Aaron Gillespie
Anthem Song

Sometimes change isn’t a good thing. Upon the announcement that Aaron Gillespie was leaving Underoath to pursue other musical and ministry endeavors, many fans worried that this was the case for Gillespie. Anthem Song, his first full-length solo album, proves otherwise.

His recent traveling ministry and the release of Anthem Song are a testament to the call Gillespie felt by his faith. From beginning to end, Anthem Song is more than a worship album–to those interested, it feels empowering and inspirational.

The album opener, “All Things,” is among the many slower, more personal songs on the album. With an upbeat feel, it serves as foreshadowing for the motivation of each subsequent song. Driven by uptempo vocals, piano and drums, “Hosanna” leads into “Washed Away” beautifully. Clearly not in the vein of The Almost or Underoath, songs like “Washed Away,” “Earnestly I Seek Thee” and “I Am Your Cup,” cry out for something greater while showcasing Gillespie’s compelling, sometimes raw vocals. Keeping in tune, “We Were Made For You” is a profession of love and belief; though “I Will Worship You” rings a bit slower and softer, it carries a steady drumbeat laced neatly behind an almost unrefined cry of powerful vocals. True to it’s name, “Anthem Song” is a catchy, chorus-driven song sure to resonate with all listeners. Equally matched is the positive message supplied by “You Are My Everything.” In the meantime, “You Are Jesus” and “Your Song Goes On Forever” carry a more laid back feel.

Through and through, Anthem Song should have fans rejoicing at the willingness of a talented, young musician to step outside the box and be willing to share his beliefs and passions instead of sticking to the comfortable route.
[Tooth & Nail] Anna Hartenbach

Copyright © 2011 HM Magazine. All rights reserved.

What path leads a fourteen-year-old drummer from being told that his skills aren’t very good (and his playing too loud) to being voted HM’s 2008 Favorite Drummer while with metalcore band Underoath to fronting successful alternative rock band The Almost … to a definite (and still loud) call to worship? Apparently, that path goes through Africa.

Aaron Gillespie was that teen when he joined fellow church member guitarist Luke Morton in Underoath. As he later blogged, “I just knew I was young and had an incredible opportunity to play as fast as I could, which was super fun.”

After some eight releases, two Grammy nominations and line-up changes that left him as the only remaining original member, Aaron left Underoath in 2010. The internet was alive with rumors about the breakup but both Aaron and the band said it was a prayerful group decision.

“There is no bad blood, there is no anger, I was in that band for eleven years, I love every person with my whole heart, I love the music we made together, the shows we played and the good times we had,” Aaron blogged at the time.  “People change, times change, and sometimes change just comes hunting for you.”

Now he admits, “God had been calling me to do it for years, but I was having too much fun.” He says it was absolutely the right decision for him to close that phase of his life. Although he says he misses certain things about Underoath, metal and those fans, he says he’s found peace walking where God wants him.

Before leaving Underoath, he had already formed The Almost as a side project and released 2007’s Southern Weather. He played every instrument, except for a few bass parts. Now, he limits himself to lead vocals, rhythm guitar and keyboards.

While The Almost is still a part of his life, Aaron is currently touring to promote his first solo effort Anthem Song. Label Tooth & Nail Records calls it “an honestly ragged, often rocking praise and worship set.”

It was during a 2010 Compassion International mission to Uganda that Aaron experienced the epiphany that lead to leaving Underoath and putting together this latest project, Anthem Song.

“I guess I had this thought the trip would change me. Yet five or six days in – you see all you thought you’d see – but I didn’t feel this big shift,” he explains. “Then we went to this church service. You could feel the spirit of God down the road. I mean, 2,000 Ugandans praising God like nothing I’ve ever seen before.”

Deeply touched, he asked God, “Why don’t we have that here (in America)? And I felt God telling me, ‘Because you worship me circumstantially, based on what you have.’”

Aaron noted the Africans, who are so poor and needy, worship God just because He exists. God reminded him, ‘I made you to worship me.’

He says, “Before I was on the road, I was leading worship at church, you know at 15 or 16, so I always wanted to do a worship album. But I got caught up with everything that was going on and I kinda wasted my influence.”

After so many years of touring with Underoath, Aaron says it had become more about what was in it for him.

This worship tour, Aaron says is different. “I’ve never gone out with just one thing in mind – That’s to make Jesus famous. That’s what this is about,” he says. “It’s been crazy. In the last three to four weeks we’ve seen 900 people come to Jesus.”

He adds, “The Bible says ‘Seek ye first the kingdom of God and His righteousness; and all these things shall be added unto you.’ (Matthew 6:33) We quote it, we believe it; but we never buy into it and do it.” He notes that hypocrisy is sometimes one of the problems unbelievers have with Christians.

As well, Aaron feels there are some Christian, who listen to bands like Underoath and The Almost, who aren’t comfortable in a traditional worship service. Often, they simply don’t see worship as ‘cool’.

Aaron does. He spoke while preparing for an outdoor acoustic set in Corpus Christi, Texas. He says this tour is an economical one, playing mostly colleges and churches and doing some of the driving himself. “We’re not going out entitled,” he says.

As winding as Aaron’s path in life has been, don’t worry that it’s too easy. In March, while driving all night between tour dates, he posted this down-to-earth Twitter at 7:55 am: “Ran out of gas, walked to gas, battery Dead. Rode in back of cop car to buy jumper cables”.

“That was the worst!” he laughs. “I hadn’t driven a van in a long time, plus being so tired, I forgot they do things like run outta gas!”

At least the worship tank is full.

Thursday, March 17 at SXSW was another rush of good music and good times. My choices were a fair distance apart on this night, so in addition to lots of music was lots of walking exercise. The highlight of the night was seeing The Rocketboys at a restaurant/bar called Lamberts. O’Brother played previous, followed by an exciting band I’d never heard before – River City Extension, from Toms River, NJ. They had several members (8) on stage, all seeming to be multi-instrumentalists. They mixed pub band sing-alongs with vibrant story-telling folk. The set culminated (as always) with a grand drum circle sort of thing with the entire band in the middle of the audience, singing along without the aid of microphones while the crowd clapped and sang along. It was a burst of musical energy that was pure genius and Irish St. Patrick’s day celebration worth remembering.

The Rocketboys, though they didn’t announce it from the stage, were making a special last appearance with the current lineup. (At least that’s what I was told). Frontman Brandon Kinder’s voice filled the room with part melancholy ache and part rock and roll swagger. “Half the bands playing tonight are staying at our house,” he stated, which is often par for the course with bands during a busy week like this. It was fun looking around the stage. Whether it was keyboardist Justin Wiseman dancing as if his keyboard held him down like gravity, bassist Josh Campbell gyrating and bouncing about, guitarists Mitchell Holt and Daniel Wheeler doing the same or drummer Alex Bhore twisting his face as he kept a steady beat and the occasional subtle but progressive fill. It was a good show, with build-up and payoff throughout the set. I stood at the end to watch and see if there’d be any big emotional announcements at the end, but there were none. Just another day’s solid work turned in.

