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

 You won’t find too many rappers nowadays who cop to being influenced by politically minded singer/songwriter Billy Bragg or can boast that their new album features contributions by a members of indie superstars Broken Social Scene. But there are few rappers in the world like Shad.

The 28-year-old artist has distinguished himself from his peers through not only the frisky, Native Tongues-inspired production on his three full-lengths, but his bold lyrics that have tackled everything from the genocide in Rwanda to his own personal struggles with money and self-doubt. It’s a potent mix that has captured the attention of critics in his native Canada who helped get him nominated for a Juno Award and shortlisted for the Polaris Prize as well as by hip-hop icon Kanye West who counts himself as a fan.

Shad is gearing up for his next big step forward with his third album TSOL. The LP features some bright stuttering beats by cohorts like Ric Notes and Classified, and lets the rapper pontificate on the role of women in hip-hop (“Keep Shining”) and how music can stir up all manner of emotions (“At The Same Time”). Shad spoke with NXTLVL from his home in Vancouver about the progression of his career and his hope to make music that affects and inspires others.

What inspired you to want to make music? Were there particular artists that made you want to become a rapper?

I don’t think I can pinpoint it to any particular artists. Growing up, I just like music a lot, like a lot of kids did and still do. In high school, I was listening to Common, Outkast, Ras Kass. They were the artists that really impressed me a lot. I can’t say that they were the ones that made me want to make music. All the music inspired me. It started out as fun in high school, freestyling as a way to have fun. It evolved from that into a way to express deeper things, more meaningful things.

Were you hearing a lot of Canadian hip-hop when you were growing up?

Definitely. The town I grew up in [London, Ontario] was halfway between Detroit and Toronto. So whatever was going on musically there in Toronto and in American found its way to where I was growing up.

So, how then did you get from freestyling in high school to the point you are now with your third album about to hit the streets?

I think it was a steady progression and a lot of good fortune along the way. In high school, music wasn’t something that was very serious for me. Once I got into college, I started doing stuff with a group. It was a lot of fun and it was just something to do. From there, I started to write things that were more personal and I was looking for an outlet to do that. The opportunity came up not long after to record my first album and start doing shows on own. And from there it’s just been a progression with personal and professional growth happening side by side. I’ve been really fortunate to have a lot of breaks and a lot of people helping me out along the way.

Has it been good for you to be able to express these more personal things in music?

It’s been very helpful for me. It has helped me gain an awareness of where I am at and helped me to have the profound experience of translating some of these profound ideas that I might not be consciously aware of. And hopefully other people are connecting with it and benefitting from it as well. I don’t know how to sum it up. It’s been powerful in my life.

What is it like to hear that someone has been affected by one of your songs?

That’s always been cool to hear. Sometimes it’s been situations where people might interpret a song differently than what was my conscious intention, but it still hit them on a deep level. Music is not necessarily about the meaning that’s translated in the lyrics. It might be more profound than that.

Do you feel like you’ve progressed in some way from where you started to where you are at with your new album?

I think so. I hope to progress with every record. Hopefully I’m getting more clear and more concise in my songwriting and that there’s still a lot of depth there. I want people to be able to appreciate it on different levels. With the new record, the intention was that I’m a little bit older now and I wanted to make music that was less angst-y, but still have it be fun and positive.

The video for your song “Compromise” was posted not too long ago on Kanye West’s blog. How exciting was that?

That was super cool. The Internet is a funny thing. It’s cool when people that you are a fan of get a hold of your stuff. Hopefully that means new fans come along too.

It seems to me that when Christian rock acts find themselves getting some kind of mainstream success, they tend to downplay their faith, yet even the most mainstream of hip-hop artists is very upfront about their beliefs. Why do you think that is?

It might just be the nature of hip-hop lyrics. With rock lyrics, you can be more…I don’t know if poetic is the right word, but there are layers of meaning in what they are singing. With hip-hop the tone is pretty straightforward and like a conversation. You just say what you want to say and say what you mean right there on the surface. There’s less opportunity to downplay anything. It’s just right there.

