’ve already recorded it.” [laughs]

 My community my small core audience was so fired up about it a lot of them got really angry saying bad things about David Crowder. I wrote a blog post because I didn’t want Crowder thinking that I supported the mean things they were saying about him. Truthfully, if I’d written that song now, I’d have written it totally different. Not just that line. I never thought that was an incredible line anyway, but I guess the fact that people said I couldn’t do it made me want to do it even more. I kind of want to put something in every worship song that makes someone uncomfortable. I want to make them a little bit nervous. I get excited about that. Because it makes them think about what’s going on instead of going through the motions.

The story behind “How He Loves” is a very emotional one [the song was inspired by the death of one of McMillan's close friends]. How does it feel to perform that song or to hear others play it? Is it hard to hear or play considering the emotions that are tied up with it? Or has enough time passed that you can just focus on the more positive side of the song?

 It’s been close to eight years now since my friend died, so you have moments where you’re back there in the beginning. But for the most part I’ve grown from that. It’s obviously a really painful experience. Over the years, you learn to grow and process it. So I don’t always feel that. Sometimes I still do. Sometimes it’s there. I get excited about the song when I hear other people sing it. When we’re at a show or a worship event and I hear people sing it back to me, it takes me back there and makes me feel that thing again. The good part of what I felt. It was a comforting thing to write that song. I don’t know why it is but whenever I’m feeling really far from God and really disconnected, something about me going back to that painful experience, I feel like a person again because I can hurt over that experience. That might sound kind of morbid, but something about pain that brings you into reality. I have to believe this is temporary and there’s more to life. I go back there sometimes on stage. Literally, the first year and a half that I sang the song, I couldn’t get through it. I got to the point that that was the song everybody wanted to hear, so I had to learn how to do it and disconnect myself a little bit. Every now and again, I go back to that place. It’s hard not to. I think that’s what people really want. They want to feel like we’re singing something that we’re really connected to. I know that’s what I want from the people that I listen to.

What inspired the song “Skeleton Bones’?

 I hadn’t written anything in along time when I wrote that song. I decided I’m going to sit on the porch tonight and I’m going to write something. My wife was pregnant with our first and only boy, and I was watching the process…that there was nothing there and then this person is there and is more there every day. And I saw that as a picture of resurrection: something coming out of nothing. And I feel like nothing a lot and I have this hope that something’s going to come from me. But seeing this thing come out of nothing, I started to contemplate on resurrection and the resurrection in me, and how if the same power that raised Jesus from the dead dwells in us, it gives life to our mortal bodies. I got this resurrection theme and I started to sing about the dead and the living, Ezekiel 37 with the dry bones. I saw me as one of the dry bones. Then I saw the people around me. I really believe there’s so much more for every single person then they even believe for themselves or want for themselves. And a lot of that is found in resurrection. I started singing about the dry bones in Ezekiel coming to life when the prophet speaks to them. It’s a really gross thing. These dead bodies stand and they come to life and become this mighty army. I saw that in me, singing to the skeleton as singing to myself, to the nothing, to the dead.  To become something and come alive. I saw this bones come together as something greater than themselves. I saw that as being in worship too, connecting with God to become more than a human, something bigger.

How have your wife and extended family felt watching you play music and become a popular artist?

 They love it. My wife is a singer. If she were more interested in it she’d probably be doing what I’m doing. We toured together for five years. She’s part of the band and still a huge part of what we do. She’s just more excited about being with the baby. She’s loves to write and loves music but she gets really burned on traveling. I think she’s starting to get a new wind on her music too. It’s been a challenge balancing family and the road. I’m still learning. If she ever told me – if things were getting weird or not working – “I wish you would just quit”, I would do it [snaps fingers] like that.

By: Robert Ham

When reading the interview it sounds like Matt McDonald, lead singer for the Seattle-based The Classic Crime, is taking a bit of hard-line stance when it comes to his band and his music, he is coming by it honestly. Since the band formed in 2004 and found themselves quickly swept up by hometown label Tooth & Nail, McDonald and his bandmates have had to fend off all manner of folks trying to pack them into one of a dozen tiny boxes. But theirs is a music that is hard to compartmentalize. As heard on their upcoming album Vagabonds, the band is adept at chooglin’ Southern-style rock, sugar high emo and sublimely moving power ballads. The thread that holds it all together is McDonald’s brutally honest lyrics that lay out in bold-faced letters the struggles that he and those around him have dealt with over the years.

McDonald took some time out from the band’s current U.S. tour to speak to NXTLVL about these struggles and how they influenced the new album.