Friday, March 18 was packed with performances all day at various day parties and showcases at night. Denison Witmer played an intimate set at Maggie Mae’s Gibson Room, which is adorned with lots of guitar memorabilia. His between-song banter was funny. He described recent Southwest Airlines flights, including the one that got him to Austin for SXSW. A bad experience on a flight can turn into laughs with the right perspective, which Witmer seemed to have. HIs last song was a cover of a Nada Surf tune. He anounced a new album coming out soon, too.

Damien Jurado came up on stage to set up, sat down, did a little tuning and just started playing. He filled the room with his low, brooding and soft voice. His words and stories latched onto ears easily. At least that was the case until an emcee interrupted his set and asked everyone to stand up and move closer to the stage to make room for the line up people outside waiting to get in. Most of us were sitting down for an enjoyable lounge-fest, but we were all happy to oblige and let more fans in. It wasn’t long until it almost felt like we were all gyped by the situation, though, as a din of people chatting buzzed loudly throughout the room. It seemed to rattle and annoy Jurado as well, as he spoke up about it and yelled at the people in the bar to shut up and move. It was funny. He apologized and called himself a jerk, but he said he was serious. I doubt those were really fans that came in, because why would they be talking? Anyway, he actually sang a guitar solo during a new song, prompting the brave audience to join in a little. He decided to make the ocassion a little more festive by playing a sing-along and we obliged: “…let us all in, let us enter…” It almost seemed like a Pedro the Lion show, as a couple times audience members shouted out questions: “Whose that sticker of on your guitar?” He explained that it was a photo of Richard Swift (a really good artist, who produced his last album). I thought it looked kinda like Jim Croce…

Andy Pratt looked closer to Back to the Future’s Christopher Lloyd, with his wild, wiry white hair. He almost had that crazed look in his eye, too. A couple of times he humorously made reference to his fame and notoriety. “You can find me all over the internet,” he said, “if you look.” He started off with “It’s Not the End of the World.” His vocals remind me a lot of Larry Norman’s 80s era. The band, which featured drums, bass, guitar and Pratt’s keyboard, sounded somewhat “thin” as if it were missing a fat rhythm guitar that surely would have beefed up the sound. At a couple of times during the 45-minute set he actually motioned and spoke to his guitarist (and producer, Fernando Perdomo) to stop, as if he was off key or time. It was a bit awkward, to say the least. The set took a full-bodied turn for good, however, when they went into “Masters of War,” with a rumbling rhythm with big crashes. Quite a moving tune. He finished things off by announcing, “I’m going to play my hit (which he said Roger Daltry “butchered”). If anyone knows it, please sing along, cuz my voice is shot!”

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One of the great things about SXSW (which can drive anyone crazy) is the number of various things to do. I found myself with an hour and a half to kill between the Andy Pratt and Viva Voce sets, so I went over to the Alamo Drafthouse Ritz Theater to see what was showing. They have two theaters and I was directed to Detention, since it had just started. I wasn’t sure what to expect, but I knew if I couldn’t sit down and rest my legs and also occupy my mind, my body would just give out and I’d miss a band or two I wanted to see. The Appleseed Cast was on my radar, too, but it was at the same time as Viva Voce and the VV gig was just across the street. Anyway, being a film festival that showcases independent films, sometimes the quality looks and feels low budget. I was kind of expecting such from this midnight movie. While the plot was ridiculous (making a mockery of teenage slasher films), it was pulled off with great lighting and filming. It looked fantastic. The gore and gratuitous teenage banter was almost over-the-top, but they showed enough restraint to be really funny. It was like a slap in the face to leave the relative calm atmosphere of a theater to a street bustling with lights, music and probably 40,000 people. It’s loud! Anyway, that little excursion was a pleasant surprise.

Viva Voce held court back at Maggie Mae’s Gibson Room. This husband and wife team of Kevin and Anita Robinson has been doing the duo thing off and on (as opposed to their full band performances) for over a decade. If you like the White Stripes, this couple might be your new best friends. They don’t sound anything like the raw, garage noise (albeit lovely) of Jack White’s band, but the similarities are fun. Kevin lays down the drums with an effervescent face that seems to convey the feeling that he’s lost in the music, in complete command of it and having a heck of a great time. He reaches over and starts and stops samples that provide a nice fat bass line (departing from the White Stripes formula by a long shot) and his wife plays some mean lead guitar – with lots of feeling as well as technical proficiency. It was both primal and melodic and, at times, channels all that is wonderful about rock and roll. They announced that their new album (The Future Will Destroy You) will be coming out on Vanguard Records in June. I can’t wait. (Kevin also told me that they play in another sideband that plays Southern Rock called Blue Giant).

Saturday, March 19th brought six Tooth & Nail artists to the Bat Bar, which is where I planted myself for much of the night. Rocky Loves Emily was loud and bursting with frenetic energy. Several people had taken their two giant banners up and down the throngs of people in the middle of 6th Street the night before and the pre-event publicity might’ve helped, because people showed up. Their really tall frontman (Brandon Ellis) towers over his bandmates and mic stand, but never stands still long enough to be officially considered “lanky.”

A well-kept secret called Tres Mts. performed over at Stubb’s outdoor venue. While it was packed, I think most of the crowd was there to see Panic! At The Disco and The Bravery. This band consists of Jeff Ament (Pearl Jam), Richard Stuverud (The Fastbacks) and Doug Pinnick of King’s X on guitar (!) and vocals. They were conveniently joined on lead guitar by Pearl Jam’s Mike McCready. I didn’t know what to expect, but knew the musical quality would be high. I was not disappointed.

It was fun to see Dug Pinnick handling lead vocals (and rhythm guitar) without having to hold down the rhythm section in the trio he’s played in for so many years. There was one song where he ditched the guitar and just held the mic stand. The music was pretty much straight-up blues-influenced rock, kinda like a marriage between the majority of Pearl Jam tunes and the soulful ballads of King’s X. I heard a few spiritual lyrics that kinda jumped out, which surprised me as well (I think I was prepared for a decidedly angry or “running from God” vibe, like what I might hear in the song “God Told Me”). Granted, the first single is “My Baby,” but I heard the phrase “peace that passes understanding” in another tune. Not sure which member is responsible. I know I’m going to enjoy this band’s output. The album is out now on Monkey Wrench Records.

I was told Sainthood Reps sounded “like Nirvana” and, after hearing the second song of their set, I remembered the description and suddenly felt like it was a true description. Not a copycat, but plenty melodic and plenty heavy and just the right amount of punk angst. This band from Long Island spits out the aggressive tunes relentlessly and unapologetically. Seeing them live is a really good first impression.

Saw a couple of songs by Memphis May Fire over at the Dirty Dog Bar. The lighting was terrible for photos, but the rock was intense and the band was playing at high speed. They had the crowd in their back pocket, it seemed, and they were certainly putting out.