If you weren’t making music, what do you think you would be doing?

I have no idea! Hopefully something that I could contribute some level of passion and meaning to. Not everyone gets to do that. I’m not sure that I get to do that. I’m lucky that I get to make music.

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!

By: Josh Gloer

A crowded living room in Philadelphia once yielded the soulful sounds that only emanates from singing Gospel music. A woman sat behind the piano, and her friends egged a young boy to sing.

This living room became of one his first stages, where Japhia Life reluctantly agreed to sing, and his training to sing for the glory of God began.

Decades later, Japhia Life is about to drop his forth album, Nazareth, a collection of unreleased singles from his first three records. While some of the tracks have been posted on MySpace, this album boasts a truly unique compilation of this emcee’s work, including two never before heard tracks.

“This album is really an album of music that was made during a space and time where I was really trying to find a comfortable place musically, where I could express my talents with a good balance of quality music, balanced with faith expression,” he said.

It’s an eclectic mix, as these tracks span the course of his young career. Since he started writing rhymes, Japhia Life has been called a Christian artist, a hip hop artist, an emcee, and it’s safe to say, he’s had as many sounds.  He describes his first three albums in a range from 90’s classic to dark and emotional. His third album garnered criticism for being too “poppy.” (It was an album that ironically produced the biggest tracks of his career to date.)

“My style has always been an eclectic mix, just always trying to express myself and my growth and where I’m at, at that time in my life. I continue to grow, so each album is going to sound different.”

The projects were full, booming with passion and faith, and the tracks that didn’t fit with the final projects were too good to keep from his fans.

“It’s just a lot of different songs that I made when I was just really coming into my own and paving my own lane,” he said.  “A lot of Christians may hear that stuff and may want to work with them as an artist that’s actually in the Christian community. So that’s kind of what happened to me. Just kind of finding my way and saying, ‘Where can a person that’s a believer find a comfortable place that he can express faith, and what would that place look like?’”

And so the name, Nazareth was born.

“For me that place would be where Jesus would be from.”

But this isn’t just a slice of life from a budding career.

“I definitely want them to be impacted by my content, the things I’m saying on it,” he said. “Spiritually, I want them to be impacted by it. But also I just want them to have an alternative to the music that they listen to that’s secular, that they feel isn’t healthy for them spiritually. I def want them to have some songs that they can listen to that’s just good music, but at the same time, they can still be impacted by my content on a spiritual level.”

He claims this album represents his reinvention of faith, as it represents his own personal journey as an artist and as a Christian – two things, in his case, that go hand in hand.

“For me personally the balance is just having the freedom of expression as long as it doesn’t compromise my faith. Whether people label me as a Christian artist or just a hip-hop artist, to me, it really doesn’t matter, I am what I am. At the end of the day, you’re really not what people label you, as opposed to what you really are. For me that balance is just an expression of who I am as a person. A Christian is one of the things I am as a person. I don’t really have to label my music as Christian, but I don’t have a problem if people label me as Christian, because I am a Christian. People have the option to label me at their own discretion. I’m not concerned with the labels.”

Nazareth is set to drop in early March 2010, and his next project West Side Pharmacy is slated to follow shortly. For all the info, check out: http://www.myspace.com/japhialife.

———–

Josh Gloer is a freelance writer based in Los Angeles. He’s been a writer on six seasons 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. He was recently honored to have his fiction appear in an anthology of LA writers, including Charles Bukowski. www.joshgloer.com

By: Dave Fidlin

For two-and-a-half centuries, evangelicalism – a belief system marked by the concept of being “born again” – shaped many Protestant’s approaches to Christianity across the globe. But the world is changing now more than ever before, and an offshoot of this belief system has emerged as society is being transformed.

Several factors are attributed to post-evangelicalism, a movement that has started picking up steam in recent years. Christians subscribing to a post-evangelical ideology differ from traditional evangelicals for any number of reasons, including opposing views on culture, politics and theology.