The band has been together since 2004 – how do feel The Classic Crime has grown both musically and interpersonally in that time?

We’ve grown up a lot. When we first started out, we were all 21 – 22. As you get older, your music tends to change. We’ve definitely progressed musically. We’re making songs and music that is more unique and more representative of our own musical journey rather than things in the industry or in our genre so to speak. It’s been fun to develop as we go along. We’ve also been blessed enough to not have any member changes. We’ve never had to back pedal or take a step back. We’ve always been able to push forward and keep creating.

I ask that because a lot of new songs on the record address getting older and seeing changes within yourself.

When we started out, we always said that we weren’t going to do this for selfish reasons or for fame or fortune or the reasons that most people pursue a career in music. We always said that we wanted to make music that we liked and enjoyed playing and that meant something to us. And, secondly, that we wanted to help people in some way and leave a positive impact on our world. I think just recently that whole idea has moved from our heads to our hearts. We’ve really embraced our place in this world. Whenever you do that, you’re able to do a lot more good because you’re not constantly comparing yourself to your peers. And you’re not constantly dissatisfied with where you are. You embrace where you are and ask, “What can I do with what I’m given?” So, a lot of the songs on the record are about being poor and having joy in the midst of poverty or having joy in the midst of struggle and being okay with struggle and being okay with poverty and being okay with being marginalized. It’s been cool because it’s self-actualizing in a way. We feel like we’re more “us” than we’ve ever been. 

Do you feel that you as a band have been marginalized? There’s the song “Cheap Shots” with the lyrics about fighting off people’s poisonous attitudes. Is that coming from people shooting that stuff at the band?

That stuff happens but for the most part, we’re a band that people are generally nice to. You do face a lot of judgment and criticism being in a band and being on a pedestal. People expect certain things from you. It’s sort of a tongue-in-cheek reference to that: “I’ll be your punching bag, I’ll take your cheap shots. I’ve never been too proud to sin so go on and rub my face in it.” You can give me all you got. It’s not going to slow me down. We’ve seen it all and heard it all at this point. It’s about moving forward through all that stuff.

Do you think there are a lot of preconceived notions about the band, considering that you are signed to Tooth & Nail and some of your lyrical content?

Yeah, I think people expect a band signed to Tooth & Nail to be not be a band of five Jesuses and we’re definitely not that. We’re sinners and we make mistakes and some people are really bummed out about that. For the most part, people understand where we are and where we stand. But some people – usually the more conservative ones – tend to take things the wrong way or expect a certain lifestyle out of us that frankly we just don’t live. We try to be as good as possible and be as positive as possible. We want to be kind to the people that meet us. But it’s never going to be enough for some people. Those misconceptions are addressed in some of our songs because I think those people are listening to our music. And if I have any way to let them into our world and let them see where we stand it’s through our songs.

Do you guys fight with the idea of being a “Christian band” – is that an issue at all?

I think we’re just a rock band. There’s no four-point gospel in any of our songs. Christ does play a part in our music but the idea of a Christian band is subscribing to a certain piece of a market or an industry for profit. People subscribe to that label because they believe that it’s safe and its going to be clean for their kids or what not. In reality, they’re just feeding a machine that is, at its core, trying to make money. I don’t think you should mix faith and profiteering.

You tackle some very tough subject matter on this album, like on the track “Broken Mess.” What can you tell me about that song?

It’s about my brother I don’t want to too many specifics. He dealt with some pretty tough things in his marriage…infidelity. That’s how i deal with tough issues and tough situations in my life: a song will just come out. I’ll just put it to paper and put it music and it’s contained and it won’t eat away at me anymore. So with that one, I couldn’t sleep one night and I typed it into my phone and the next day I sat down and it was done. Luckily there’s been healing in his marriage and in his life. 

Has your brother heard the song?

I did talk to him about it and I said, “Here’s the lyrics. I could change this here; I could change this there. I don’t want to disrespect anyone. He said, “No. This is how you felt at that moment and I want you to put that down exactly how you felt.” He was really supportive in that sense. He does respect the art for what it is even if it can come off a little bit offensive. At it’s core it’s honest, it’s real. It’s heartbreaking and it should be. Because it’s a heartbreaking situation.

What about the song “Different Now” – is that coming from a relationship that you have had or is that speaking for someone else?

That’s definitely about my wife and I before we were married. How we’ve come a long way through different struggles. We’re different now but it’s better than it was.

It sounds like it’s a very therapeutic thing to get these songs out – is that fair to say? Or is it tough to revisit some of these things night after night on tour?  