The Almost took the tiny stage at The Bat Bar, which is right in front of a big picture window, with shutters that open to make it a big open-air room. This allowed a packed narrow hall with an upstairs look-down balcony railing and those on the sidewalk to get a good look and listen. Aaron Gillespie jumped right into the set and, like a consumate professional, held court on the tiny stage with lots of friendly “conversation” with the audience. At one point he was introducing a song and he suddenly stopped. “What?! Oh, okay. We’re doing a high-five. We’re interrupting this for a high-five moment. Alright!” It was fast and funny and one energetic fan got his palm slapped. “Southern Weather” got a quick placement in the set, which the crowd sang along to and their big, energetic hit, “Say This Sooner,” did as well. The crowd went nuts, moving, jumping and waving their arms. It was glorious, it was sweaty, it was loud and it delivered.

Emery came on at 1am, which on the last night of a four-day festival means that many in the audience are “running on fumes,” yours truly included, but once they lit the fuse to their set the room just took off. Within a few seconds it was apparent as to why they were on Solid State now instead of Tooth & Nail. The screams had a distortion and bite that spoke “heavy” and “hard.” What was most impressive about this raccous set was how their multiple frontmen worked both the inside and outside crowds. What a killer way to end a great year at SXSW.

Emery
The Almost
Sainthood Reps
Swimming With Dolphins
Young London
Rocky Loves Emily

Music manager RANDY NICHOLS has re-launched FORCE MEDIA MANAGEMENT, it was announced today.

Based in Long Island, NY, FORCE MEDIA MANAGEMENT represents music clients UNDEROATH, THE STARTING LINE, THE ALMOST, AARON GILLESPIE and PERSON L as well as producer AARON SPRINKLE. In addition, Randy co-manages FAKE PROBLEMS and HIT THE LIGHTS with fellow FORCE manager Matt Watts. The company is comprised of overall artist management as well as offering consulting for music-based tech start-ups.

Randy’s career spans over 16 years of experience in the music industry, his artists have sold a combined 4 million records and continue to perform sold-out shows on six continents. His resume includes stints as an agent at Artist & Audience, tour marketing management for Wind-Up Records and the music based online advertising network Musicvision. In 2002, Randy launched Force Management which merged with Red Light Management in 2005. Matt Watts got his start in the music industry as a founding member and guitarist of The Starting Line (Drive Thru, Geffen, Virgin). Over the years, Matt developed new business endeavors for the band and found himself more invested in artist management. In 2008, after 9 years and 700,000 plus albums sold, The Starting Line went on indefinite hiatus. Matt joined Randy Nichols at Red Light Management and began co-managing Hit The Lights (Universal Republic) and Fake Problems (Side One Dummy). Matt and office manager Brooks Plummer officially joined Force Media Management beginning January 1, 2011.

Contact information for FORCE MEDIA MANAGEMENT is as follows:

FORCE MEDIA MANGEMENT:
135 Voorhis Ave
Rockville Centre, NY 11570
Office: 516.806.6500
Mobile: 516.835.7905
Fax: 516.977.7733

Randy Nichols/Force Media Management (Founder/President)
516-806-6500 ext 1
Randy@forcemm.com

Matt Watts/Force Media Management (Manager)
516.806.6500 ext 2
Matt@forcemm.com

Brooks Plummer/Force Media Management (Office Manager)
516.806.6500 ext 3
Brooks@forcemm.com

www.forcemm.com

http://www.facebook.com/pages/Force-Media-Management/123333837733027

@forcemm

I like the phrase “brain fart” to describe a lapse in judgment. While it’s not the kind of “proper” phrase you might bring up at Thanksgiving dinner with extended family, it describes exactly what happened with my first of two interviews with members of Underoath. In training the HM interns each time a new one comes to learn the magazine business, one of the things I show them is where we keep our stash of micro-cassette tapes to record telephone interviews. When I explain how the micro-cassette recorder, one of the things I sometimes do is I say, “These are the mistakes that you can make with this recorder,” followed by showing them the Voice-Activated-Recording on/off switch and the two equal-sized jacks for the microphone and headphones. “If you plug the recorder into the headphone jack, you will record nothing.”

After a thirty-minute interview with guitarist Tim McTague, I put in another tape for the next interview with Spencer Chamberlain … and I discovered that I’d done the unthinkable. I’d recorded nothing for half an hour, where I failed to document the words of the founding guitar player on all the hot issues that the band is being asked these days. It’s a good thing I had the interview with Spencer, or else this Underoath cover story might be nothing but some writer talking about himself and his opinions on said band. Lord, save us from this kind of article!

With Ø (Disambiguation) the band seems to collectively be in that “hungry” and “out to prove something” mindset that usually produces great music and even greater live shows. “We have just made what we think is our best album,” states McTague in a matter-of-fact and I-am-not-just-saying-this tone. “Some people would say that we’ve lost our most important member,” he goes on, revealing a slight chip on his shoulder – most assuredly because he’s heard some people suggest exactly that – “because of the visual image of the band. For some people that are concerned with that,” he muses, as if to imply that it’s petty, superficial and off-the-mark to judge a band by its image, “they might be thinking that. We think it’s fitting that, with this new album, we will prove that Underoath is more than just any one member.

Ahhh, the team concept… Underoath seem to be rallying around this theme right about now. The vibe I picked up from McTague and Chamberlain was one part defensive, one part being stoked about the new album’s sonics and songs and one part “Underoath vs. the world,” which are all factors that should serve them well. The wheels didn’t fall off the UO bus when lead vocalist Dallas Taylor left in 2002, nor when the band quit Warped Tour midway through the traveling show back in ’08, and this personnel change shouldn’t be catastrophic for the six-member group, either.

While the drama around the band is partly built on guesswork, rumors and innuendo, there’s no denying that the departure of Aaron Gillespie leaves a big hole to fill. His fiery red hair and boyish good looks were one thing, his personality and skills as one of the upfront speakers with a mic in a live situation was another, as were his fluid “clean” vocals (and don’t forget his mad drumming skills). There won’t be another article on Underoath in the next 12 months that don’t involve at least some details of his departure. Like the Warped Tour drama of ’08 (with people wondering if the anti-Christian heckling from “Fat Mike” of NOFX had anything to do with their canceling of the remaining tourdates).

There’s nothing like cutting to the chase, so I asked the obvious “why” question concerning the split with Aaron. “Bas-ic-ally,” Chamberlain replies, drawing the word out as if extending the syllables gave him more time to think of an adequate answer… “I’m trying to figure out the best way without sounding like a jerk or anything. Basically a lot of things went down in Europe, as far as just friendship-wise with people. I think there’s a lot of things he pointed out just as a friend… After that kind of conversation on the bus he brought up the idea of thinking a lot about quitting the band. He dropped it on us right before a show. Basically, after the show it was kind of like a, ‘Well, maybe I spoke too soon. Maybe I don’t want to quit. I don’t know.’ Then we all decided it would be best if he didn’t play with us anymore. ‘You brought it up and then retracted it’ and we were kind of like, ‘We all haven’t been seeing eye to eye basically at all.’ We’re all still friends. I talk to him. He called me up when he heard the record. There’s no bad blood at all. We didn’t see eye to eye. It felt like there were five guys in the band and he was kind of doing his own thing. We all decided. He kind of brought it up and then took it back. I don’t think he was decided one way or the other. We decided it would be particularly best for us. We felt way better as a band and he felt way better. He was like, ‘Good.’ I feel good for him. He can put himself way into his solo stuff and the Almost stuff and we’re way happier being true to what we want to write and playing with Daniel.”