Scholars generally trace evangelicalism’s roots to Great Britain in the middle of the 18th Century. In addition to the aforementioned concept of being converted – or “born again” – some of the other fundamental beliefs within evangelicalism have included a high emphasis on the Bible and the Gospels, as well as the death and resurrection of Christ.

Evangelicalism was long lumped into one category, but it began to splinter in the 1950s when such popular preachers as Billy Graham started packing arenas to share the joy one can find in walking with the Lord. A separate grouping, fundamentalists, began breaking away because of disagreements with some of these popular preachers’ tactics.

Within the past six decades, new societal issues have bubbled to the surface. More than ever before, people from different racial, ethnic and religious backgrounds are talking amongst themselves. Because of this, the spectrums within evangelicalism have stretched even further.

On one far extreme are people who have that more fundamentalist view of their faith – meaning a continued strict adherence to traditional theology. On the other end are those who have tweaked traditional beliefs and conformed them to modern society. It could be argued evangelicalism is in the center. But the spectrums are growing increasingly complex, and attempts at simple categorization are difficult, if not futile.

Generally speaking, post-evangelical Christians take aim at mainline evangelicals’ narrow views on the thorny issue of homosexuality – evangelicals tend to view the lifestyle as a flat-out sin, while post-evangelicals tend to embrace people within this community. 

Followers of the post-evangelicalism movement also take aim at evangelicals for perceived narrow, partisan political views – many back the Republican Party in the United States, regardless of who the specific candidate is – and a seeming deaf ear toward the intellectual community. Additional criticism toward evangelicals has been linked to little or no emphasis on the arts and media.

Michael Spencer runs a Web site, the Internet Monk, devoted to post-evangelicalism. In his Blog posts, Spencer says this movement is still in the defining stages.

“I do not recognize the boundary lines of American evangelicalism as the boundary lines of true Christianity,” Spencer wrote in a 2006 post on his site. “I recognize that Christian belief emerges from a matrix of the text of Holy Scripture, the history of interpretation, cultural and sub-cultural presuppositions, the use of reason, the place of experience, the wisdom of the teachers of the larger church and the work of the Holy Spirit in revealing more light.”

Post-evangelicalism, as a movement, also has received ink in a book, “The Post Evangelical.” The British-based author, Dave Tomlinson, grew up in a Christian household, but says the constraints within evangelicalism smothered his quest to find where God was calling him in his life journey. Once he began looking outside the boundaries, Tomlinson says he began experiencing an authentic relationship with his Maker.

In his book, Tomlinson says evangelical churches in England have oftentimes failed when it comes to addressing social justice and poverty. Tomlinson in published reports says he hopes Christians desiring to live out their faith in a deeper, more socially-relevant manner, will begin to question some of the constraints mainline evangelical Christians have placed on ideology.

Graham came to prominence at a time when television began as a medium, and he quickly realized the public airwaves could be a powerful means of spreading Christianity. This led to the emergence of other so-called televangelists. There have been a plethora of them, at times with differing views amongst themselves, in the United States in the past six decades. Televised preachers have included Jim Baker, Jerry Falwell, Joel Osteen, Pat Robertson, Charles Stanley and Jimmy Swaggart.

But the very public sins of some of these televangelists has led some people in the post-evangelicalism movement to take a critical view of the hypocrisy and lack of authenticity that can sometimes crop up in mainline evangelical circles.

Traditional evangelicals, not surprisingly, have concerns linked to the post-evangelical movement. Criticisms include diluting or outright ignoring the Bible and faulty theology. Other people within the evangelicalism movement discredit the popularity of post-evangelicalism.

On the Blog site First Things, author Joe Carter says evangelicalism remains a vibrant, growing and effective movement.

“The idea that the collapse of evangelicalism is currently under way is more wishful thinking on the part of post-evangelicals that anything that can be backed up with evidence,” Carter wrote in a 2009 Blog post. “There are more people that attend a Willow Creek associated church than there are post-evangelicals in all of America.”