Sometimes it’s hard. But usually they’re just markers in history: of places we’ve been and things we’ve seen and tough and good situations that we’ve experienced. They’re photographs of where we’ve been. It’s cool to be able to perform them and see them playing a big role in other people’s lives in the present time. That’s the most inspiring thing about performing live. You get to see people that are in tune with your heart and who are relating to the song in some way. That’s always a good experience regardless of how hard it can be.

With such personal lyrics like this, do you ever come to the band with a song that they feel is going too far or putting out too much information?  

There have been times where I might have pushed the boundary out of anger and we didn’t put those songs on a record. But never out of sadness or heartbrokenness have we censored anything. They trust me and I’m really not open to change a lot of things because I feel like a piece of me will die if I have to switch a word around. Because that’s how I felt in that moment.

Where do you want the band to go or see the band going from here?

Our goals and dreams are tied into our philanthropic work. Right now, we’re seeing a lot of good being done in Haiti through the pre-order of our record and the profits being donated there. It’s rewarding to be able to give even though we don’t have a lot.

Be sure to check out the recorded interview featured on the NXTLVLMag.com NXTLVL Podcast, along with music from The Classic Crime and others!

Fireflight
For Those Who Wait (Provident Label Group)
Reviewed by Robert Ham

Sometimes the best art is inspired by the worst circumstances. Just as she was gearing up to record a new album, Fireflight’s vocalist Dawn Michele learned that her brother was diagnosed with brain cancer. Michele poured her fears, frustrations and hopes into this new album. And with the rest of the band following suit, Fireflight has put together a collection of songs swimming with emotion, raw energy and an intensity that was only hinted at on previous efforts. 

Michele’s internal struggles are placed at the center of some of the album’s most urgent tracks. Buoyed by furious guitar playing on the track “Desperate”, she uses her brassy vocals to echo the concerns of every avowed Christian going through a trying time (“I know you hear me/won’t you give me a sign/I’m standing on a ledge/waving my hands/do you see me?”). By the time we get to “Overcome”, Michele has found strength in adversity, using it to bolster her faith.

What this disc needs is more of that spirit and less of cloying tracks like “Name”, weeping sentiments that bring the momentum that Fireflight has built up to a grinding halt. Some of these quieter moments work better than others (the album closing “Recovery Begins” is a particularly moving paean to “the darkness turn[ing] to light”), but when the band is so good at intense, slick rock, why would you want to hear anything else?

By Robert Ham

 This latest album has one of the most direct album titles I’ve heard in a long time from a Christian artist. What was your thinking when you decided to call it Church Music?

I like language a lot. I think language is fluid. You couldn’t have put a record out like this 10 years ago and have people get the slightly ironic satire or at least understanding that we were aware of the strangeness of these words attached to what we’re doing. At the same time, it is what you’re saying. It’s very direct and stating the obvious. We’re writing congregational music even though it doesn’t fit universally in congregations. Nonetheless for us these are songs that we’re singing on Sunday morning together. If you’re coming from a more progressive setting you might think, “Ah this isn’t church music. Church music is more stodgy: choir robes, organs, that kind of thing.” If you’re coming from a more traditional setting you would hear what we’re doing and go, “Absolutely not. This is not church music.” I think what is beautiful about that is that there is critique available to all of us. We tend to think of everybody else like ourselves. And yet when you think of the global church, there are a lot of people coming from a lot of different cultures and the art and the expression coming from these cultures looks a lot different than our own. We like that two little words could play with expectation and hopefully in a positive sense could help people think about music in the church in a bigger way, including ourselves. That the Crowder Band could fall under that little moniker is fantastic. It’s cool that a couple of words could say that much.

Because you play these songs on Sunday mornings at your church in Waco, is that where you are trying things out and honing new material?

Most of the time, these things take shape there. We have the great fortune of having people that we live life with there that are kind to us. We get to see where things want to go. There’s a few on [the new album] that have their life just with the record. You stumble into things and things take you places that you wouldn’t have suspected so some of those pieces are new entities for our people as well.

This record is interesting in that all the songs flow into one another so it is this cohesive piece of work. How did you hit on that idea?

We did this world tour with Chris Tomlin and Matt Redman – folks we’ve been connected to for a long time. Knowing we’re going to do this Church Music record, we thought, “Oh, this is gonna be great. Maybe we can travel the globe and collect these songs and expressions from a lot of other cultures and have this album be a global church expression kind of thing.” Well, obviously it didn’t go there at all because what we found was apparently we as Americans have exported more than McDonald’s, we’ve exported our worship music. Because that’s all they were singing were these American worship songs! So then we started looking at the music coming out of these cultures. So we thought, “What if the Crowder Band was transplanted to Tokyo. What would our expressions look like trying to find an common authentic voice for the age group of people that we are giving expression for here in the States?”