While that explanation is not likely to quench all the rumors and speculation, it sounds pretty honest.

“There’s no bad blood or anything,” Chamberlain continues. “He’ll still text me and I’ll call him every once in a while and we keep in touch. We’re still friends. He’s been one of my best friends since before I joined the band. For a long time he was not really into heavy music. He even talked about it when I joined the band. I kind of feel like he wanted to do The Almost and that’s what he felt like he wanted to do and I think that’s great. We all feel happy as well continuing on with Daniel. I don’t think a lot of kids understand it. It’s not like we all hated him or anything.”

That’s not what I heard, but then what I was hearing was coming from haters and gossip. I decided to bring it up anyway, even though I phrased it: “How much truth is there to that silly rumor?”

“That we all hate each other,” the liberated frontman laughs. “We’re definitely the best friends any one could have. You have to understand, since I was 18 we’ve all been in a band, traveling together, we moved onto a bus. We’ve had life-changing things, like becoming a bigger band, having success, having family. There’s been times, of course… I spend more time with them than I do my family and my girlfriend. There’s time that you’re in a place with someone that things get a little heated sometimes, but we’re all best friends. We’d do anything for each other. I love those guys more than I could even explain to you over the phone. We all feel that way. I think maybe some of it was changed towards the end when Aaron was in the band. You could tell that there was, like, five of us wanting to do one thing and someone else wants to do another. And that just caused tension. But I think that was all needed and we’re all better in the end now than we were in the last year that he was in the band. And we’re having that stress relieved and Daniel joining the band has been like nobody’s bumming at all. Like everyone – the whole studio – writing stuff, we’ve just had a great time. We’re definitely all best friends, so those rumors aren’t true. I’ve definitely heard that about tons of bands and I’ve seen it in some bands, where people don’t hang out and talk once they’re off stage. That’s definitely not us.”

Spencer Chamberlain Interview:

You mentioned some songs or stuff on the new album that you probably wouldn’t have gone in that direction without Aaron. What are some specific examples or songs or song parts that you’re talking about.

There’s some heavier stuff. I guess that’d be a huge difference. We play heavier stuff than we would have done with Aaron. And then the songs that are more melodic, the entire song wouldn’t have happened, either. This album wouldn’t have turned out anything like it did. The five of us had been working on riffs before Daniel had joined, but when Daniel joined, we wrote the record. I couldn’t have… I have no idea how it would have turned out with Aaron if he had stayed in the band.

As you look back at your career with Underoath and you look back at the albums you played on and maybe even some of your perspective on the albums before you joined the band and then comparing them to this album, how would you describe … maybe go through the albums and give a brief description of each one and maybe explain the evolution or changes you made a long the way.

I think Chasing Safety was, you know, what inspired us at the time. We were young. When I joined the guys they were bigger on heavy music and were into the metal scene. More into change. More into something different. I was excited to be playing with new people. We go into the record and by the time we’re done with it we hate a lot of it. And that’s part of growing up. We were all 18, 19 years old. Some of us may have been 20. We were just kind of testing the new waters. People like that record. People love that record. We found slowly over time, also, we didn’t want to be a part of the ‘what’s cool right now’ thing. We wanted to challenge ourselves and challenge our thinking. We weren’t really sure how to do that, but we knew we wanted to change and that’s how Define the Great Line came out. I think that record turned out awesome. It really kind of jumped out of the box there. It turned out well. People thought it was cool. Lost in the Sound we were still on the same page as a band. It’s weird going through Chasing Safety… From Chasing Safety to Define the Great Line we changed who we were. The changes they hated who they were, so they changed. So then when we were trying to write Lost, it was like, ‘Well, we like who we are. We’re comfortable with who we are as far as doing. Let’s expand on this.’ I thought that’s what we did. We expanded and experiemented more with that style. We did drop-D off the hook. We pushed it further and there was stuff on Lost that we wouldn’t have done on Define, because we weren’t there yet. Then, I think from Lost to this record, there’s a huge step as well. It’s not like we hated who we were, but it’s like, ‘I don’t want to do that again. It’s time to grow up. It’s time to not be just another Warped Tour band or whatever we were looked at as. Let’s try to make a real record and really step out of the box here and do what’s right here for the music and not because a person wants to have his drums here or there. It was what was best for the songs of the album and just really expand on vibing off each other and maybe this new member and the excitement of change and just running with it. I think it’s a step of maturity – the way I see it. I don’t know how to explain it. I’ve seen it in other bands when they’ve done, you know, something and kind of accomplished something and kind of… Not being a cute band. We’re an adult band. I grew up in the ‘90s, listening to, you know, I had three older brothers. I was listening to … there’s things that I’ve loved for so long. It was a step of maturity and it was time to become a grown-up band.

I got the impression from Tim that one of the things you guys had been in the past was that all six of you had to be going in the same direction and, I may be reading between the lines, but has anything changed as far as your status or how you would articulate yourselves concerning Jesus and Christianity and being a Chrsitian band or Christians in a band and all that stuff?

I think we’re all on the same page – roughly. There’s a few things wide and broad. I think a lot of times you get to be 27 – some guys are 28 or 26 – a lot has happened. Things like… People are on different pages. Some people have kids. They’ve lost family members or whatever it is. I think we’ve learned how to communicate. And it’s okay if we’re not all on the same page at the same time. We’re all still going for the same goal. We’re all still trying to be the best that we can be – to spread positivity to various people what Jesus has done in our lives. We’re all on the same team. We all have our ups and downs and we used to hide it and pretend that doesn’t happen. There’s no one in this world you can tell me that doesn’t have that. You’d be lying to me or to yourself if you said that. We just got to the point where we could talk about it and be okay. ‘If you’re not feeling so great today on fire for God that it’s not the end of the world. We’ll talk about this and things will get better. You know, people have bad days, bad months and bad years, you know? Then things will always get better if we’re there for each other and we’re a family system. I think when we were 18 we had to all be on the same page. You couldn’t have any different way of thinking. Some people have developed … a little bit.

Tell me a little bit about the Ø (Disambiguation) album title.

”One of us just typed in the O-slash into the dictionary online,” explains Chamberlain, “and the way it comes up on a web page is the o-slash with ‘Disambiguation’ in parenthesis, like we have it. We were looking over it and a lot of definitions are ‘to make things clear,’ you know? That’s kind of what we were trying to make clear with the record. It’s a new Underoath. We are very confident of and proud of who we are and this band and these six members. This is what we want to make clear – that this is the direction of the band. It’s a little less lyrical as far as to what type of record. There’s obviously parts on the record about your life and making things clear, but it’s basically more of a, ‘This is who we are.’ There’s a lot of different definitions that could mean something different to different people. Everyone in the band at least liked one of the definitions of it, so I thought that was pretty cool.”

Tell me about how you’re feeling about this album and what songs stand out to you and why?

We feel that, without a doubt, that this is our best record that we’ve ever done. This is kind of our – after being in a band for ten years – this is our kind of only chance to make another somewhat first impression – with a different drummer and a lot of things, like I’m just doing everything. We had a lot more freedom. There was things that we always wanted to, but we were never on the same page with, but now with Daniel we definitely were all on the same page. I think, for the first time ever, down to every little detail. Everyone likes their own things, but down to every color line, drum fills, vocal lines, everything. All six guys put their stamps of approval on it, which has never happened before. It was always like, ‘I’m not really into it, but whatever. It works.’ It’s tough for six people to have all six people go, ‘Yeah, man. That’s exactly the way this part needs to be.’

“We’re really proud of how mature and how much … I think it’s a big step. I feel like Chasing Safety to Define was a huge step and progression. we felt like Lost was, but I see why people thought it was very similar to Define the Great Line. There were things that lyrically that we thought we were way beyond Define the Great Line. I still think that, but I see the similarities of … in theory. All the sentimental sides. But I feel like with this record there’s that step again. We’ve really stepped outside of our box and boundaries on both sides of the spectrum. Musically, there is more experiments than we’ve ever done. There’s more melodies on this record than on any other record, but not in the Chasing Safety kind of way. It’s still dark and heavy, but with songs with singing over it. Not like before where we had singing over it, but it was a poppier song. But with some singing over it. I feel like this was a better fit for me in my mind. The band vibe overall is way different and better in my opinion. All the people involved – the label and the producers – everyone feels really good about it.

What is the thought and the feeling about the dynamic of … in the past Aaron was doing the clean vocals and you were doing the screams…

There was a lot of stuff I sang as well. People just don’t really realize that. That’s okay. I do a lot of singing. What was your question now?

How is that dynamic going to be handled now? Like with the older songs as well as the new stuff

What do you mean?

[note the presence of awkwardness at this moment...] In the past it was Aaron does the clean vocals and you do the screaming. How is that dynamic going to be performed by you guys?

Well, the old songs I do everything I can, unless there is screaming overlapping the singing. If there’s stuff overlapping Tim sings the other parts. As far as the new record goes, I wrote it for one voice with one person, so there’s not that overlapping too many vocals happening at once. I’ll be screaming or singing… I wrote it for whatever works best for just me to do it. So, the new stuff is just me. The older stuff will have a bit of __ as well and some songs that aren’t really that extreme for the band, so if there’s some competing and overlapping screaming, then Tim will handle that.

How would you label your music? I think Tim used the phrase “heavy ambient.”

I don’t know. I don’t know how to label things very well.

How did… What’s the story of Daniel coming into the band and what are some of the strengths he brings to the band for you guys?

Basically, we’ve all known Daniel, you know, give or take a few years for some of the guys, for a long time. I’ve known him from before I was in the band. My old band played shows with Norma Jean. Underoath has been playing shows with Norma Jean for a long time. Basically, it was one of our first thoughts. It was a shock for all of us when we found out that he left Norma Jean a few years ago. And then when we had that talk with Aaron and decided it was best if we didn’t play together anymore, after letting that settle and say, ‘well, that’s it with us and Aaron,’ the first person we thought of was Daniel. ‘Well, he’s been a great friend. We all get along with him. He’s a killer drummer. He is pretty familiar with the style of music that we play. He kind of invented that style of drumming in my mind. He’s had a lot to do with how drummers play in heavy music. It was kind of a call of like, ‘Hey man, we’re writing a record. We don’t know if we want someone to come in to play the drums and we’ll find a drummer later or if we want to get a real drummer. We just need to, like…if you are interested at all, why don’t you just come down and jam with us. We’re writing songs for our new record.’ He came down and it was just like a no-brainer. Within the first five minutes I knew, for sure, that we’d be an idiot to not have him be our drummer. I talked to him about what he thought and he told me that he really wants to do it, so we didn’t make any final decisions. We all knew he was a great drummer and we started the writing process and we were in the studio demo-ing … and ever since then there’s been great energy. He brought a lot to the table, as far as, you know, just playing with someone new and different – someone who’s excited to play heavy music. We haven’t had that in a long time. He’s great at that. There’s things that Aaron didn’t want to do in the past that we might have wanted to do. Daniel was right on board, so it was fun to go new directions. There’s a lot of things on this record that we would’ve never done if Aaron would have been drumming with us. It never would’ve happened. There’s a lot of things – there’s melodic things and heavy things that would’ve not happened if … Everyone knows their role. No one was fighting for any other reason or over-thinking, ‘This song has this or that…’ It was just like, ‘What’s best for the song?’”

That makes sense. Is there anything else you wanted to add or articulate or this album and the band at this time?

I guess we are really proud of this record and we’re super excited for everyone to hear it. I think a lot of people are excited about it, but a lot of people are making judgment calls before they’ve even heard it. No one’s heard this record except the band. Fans that are freaking out because Aaron’s not in the band anymore or whatever, they don’t know how we wrote songs before. There wasn’t… It’s not like. I think a lot of kids are worried, but there’s nothing to worry about. Go listen to the last three records and … My advice to everyone is whether you love us or hate us or are unsure of it, listen to it before you make a judgement call. If you listen to it and hate it I have no problem with that, but we’re confident that this is the best Underoath record we’ve ever made. Fear not, people are gonna love it, too.

© HM Magazine 2010. All rights reserved.

The Great Transparency On Tour Now
THE GREAT TRANSPARENCY announces the REBUILD YOUR LOVE TOUR that kicked off Friday 10/8. With only a short break after the POP RALLY TOUR with Satellites and Sirens, TGT is very excited for this tour that will not only included the acoustic duo Temple Veil as special guest on many of the dates, but also because they will be performing some of their new never before heard music. The Great Transparency (Columbus, Ohio) is a Power Pop group that that is the latest signing of Razzbarry Records consist of band members Jeremiah Wagner, Tommy Clingan, Jameson Leasure and Chris Chapman, They have toured the country playing over 175 shows this past year, while independently selling over 2000 copies of their latest EP, If Worse Comes To Worst.
Tour Dates:
10/15 – Elkton, VA
10/16 – Virginia Beach, VA
10/17 – Greensboro, NC
10/18 – Greenville, SC
10/19 – Lake City, FL
10/20 – Lake City, FL
10/21 – Monroe, GA
10/22 – Mobile, AL
10/23 – Franklin, TN
10/24 – Kettering, OH