So, we collected a lot of j-pop in Tokyo and in Korea collected k-pop thinking, “What would the local church sound like if they were to follow our model which is to throw your arms around whatever is happening in pop culture to find the common voice of the people that you’re in front of?” And when we get to Europe, the club thing is way way bigger than it is over here. What we started hearing were a lot of influences that were happening for the producers of pop music around here in the States, pinpointing the things in Europe that were influential on the charts in America. And one of the things we decided initially is that when you hear a DJs work, when they hit play, it a takes you on a journey from start to finish. The logistics of pulling off what they’re pulling off isn’t that difficult ’cause you’re talking about 5 to 10 BPMs one way or the other and keys are sort of irrelevant I don’t think they’re aware of music theory as much as we are. For us, we’re talking massive jumps in BPM and massive jumps in keys, so the actual pulling it off incredibly tedious. But we’re kind into that thing; the harder it is the more joy we have.

Do you think that you have been successful in attracting people to the faith through embracing popular music and culture?

That’s a little disingenuous. We don’t view at all what we’re doing as proselytizing. What we feel like we’re doing is providing people the ability to express or articulate a response to God in the sense of a corporate worship experience. We’re using music to say things back to God with. I turn to hymn writers and people who have written about the struggle how you do that. It seems like to [Isaac] Watts or to [John] Newton, any time they’re talking about what your role is and what you’re trying to accomplish, it is so much easier when you find the common language of the people that you’re in front of. And for us pop music is a no brainer. How do I on behalf of the people that I’m in front of articulate faith through music and it’s mostly through collecting sounds and finding out where we are as people. It’s pretty natural for us because it’s the environment you exist in you’re around all this music that shapes your sensibilities. Being on a college campus like we are, most of it is college radio and straight up pop music so it’s really natural for our expression to be what’s common among us. [W]hat we’re trying to do is to provoke response or allow response to happen in a way that’s authentic and not forced. That’s what’s been successful or at least the successful moments of music in the church have seemed to be, in my opinion, when the writers were throwing their arms around what was happening in popular culture and were in conversation with what was going on in popular culture rather than being cloistered and oblivious. So, it’s not an attempt to proselytize but what we have seen is that people from outside of the church, mostly in the mainstream media or even in the club environment, go “Wow, this is not what I would expect coming from a group of musicians playing music in the church.” I think that’s what we’ve seen interesting and surprising.

Would you ever conceive of making an album strictly for yourself and not for a corporate setting and what that would sound like?

I can’t even think of what that would look like. I don’t have a drive to do that in me. I just think about what we’re doing in such utilitarian terms. What we’re doing is useful and it just fell in my lap to be the guy that says something on our behalf in our community in Waco and so yeah I don’t even know. The stuff we’re making and the sound that we’ve got makes me grin and pulls at me in an emotional way, so I don’t think it would sound too terribly different. Granted the stuff that we are doing is so varied that I think if I were doing something, it would have as many twists and turns as this stuff because I get bored and need to find different ways to express things. I would suspect it would be similar journey.

Most people that I talked to when I told them I was interviewing you wanted to know about you changing the lyric of John Mark McMillan song “How He Loves.” Were you shocked at all about the response that happened to you changing part of the song?

No not at all. Getting the feedback immediately was unexpected. There was this division of people that felt like these are the greatest words that they’ve ever heard in a song in their entire life and there are people who are equally emotive in saying that these are the worst words I’ve ever heard in a song. I found myself all these bizarre conversation about two little words. Then I started to do some checking and some research on the Web and sure enough there’s all kinds of stuff about these two words preventing it from being in a lot of corporate settings and it causing as much of a ruckus as it had with us. There were two arguments that I felt were absolutely legitimate and worth visiting with John Mark about. One is that the imagery just doesn’t work. Again, to point back to hymn writers, one of the things they struggled with was imagery. To read Newton and Watts talk about the songs that they’ve written which have a lot of imagery in them they struggled with it because what you’re trying to do is find something that’s common. You’re trying to give expression to a group of people that brings them together rather than divides. Something that is common in our experience that would let us understand God in a way that’s fuller and that has more depth to it. And these two words seem to fail in that light.

Granted, John Mark didn’t write this thing for that purpose. It’s just his personal expression. And as a writer he’s successful because he stumbled on to two words that are probably one of the more provocative lines that have been in a song in a long long time and as a songwriter that’s a great success. But as a person whose trying to say something on behalf on a corporate entity it fails because it is not uniting, it’s dividing.