Your Memorial To Release Debut On 11/23
Your Memorial will be releasing their Facedown debut album, Atonement, on November 23rd, and you can hear the title track from their stunning new album here. The band chose Atonement for the first single because “It really encompasses the overall theme of the album both lyrically and musically. We hope you enjoy it, and stay tuned for more album updates to follow.” Your Memorial will be heading out on tour supporting Atonement beginning on the first of November. The pre-order for Atonement will be available in one week at the Facedown merch store where you be able to choose among multiple pre-order packages.
Tour Dates:
11/1 – Morada, CA
11/5 – Spokane, WA
11/6 – Boise, ID
11/7 – Provo, UT
11/9 – Wichita, KS
11/10 – San Antonio, TX
11/11 – McAllen, TX
11/12 – Dallas, TX
11/13 – Albuquerque, NM
11/14 – Phoenix, AZ

Blue Like Jazz Movie Saved
The grassroots brain child of two Nashville men has saved the making of the “Blue Like Jazz” movie, based on the New York Times Bestseller, by raising $125,000 in only 10 days. Blue Like Jazz,” which is scheduled for theatrical release in fall, 2011, has garnered an unprecedented response at Kickstarter.com, a “crowdfunding” website that raises money for creative projects. With over 2,000 backers and $155,000 now raised, “Blue Like Jazz” is poised to become Kickstarter’s biggest raise ever if it exceeds $200,641 by the campaign’s closing date of October 25th. In a message to the campaign’s supporters, the movie’s director, Steve Taylor, explained that the additional monies raised would be used to help provide much-needed resources for the movie’s production, set to begin in late October. “We’re still a very ‘indie’ production,” says Taylor. “All of us in the writer/producer/director categories are deferring getting paid until the movie’s profitable. Any additional money we raise goes ‘on the screen.’” Due to the amount being raised and matched donations from financial backers, the movie will begin filming at the end of the month in Nashville, Tenn. and in Miller’s hometown of Portland, Ore. Marshall Allman (“True Blood,” “Prison Break”) will star in the lead role. Miller’s Blue Like Jazz has sold 1.3 million copies to date, and the writing of the movie’s screenplay was even highlighted in his latest New York Times bestseller A Million Miles In A Thousands Years. “We are floored by the outpouring of support we have received with this campaign. We could not be happier about where we are headed. We raised our goal of $125,000 in only ten days, but his campaign is not over,” explains Prichard, one half of the founding duo of savebluelikejazz.com. “That number was the bare minimum. We want to keep raising money so we can make an even better movie. We want to blow the Kickstarter record out of the water. We want this to be the biggest crowd sourced creative project in American history. We want ‘Blue Like Jazz’ to go down in history as having the largest amount of financial backers for a film. Let’s keep this momentum, let’s make a better movie and let’s make history.” “If it weren’t for your contributions, the movie would have been dead,” adds Blue Like Jazz author Donald Miller. “It’s amazing to think what’s been accomplished in two weeks.” The viral campaign, which set out to raise $125,000 in one month, surpassed their goal in less than half the time. After seeing the news on the author’s blog that the movie was being put on indefinite hold due to a lack of funding, two fans of Miller’s famous Blue Like Jazz, Zach Prichard and Jonathan Frazier, created a grassroots style effort to save the film with the launch of www.savebluelikejazz.com. One of the movie’s investors committed to matching the amount raised if their campaign reached $125,000. To see the original video post from Prichard and Frazier, visit www.savebluelikejazz.com. The website encouraged viewers to download and pass along “Save Blue Like Jazz” posters, place Twitter hash marks of #savebluelikejazz, “like” on Facebook and, most importantly, donate on www.kickstarter.com. Pledge incentives included recorded voicemails from Miller, “Associate Producer” credits in the film’s end titles, t-shirts, screening tickets, digital downloads, personal “thank you” calls from the film’s director and more. The campaign continues through October 25th, 2010.

Sons Of God Ready To Record New Album
On the heels of the bands previous release The Genesis Prologue EP, which has generated over 5,700 downloads via comeandlive.com alone, Sons of God is set to record their debut full length album. They will be recording with Jared Fox in Nashville at Fox Den Studios. As with all Come&Live! releases, the album will be given away as a free gift to anyone interested. The band has launched a Kickstarter campaign to help fund this project. They must raise a grand total of $7,000 by November 8th. If only a portion of the money is raised by the deadline, the band will not receive any of the financial support pledged. Individuals are encouraged to donate in increments ($10, $25, $50 etc.) with each donation tier corresponding with a reward. Depending on how much is donated, the reward can include a “thank you” in the liner notes of the album, a physical copy of the CD, posters, hoodies, an iPod shuffle, phone calls, concert tickets, your company logo in the packaging, and more. “For over 3 years we’ve been patiently awaiting the day where we can release a record that we poured our hearts and souls into together, and that day is drawing near!” shares the band. “Your giving will always play just as much a part as our giving, and will always come full circle, not only in our ministry but in yours as well.” The heart and sole purpose of Sons of God is to spread the Gospel through music. Please consider helping them continue to do this via a full length album. The band is very appreciative of the support already received from fans and media outlets: “Thank you so much for your generosity, and thank you for being a part of this with us.” Visit their Kickstarter campaign here.

Josh White’s New Worship Project To Release November 9th
BEC Recordings’ introduces the organic worship album, Anchor, from Josh White, formally the lead singer of Telecast. Now a church planter and worship leader in Portland, Oregon, Josh White delivers a unique collection of folk/bluegrass worship tracks. You can get a free download for “You Amaze Me” here – a track for a tweet. The album releases on November 9th on BEC Recordings. White’s church is located in the Hawthorne District of Southeast Portland, a Bohemian part of town, known more for its hippies and hipsters than churches. “I met my wife Darcy in this neighborhood 14 years ago,” recounts White. “We know the culture and the people, which in turn fuels the heart and vision of the church: to preach the gospel to some of the most unchurched people in the country.” The songs on Achor are the songs of White’s church, Door of Hope, and are used in its worship services. The meaning behind both the church name and the album title come from Hosea 2:15. The valley of Achor is the valley of trouble; so named after Achan’s sin was discovered and judged in the days of Joshua. The prophet Hosea proclaimed that the God’s restoration would transform the valley of trouble into a door of hope. “Where I did the Brit rock sound with Telecast, these songs reflect the acoustic, folk music of Hawthorne. It’s a mix of folk and bluegrass in worship, almost like a Jesus Movement folk worship revival,” says White. Produced by Sebastian Rogers, Achor took White down a new path of album recording. The freshness of recording reflects the content of the songs, which seek an intimate, new relationship with Christ. Josh White wants to see people come alive in Christ and believes Achor is but one piece contributing to this awakening. “There is a prophetic element to worship; it is necessary and powerful. Hearts open through music, stirring emotions and inserting a message into hearts. These songs come out of what we’re experiencing at Door of Hope; they are part of a movement to turn this city upside down.”