The second thing was a guy came and said, “I did some research and found this guy doing this deal on YouTube where he tells the story of the song. It’s pretty emotional, but knowing where the song comes from, I think the anthropomorphic language that exists in that line is unhealthy for our theology.” He said that if this is coming out of an experience of tragedy where this guy is trying to figure out what’s God’s role in this thing, our anthropomorphic language ends up with something sloppy and I think that this is a danger in a corporate expression. So, in talking with John Mark, I offered up both of these things, both of which he’s probably already dealt with. After some time, he came back and said, “Let’s go somewhere different with it and try to maintain the initial intent.”

I mean this song is about the love of God, and it’s not like we haven’t as a church explored the love of God before. But to find something that lets you rediscover and feel it and experience it in a way that’s similar to where you first were with it is unique and special I was determined that two words weren’t going to keep people from having a similar rediscovery. Because there’s something really, really special about the song. The only people who were going to be upset are going to be those who have already fallen in love with the song. They’re welcome to stay with the “sloppy wet” if that’s what they’d like. We’ll take the heat and allow the song to get a lot of places that it hasn’t gone before.

Did you ever consider just leaving the song as is no matter what people’s issues were with it?

No, not at all. I think of music in a different way than that. Maybe it’s because I come from a congregational setting where you’ve got a hymn like “Amazing Grace” that took 50 years to find its melody and the verses. Knowing that hymns are so fluid, it’s always going to take some time to find the right language for it. For most people it existed in a form that it was and people got to experience it and I hope that by letting it change and evolve, more people will get to know it.

Have you come up against issues like this considering the music that you play is so varied and is not your typical worship music?

From record one, people have said, “Hey this is a great record but these aren’t songs that you’ll find useful in your corporate settings.” Well, for you these aren’t congregational songs but for us these are all congregational songs. There’s an awareness that these don’t fit in a lot of places which is awesome because to point back to our world tour experience, it’s a disappointment to me that there aren’t more organic expressions of unique communities happening. That there’s this tendency to co-opt whatever’s happening elsewhere and stick it in to your unique setting rather than allowing the creators and creative types among your community and try to make something that’s your own. I understand and appreciate that it doesn’t fit everywhere and I would hate to think that we would feel any sort of need to be something other than just providing a voice for the people we’re in front of on a weekly basis.

Looking at your YouTube channel and your Twitter account, you guys put out a very goofy image of yourselves. Do you make sure that that sort of material gets out to balance out the depth of the message in your music?

You’re exactly right. You’re on to us. Early on, we felt like there was a tendency to ask too much of music. Talking about the fluidity of language, if I was to say the word “worship”, what would come to mind for most people is a setting of a lot of folks staring at a screen with words on it, singing and I don’t think that was always the case. That’s a recent phenomenon that that word would evoke that thought process. So it felt like we’re asking too much of music in the sense that you’re setting up the segmentation of our spiritual experience. When I think what we’re trying to do is involve the human in more holistic way and humor is a really easy way. People put their guard down. It just lets the human be more human and in the process you get people to be more human rather than posturing. If you can provide something that takes the legs out from under the initial pretense or posturing then you get to a more authentic place with a person. There’s an attempt to add irreverence in a thoughtful reverent way.

The other thing that my friends wanted to know is whether you would ever shave off your goatee?

I have! It was in the year 2000, just before midnight, and I’m in this little bathroom in the house that we had and I’m about to be the spiritual cleansing moment. And at the time I had hair down to my shoulders. So I got the Bic out and I went for it. Midnight happens and I come out of our bathroom and my wife sees me and…I had neglected to run this by here because this was a personal cleansing moment. But apparently if you make any massive changes to your facial follicles and any thing on your hair, this is something you’re going to need to run past your significant other because she said, “You put that back” and started feeding me all kinds of vitamin E and horse mane and tail and stuff. That’s the one and only time that that beard’s gonna go anywhere. I got in a lot of trouble over that.

By: Josh Gloer

Say the words “Christmas Album” and you’re likely to invoke less than positive reaction. Lounge style rehashes of the same old tired “Classics,” laid down for the almighty dollar, these albums generally run the gamut from dull to dreadful.

Enter Family Force 5.

In early October, the boys of FF5 dropped a Christmas album of their own. Simply called Christmas Pageant, the album knocks the dust off the cliché and offers some music to truly be merry about.

Old standbys like “T’was the Night before Christmas,” “Little Drummer Boy” and “Do You Hear What I Hear” get run through the grinder and come out mean, dirty and surprisingly fun to listen to. Some tracks grind while others thump, but none of them resemble anything you’ll hear at the shopping mall. Finally… some Christmas music that’s worth adding to the wish list.

The album also boasts the band’s own interpretation of the story of the three wise men. In “The Baby,” the majestic trio hales from the ATL and showers the baby like only kings from the “Dirrrty South” can. Front man Solomon Olds’ own baby makes his vocal debut on the track (his wife appears on another), making it truly a family affair.

Check out the tired Christmas CD’s you’ve got on the shelf. If you want to get into some Christmas crunk, show off a holiday hip hop routine or just keep grandpa up past nine, drop Christmas Pageant into your rotation – its about time. 

By: Josh Gloer

About 50 miles south of San Jose is the home of the Spirit West Coast Christian Music Festival – Monterey, California. Less than 24 hours from the show, Family Force 5 is in a van, headed for the show.

Dance, Rawr, Dance 3, an official tour, starts in September, but until then, FF5 is playing festivals like Spirt West, averaging 250 days on the road for the year.

“We’re a bunch of road dogs,” Derek “Chap Stique” Mount, the band’s guitarist, said. The band is dedicated to its fans, constantly playing shows and actively communicating with MySpace, Twitter and an open phone line fans can call and leave messages on. “We have incredible fans. We have a great relationship with them, too.”

But it’s a double-edged sword, as many of the band members have wives and families they leave behind every time they hit the road. So for their latest creation, a fantastic video for their song “Dance or Die,” they decided to get creative.

“We’re trying to make sure we put our families first,” Mount said. “So instead of trying to shoot on our time off we decided to shoot it on the road.” The band brought Director Steven Shultz, a lighting rig and a green screen made from bed sheets to shoot between rehearsals, sound checks and shows.

“We have a blast. We’re a very visual band and love the escapism element of videos. It’s a lot of fun, just a nice change of pace from writing recording and touring.”

And the video, something Mount said the band is very proud of, is out of this world.

“Its very Captain EO influenced,” Mount said. “It’s very Neverending Story-esque. We’re real excited about that. We got to feel like we’re on a different planet.”

And the video has been well received. An mtvU video of the week winner, the video has been featured on AOL and has kids mimicking dance steps. “Everybody’s loving it. All the kids are just really excited.”

If festival dates, and a brand spankin’ new video aren’t enough, the band is still finding time for the studio, and their new Christmas album will drop October 6th.

“Writing Christmas songs has been a hilarious process,” Mount said. “You’ve got really, really tough competition. You might write a killer song, but it’s definitely not as good as Jingle Bells.”

While Mount jokes about wearing Santa hats and breaking out the fake Christmas tree in July for inspiration as they work on the album, its clear that for Family Force 5, the real inspiration comes from a deeply rooted faith.

“We’re very much Christians, it’s a huge part of our lives,” Mount said. “A lot of our songs are about our spiritual experiences and its something we’re very passionate about. We want this band to mean something to everybody. We try to spread fun and hope and escape and joy.”

According to Mount, its an allegory best seen in their album, Dance or Die.

“You have life, and you choose what to do with it,” Mount said. “You can either sit on the wall watching every one else, drinking some punch, or you can dance and enjoy it.”

And FF5 is definitely not sitting any numbers out. Hard work and dedication to their fans is making this group of “robot” rockers a force to be reckoned with.

“There some thing much deeper than just trying to get up there and be famous,” Mount said. “We’re trying to hopefully touch people’s lives.”

For more on Family Force 5 or their up coming Christmas album and tour, check out www.modlife.com/familyforce5.

———–
Josh Gloer is a freelance writer based in Los Angeles. Currently he’s a writer on his sixth season of MSNBC’s Lockup: Extended stay. He has also written for MTV, TLC, TruTV, HGTV and Oxygen. Josh has been a journalist for about 12 years, doing celebrity interviews with actors such as Djimoun Hounsou, Dennis Farina and James Marsden; and bands like Big Bad Voodoo Daddy, Orgy and sax guru, Carl Grubbs. Josh’s work has appeared in Filter, Car Audio & Electronics, Zink!, Item and many other publications and websites. This fall, his fiction is scheduled to appear in an anthology of LA writers, including Charles Bukowski. www.joshgloer.com

Interview by: Andrew Conant

Every so often you run into a band that has what it takes. A band that can handle the “dirty ole road” and still give it all on the stage. Remedy Drive, based out of Lincoln Nebraska, has been touring for years and making fans across the country with their unique style and sound. Their music is like candy to the ears, and the lyrics speak straight to the heart.