Where The Ocean Meets the Sky News
Empires, the highly praised debut from musically adventurous South Jersey six-piece WHERE THE OCEAN MEETS THE SKY, is available today in stores and online from CI Records, the label that helped launch the careers of genre-related acts like AUGUST BURNS RED and TEXAS IN JULY. While currently wrapping a leg of the ‘Bro-Down Showdown’ tour with TEXAS IN JULY (Equal Vision) and THIS OR THE APOCALYPSE (Good Fight), WHERE THE OCEAN MEETS THE SKY are pleased to announce a brief “pre-holidays” November run – the ‘So Heavy’ Tour – alongside labelmates AN EARLY ENDING (dates below). In between tours, the band will perform two previously announce album release shows – Oct. 22 in Lemoyne, PA and Oct. 23 in Vineland, NJ. Everyone in attendance will receive a free copy of Empires courtesy of WHERE THE OCEAN MEETS THE SKY and CI Records. Empires is a sensationally strong debut from a band that refuses to have their music fit snugly into one genre label. The album as smart as it is heavy, as loaded with pop hooks and musical Easter eggs as it bristling with bone-crushing riffage. Its spirit of savage adventure will please the ears of fans of THRICE, BLESSTHEFALL, THE RECEIVING END OF SIRENS and more. “Our goal with this album was to create something lasting, something with depth, and something that pushes the boundaries of our music scene,” explains WTOMTS’s dynamic frontman, Blake Martin. WHERE THE OCEAN MEETS THE SKY have spent the last several years gearing up for their debut by touring relentlessly up and down the East Coast, sharing stages with the likes of BETWEEN THE BURIED AND ME, ALESANA, HASTE THE DAY, SKYEATSAIRPLANE and many more of today’s genre giants – along the way, laying the groundwork for an empire of their own.
Tour Dates:
10/15 – Wilimington, DE
10/16 – New London, CT
10/17 – Trenton, NJ
10/18 – West Babylon, NY
10/22 – Lemoyne, PA
10/23 – Vineland, NJ
10/27 – Grantham, PA
10/30 – Mexico, NY
11/4 – Rochester, NY
11/5 – Lansing, NY
11/6 – Galloway, NJ
11/7 – Williamsport, PA
11/8 – Bloomsburg, PA
11/9 – Milford, PA
11/10 – Columbus, OH
11/12 – TBA, OH
11/13 – Elgin, IL
11/14 – Pittsburg, PA

The Almost Post New Song
A new song from The Almost entitled “Wrong” is streaming now on the band’s MySpace page. The song is off of the band’s upcoming releases, the MONSTER MONSTER DELUXE EDITION and MONSTER MONSTER EP which will be available October 25th. The MONSTER MONSTER DELUXE EDITION will be available online digitally only and will feature all 12 songs on the original MONSTER MONSTER album released in 2009, as well as five additional songs and four music videos. Also available will be the MONSTER MONSTER EP which will feature the five additional songs and the four videos that are included on the deluxe edition. The EP will be available both digitally and physically: online and at shows. The MONSTER MONSTER EP is currently available for pre-order at The Almost Online Store and the Tooth & Nail Store. The band is currently out on the Hello Hurricane Tour with Switchfoot before heading out on a headline run with Seabird, Ivoryline and Colours.

Tomfest Update
Mikee Bridges has posted the latest news on Tomfest: “It’s been awhile since I made some decisions about the fest and I wanted to write to update those that are interested. At this point there are no plans in place for another fest HOWEVER, there is an open door and the willingness to do it again. At this point I am being ultra careful and I am asking for your prayers for clarity. The question is not IF we can do the fest but SHOULD we do it. There are some possibilities out there and I just need confirmation in order to move forward. Many of you have written and I appreciate all of your letters. In the meantime please consider supporting joshuafest.com. It’s in October in Northern California and will be a great time. I am putting together a new project that I would appreciate your support in. It’s called GameChurch. Check out gamechurch.com. Set up a profile and tell us what you think. Right now the site is in a beta test so that we can work out the kinks. The latest version just went up a few days ago so bear with us. The password is ‘redpill’. The vision is this: GameChurch is 3 parts. The first is the website. Its all about video gaming, news, reviews, interviews and it has a spiritual side for those looking for something more. But if a person is only looking for legitimate content, they will find it. They don’t necessarily have to engage in anything spiritual unless they want to. There is a simple button to click to get to the spiritual side of what we are doing. The second is video game trade shows. We will have a booth at CES, Comic Con, E3, GenCon, PAX and others. We will be conveying the message that Jesus loves you right now, right here, as you are, to those in attendance. The third is a ‘gamer’ Bible that we have created. It is the Gospel of John with commentaries from and about the video gaming industry and in ‘gamer speak’. We will be passing those out for free at the shows. One of the ways we are driving traffic to the site is with our new web series called ‘The Leaderboards’ which will have its own website in the next couple weeks but for now you can click below. You can also view our interviews by clicking here.

The Rocketboys To Release New Single
Austin-based indie rock band The Rocketboys will release Wellwisher—a cohesive concoction of four brand new songs—on November 2, both digitally and physically. The song “Brothers” will be the first single off the EP. It can be streamed from the band’s MySpace page. The November 2 online release of Wellwisher will be preceded by a string of release shows and succeeded by a CD release tour. It’s been more than a year since The Rocketboys self-released their well-received, debut full-length, “20,000 Ghosts”. With tracks featured on a plethora of TV shows including 2010 Winter Olympic Games—among others—the 10-song debut showcased the talent and acclaim of the band of childhood friends. The Rocketboys took the recording process on the road for “Wellwisher”, tracking almost the entire EP while on tour. From the back of the van to kitchens and even at the office of Paste Magazine, The Rocketboys rallied their talented friends to play and sing various parts on the recording. Singer Brandon Kinder describes “Wellwisher” not as a concept album but a concept experience. The musical collaboration and nomadic recording process, combined with the lyrical themes of unity, brotherhood and relationships, all contributed to the final product. “It’s interesting how it all came together and meshed thematically,” Kinder said. “My lyrics about the importance of the people in your life, our friends who recorded parts across the country and everyone who helped us financially made the entire process about unity and collaboration.”
Tour Dates:
10/23 – Waco, TX
10/29 – Austin, TX
10/30 – Abilene, TX
11/4 – Dallas, TX
11/5 – Tyler, TX
11/6 – Shreveport, LA
11/7 – Hot Springs, AR
11/8 – Little Rock, AR
11/9 – Memphis, TN
11/10 – Nashville, TN
11/11 – Atlanta, GA
11/12 – Charleston, SC
11/13 – Macon, GA
11/14 – Gainesville, FL
11/15 – Tallahassee, FL
11/16 – Mobile, AL
11/17 – New Orleans, LA
11/18 – Houston, TX
11/19 – Bryan, TX
11/20 – Mcallen, TX
11/21 – San Antonio, TX

Petra’s Beat the System Reunion
The latest band to join the ranks of the re-united is the original line-up of the classic rock band, Petra! That’s right, before John Schlitt was the band’s signature frontman, diehard fans will remember that Greg X. Volz was the band’s original singer. Now, the rock band is back together again – Greg, Louie Weaver (Drums), John Lawry (Keys, Vocals), Bob Hartman (Guitar, Vocals), and Mark Kelly (Bass, Vocals)! On the newly updated, ClassicPetra.com, the band has posted new photos of themselves along with the following announcement of new music! “Petra will be back in the studio this Summer to re-record a CD of previous hits from the records: Never Say Die, More Power To Ya, Not of This World, and Beat the System. Classic songs like “More Power To Ya,” “Judas Kiss,” “Grave Robber,” “Adonai,” and “Beat The System” will be revamped with a modern production edge. In addition, the band will be doing a “Back To The Rock” 2010/2011 World Tour with the following info included on their site as well: “The tour begins in the USA on October 15th and stretches across the globe through 2011. Dates and venues are currently being scheduled.”