Remedy Drive is comprised of four brothers, ranging in age from 24 to 30. I spoke with the piano playing singer, David Zach, recently about their new record and video. They released five albums independently before signing with Word Records last year and putting out their new album Daylight Is Coming. The newest record, produced by Ian Eskelin (formerly of All Star United), is a hot and heady mix of fist-pumping rock and tender ballads. The lyrics are consistently thoughtful, seeking to understand God’s will in the midst of everyday life.

The brothers originally called themselves Aslan, but soon changed it to Remedy Drive. I asked if there was a meaning behind the new moniker.

“When everybody’s looking for a solution, God is the healer on the path of life towards redemption,” David explains.

The brothers fooled around with music growing up while maintaining day jobs. David was washing windows five years ago when he got the idea to focus on the band full time. They booked their own shows and hit the road, playing anywhere and everywhere. Their frenetic energy on stage, including head stands on the piano and leaps through the drum kit, helped to create a great deal of buzz about the band. Audiences thrilled at the sight of the bassist’s vaults off his amp, David’s acrobatics on and around the piano, and the guitarist throwing his guitar wildly in the air. That, combined with inspired and catchy rock tunes, kept them busy.

They also caught the eye of Aaron Maines, their current manager. Working at Word Records, Maines saw the brothers at one of their early shows and loved it. He tried to pitch the band to the A&R reps at the label, but they weren’t interested. Maines eventually quit Word, opened up his own management firm, and repped the band himself. Two years, a well produced indie project, and hundreds of shows later Word decided to take another look.

“The timing was perfect,” David says. “Touring nonstop allowed us to gain an audience that’s with us 100%, and we’ve grown a lot too. We’ve had time to grow into this album, and we’ve had time to learn how to write a solid song that works on radio. I‘m really grateful for that.”

Daylight is Coming was released late 2008, and produced a hit with its title track. The label opted to shoot a gorgeous video to help carry its momentum. Filmed by the Erwin brothers in an old Alabama furnace, the footage perfectly captures the electricity of the band’s live performance. David wrote the song in the midst of his daughter being born. He was quite contemplative, and the old proverb “It’s always darkest before the dawn” was rolling around in his thoughts. The lyrics ask the listener to hold on and weather the night because the sun will shine again. The band is honored to hear people say that the song helped give them strength during a tough time in their lives.

“It’s crazy, because we weren’t really explicit about what was going on while we were writing the song, but it’s amazing how similar other’s situations were. That’s why I believe that music speaks unspoken volumes. I love that God gave humanity the gift of music.”

It’s a crowd favorite and the obvious choice for their debut single.

Their second single, “All Along,” hit #1 on the CHR charts two weeks ago. A balled in the style of The Fray, the song speaks of an understanding that God is what the speaker was looking for. “All along I was looking for something else / You’re something else.”

“If you look up the word ‘ministry,‘ it just means ‘to meet a need.‘ There‘s a need out there for great songs, just like there‘s a need for great architects or great heart surgeons, and we consider music our ministry, our goal and our purpose. We want to make songs that people love, that impact them.”

Remedy Drive is continuing to book tours, having established relationships with hundreds of youth pastors while criss-crossing the country. They also are planning to hit the summer festival circuit, and will appear at close to thirty different ones in 2009, including Creation, Cornerstone, Ichthus, and Sonshine. During their down time the band is fiddling around with song ideas but they don’t expect to get into the studio for another year or two.

“I’m excited about what we have to say,” Dave offers. “I think our voice is unique.”

CHECK OUT THIER MUSIC VIDEO FOR “DAYLIGHT” AND STAY TUNED FOR THE PODCAST OF OUR INTERVIEW WITH REMEDY DRIVE, COMING SOON!

I specifically remember hearing POD.  It was 1998, and I was working at Tattoo Records.  We had just been bought by Zomba, and I was laid off on what became known as Black Monday.  I was out of work for five days until Benson/Zomba brought me back.  The label was being run by Jeff Moseley, who discovered Amy Grant.  He had an incredible ear. He just knew what was going to hit and what wasn’t.  We received a package (I think it was in a pizza box) from POD, who were independant and looking to get on with a major label.  Their package was amazing.  The VHS tape they included was of one their live shows, and it clearly showed how much their fans connected with them.  The band was reminiscent of Rage Against The Machine.  They had energy, they had power, they had … it.

While the sound was progressive, hard and moving, the lyrics were decidedly Christian.  The band started back in 1992 when two friends, Marcos Curiel (guitarist) and Wuv Bernardo (drummer) decided to get together and jam.  Wuv’s cousin Sonny Sandoval found Christ after seeing God in his dying mother’s eyes and joined the friends as a singer.  The recent conversion echoed in Sonny’s words.  After a couple of years in the garage they got a gig and set out looking for a bassist.  They found Traa Daniels and released three albums on their own label, Rescue Records, selling over 40,000 copies total. They were very focused on their goal, which was to expand their live performances outward from their home base in San Diego.