Circleslide To Rock Apple Store
To celebrate the release of their sophomore album Echoes of the Light on Save the City Records, critically acclaimed Christian pop/rock band Circleslide will give a special live performance at the Apple store in Nashville’s Green Hills Mall on October 12, 2010 at 8p.m. CT. Fans will hear the guitar-driven band play songs from Echoes of the Light and have an opportunity to meet the band members. Released October 5, Echoes of the Light is already generating a buzz in the industry with early press featured by JCTV’s “1 Music Village,” Charisma Magazine, HM Magazine, ChristianityToday.com, CCM, New Release Tuesday, HearitFirst, BREATHEcast and more. Since the band’s debut project, which landed them on Christianity Today’s list of “Best New Artists of 2006,” among other accolades, Circleslide — whose lineup includes frontman Gabe Martinez, lead guitarist Jonathan DeAnda, bassist Eric Vickers and drummer Lee Yoder — has toured unceasingly, refining their modern rock ruminations, while keeping their ministry agenda firmly in focus. In addition to shows with newsboys, tobyMac, MercyMe, Casting Crowns, Salvador, Jaci Velasquez and downhere, the guitar-driven band has headlined everything from clubs to churches and colleges, with plenty of youth camps and outreach events in between — all of which build off the group’s Youth With A Mission beginnings.The band was developing the new project last spring when Nashville was hit with a devastating flood that destroyed Martinez’s house, as well as all of the band’s gear, instruments, PA and trailer. “We were out of town when the flood happened,” remembers Martinez. “A friend who was staying at our house waded through five feet of water to save some vintage guitars, but other than that, we had to completely rebuild from scratch. The Nashville community really came together, though. So many people showed up to help us sort through the mess and rebuild — four different church groups, friends and neighbors and people we didn’t even know. Thanks to amazing organizations like MusiCares, Graceworks Ministries and Porter’s Call, we’ve been able to replace our music gear and home appliances, and we have a renewed realization that God has called us to this ministry. Nothing’s going to hold us back from spreading His word.” Circleslide’s ordeal, and the season of spiritual reassurance which followed, directly inspired the band’s recent songwriting process. Several cases in point include the guitar-charged romp “The Litany,” the pleading praise ballad “Open Door” and the endurance anthem “Eye of the Hurricane.” Additional vertically-tinged variety comes courtesy of the vulnerable yet gorgeous “Love Amazing,” the ethereal crescendos of “You Are Everything” and the vibrant fist pumper “Nothing Compares To You.” The progressive and lyrically poetic worship of “Looking Up” serves as a true spine chiller wrapped around the idea of unconditional surrender. Yet the project’s themes all tie together through the resplendent title track “Echoes of the Light,” which poignantly refers to God’s act of speaking light into existence, while simultaneously calling believers to be reflections of that light. The band has evolved sonically since the last project — not only do they sound more explosive, dynamic and melodic than ever, but the choruses are instantaneously contagious from an initial spin of the album. There’s also an increased continuity that comes from producer and fellow Save the City labelmate Brandon Bee (Stacie Orrico, Lanae Hale, Benjiman). Expect shades of anthemic alternative acts like Arcade Fire and The Flaming Lips, crossed with the edge of Kings of Leon and the envelope pushing likes of The Choir (from whom the band gleaned its moniker). The new album also reveals a worship side of Circleslide that fans have experienced at their live shows. Echoes of The Light is conceptual from start to finish, sequenced impeccably to take the listener through a roller coaster of musical and spiritual emotions. There is an undeniable and immediately apparent chemistry across the dozen cuts that is especially refreshing in an iTunes age of picked-apart albums in search of a single or two. All the while, it’s impossible to take a listen through Echoes of the Light and not be struck with an unbreakable sense of perseverance from Circleslide members in both professional and personal contexts. In exposing their own vulnerabilities, the guys’ authenticity is evident. At the same time, the album possesses an ability to inspire others from any walk of life looking for the resolve to press on. “It could be someone without a job, someone else having a hard time in general with the economy, a person dealing with death, a single mom with a crazy schedule or a college kid chasing a dream — no matter who you are, we want to remind you that you’re not alone and God has given you the ability to keep going, no matter how hard it gets,” assures Martinez. “Even in the midst of our brokenness, God is great and He’s there to walk us through the restoration process.”
For more information on Circleslide and Echoes of the Light, visit:
circleslide.net

©2010 HM Magazine All Rights Reserved

More news from last week:

still fresh (as far as you know)

THE ALMOST POST A NEW SONG “WRONG” ONLINE
Track Off The Upcoming “Monster Monster” Deluxe Edition and EP Streaming Now

A new song from The Almost entitled “Wrong” is streaming now on the band’s MySpace page.

The song is off of the band’s upcoming releases, the MONSTER MONSTER DELUXE EDITION and MONSTER MONSTER EP which will be available October 25th.

The MONSTER MONSTER DELUXE EDITION will be available online digitally only and will feature all 12 songs on the original MONSTER MONSTER album released in 2009, as well as five additional songs and four music videos.

Also available will be the MONSTER MONSTER EP which will feature the five additional songs and the four videos that are included on the deluxe edition. The EP will be available both digitally and physically: online and at shows.

The MONSTER MONSTER EP is currently available for pre-order at The Almost Online Store and the Tooth & Nail Store.

The band is currently out on the Hello Hurricane Tour with Switchfoot before heading out on a headline run with Seabird, Ivoryline and Colours. A full listing of dates and details is available on The Almost’s MySpace page.

The Almost have turned a solo-project into a full-fledged band. Their latest album MONSTER MONSTER is completely collaborative effort, melding their talents into a whole that was more than the sum of its individual parts. Together they’ve created music that combines radio-ready rock, 80’s new wave, classic garage punk and more. The album is their sophomore full-length, following 2007’s SOUTHERN WEATHER.

The Almost is Aaron Gillespie (Vocals), Dusty Redmon (Guitar), Jay Vilardi (Guitar), Alex Aponte (Bass) and Joe Musten (Drums).
For more information visit:
www.thealmost.com
www.myspace.com/thealmost
www.facebook.com/thealmost
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