In 1998 they opted to look for mainstream distribution.  They were packing houses all around Southern California and beginning to generate a good deal of buzz. They sent out press kits to several labels. They were offered $100,000 by Essential Records, home to Jars of Clay who were having mainstream success with their latest record, but POD’s manager declined the offer.  He felt like his band could do better.  They eventually went with Atlantic, who released The Fundamental Elements of Southtown in 1999.

The Fundamental Elements of Southtown finally offered POD mainstream success.  Three singles blew up on that record: “Southtown”, “Rock The Party (Off The Hook)”, and eventually “School of Hard Knocks”.  It is a testament to the band’s ability to entertain that Atlantic didn’t change their Christ-centered lyrics at all, allowing phrases like “We came here to rock this jam/Spread His love is the master of plan” or “You kept me straight, When times got hard/So let me reminisce over you my God”. MTV played all three videos in heavy rotation, they joined the Ozzfest, made it on the “Little Nicky” soundtrack, all which helped the album to sell platinum.

Atlantic rushed to put out their next disc, Satellite, ironically on 9/11. The band was obviously on a roll, the nation was searching for something positive, and the CD generated “Alive” and “Youth of the Nation,” two enormous hits. Both songs spoke unabashedly of Christ’s love for humanity, and truly resonated with the listening audience weary of hate and anger. In fact, “Alive” was virtually a worship song, sung with heartfelt grace and mercy.

The band had always remained musically current, and they were a welcome alternative to fellow rockers Korn, Limp Bizkit, and Godsmack. “Alive” was nominated for Best Hard Rock Performance at the Grammys in 2002. Three other singles released in short order (“Boom”, “Satellite”, and “Portrait”) shot sales beyond triple platinum. Atlantic’s machine was rolling, and POD wasn’t compromising their message a bit.

Guitarist and co-founder Curiel left the band in 2003, and POD released Payable on Death with a new guitarist. The cover was deemed too occultic-looking and wasn’t sold in 85% of Christian record stores.  Nevertheless, the disc spawned two more singles “Change the World” and “Will You”.  The fans were upset with Curiel’s absence from the record, however, and showed it with sales of only 520,000.

After satisfying their deal on Atlantic with their fourth album Testify in 2006, POD announced that they were leaving the label.  According to the band, “P.O.D. have left Atlantic Records. We’ve been proud to be Atlantic Recording Artists, but it’s not the same place anymore. For most of our stay, we were blessed by a staff that was gracious towards our vision, faith, and love of music…. resulting in more than 7-million records sold. It’s time to dream again with a new staff and we leave with grateful hearts. By the people, FOR the people.” 

They released a Greatest Hits CD with Rhino Records in 2006 and continued to tour, and announced to the delight of their ardent fans (aptly dubbed “The Warriors”) that original guitarist Curiel would again be joining the band. They began the process of searching for a new label while continuing to play around the world and on several TV shows, including Jimmy Kimmel Live! and Carlos Mencia’s show.

During POD’s tenure at Atlantic, Dan Michaels and Jeff Moseley had begun building a new, artist-driven Christian label, INO Records.  They had managed to pluck more than a few bands from other labels, and had strong mainstream distribution through Sony Records.  It all came full circle in February of 2007 when POD announced their deal with INO, a scant nine years after Jeff mentioned to Dan and myself that the band would be huge.  He wasn’t wrong.

POD released one album with Jeff and Dan, When Angels and Serpents Dance.  The first single, “Addicted,” did well but never hit the mainstream charts.  The band played primarily in festivals, and announced their current hiatus late in 2008.

After graduating with a degree in Music Business Marketing (yeah, I know – it’s useless outside of Nashville, LA, or NY…), I worked in the Christian music business for a number of years.  You can thank me for such WELL-KNOWN bands as Broomtree, Polarboy, Jesse’s Vineyard, Common Children, Christine Glass, etc, etc, etc.  All incredible artists and dear friends.  I had the…ummm…honor of marketing Katy Hudson in 2000, when she was a fresh faced teen out of CA and hadn’t kissed a girl yet.  We had a great sister group on there too called Aurora, and I jet-setted around with them on a big ole tour with someone that I can’t remember now.  Anyway, the list goes on and on, but no one’s ever heard of any of these bands, so now I write about bands people have heard of.  That’s for reading!