Nathan Martin, another writer on First Things, says evangelicalism is in a refining stage, but makes a case for its continued existence in a Blog post from 2009.

“As Christianity is moving out of the mainstream, it’s harder than ever to be a Christian in America,” Martin said. “There has been a shaking off of the chaff and wandering from the fold of many church-raised children. But this doesn’t indicate the failure of evangelicalism, as it does the failure of churches within the evangelical community.”

While Protestant ideology is going through a transformation – and countless strands are developing – one notion is certain: God remains a profound force in Christians’ lives. In a world with millions upon billions of people, He gave everyone a unique, custom story. Human beings are so different, yet so alike, and this mind-bending concept is evidenced through the debate between the evangelical and post-evangelical movements – and all other ideologies.

by Brandon Deroche,
Causecast Music Manager
(Guest Post from Causecast, check them
out at Causecast.org. Used with permission.)

Starting with last year’s Bonnaroo Music Festival, I’ve had the opportunity to conduct research with many of today’s top musicians by disguising it as interviews. While some of these conversations were focused on specific cause-related efforts the musicians were involved with, we also asked many of the artists the same questions, such as “Do you feel that music can be used as a vehicle for social change? Who has inspired you to want to be active? What is the biggest struggle as an artist in today’s music industry?” and so on.

The first question we’ve decided to share responses from pertains to the word peace.

Peace has been a common word used amongst changemakers, hippies, anti-war activists, spiritual leaders and world leaders. Peace has a symbol, it’s a simple hand gesture and has also managed to replace the traditional “goodbye” for many. For such a frequently said word, how many people are actually conscious of what it is they’re referring to? If peace is the goal, do we have a common understanding of what it is we’re trying to achieve?

At many of these interviews, I’ve gotten to ask the music community what the word peace means to them. Below are a few of my favorite responses:

Brandon Boyd of Incubus:

Slash:

Jon Foreman of Switchfoot:

Tegan and Sara:

STS 9:

Nneka:

State Radio:

David Crowder:

Mike Einziger of Incubus:

READERS: Let us throw this back at you: What does peace mean to YOU?

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

Theory Hazit moved to Portland, Oregon, two years ago because he needed a change. Having never been on a real vacation, he wanted to drive his kids across the United States, and show them a cross section of our country. He wanted to hook up with fellow rappers, Omega Watts and Wildchild to name a few. He wanted something new.

Two years later, the emcee has something new to share. Coming together with producer Toni Shift, the pair has created a super duo – Modern Marvels.

“Modern Marvels is basically what we’re all trying to do,” Theory Hazit, the vocals of the duo, said. “We’re trying to be our own super heroes and save hip hop. At the same time, I feel like everything I do is marvelous. Everything we do for God is marvelous, because God is marvelous.”

Serving God through the gifts they’ve been given is a priority for the pair, and the two gelled after working on the very first track.

“We just basically wanted to make some really good music, classic sounding music, without trying to make classic music,” Theory said. “A lot of the stuff Toni composes bring creativity out of me, forces me to be creative. Sometimes he’ll just make bangers and the stuff just comes out naturally.”

But that’s not to say that the construction of Modern Marvels was easy. It’s been three years in the making. Theory thought it was completed in September of 2008, but decided not to release it.

“The more I held on to this record, the better it got.” Tracks were removed, and others added. Another year of work went into the album. Finally, late in 2009, Theory and Shift is ready to release what they call the “genesis” of Modern Marvels. “I’m in love with the album again,” Theory said. “It’s a banging album now. I’m proud of it.”

Some of his pride might come from the unusual depths he admits to going to.

“Its really personal, for me,” Theory said. “I always write personal stuff, but I’m really transparent on this album.”

Modern Marvels covers topics Theory says have been overlooked. The joys of marriage and raising kids, solving personal problems with love and being a grown man providing for a family to name a few.

“There’s not much talk about love. People are just out to get theirs,” Theory said. “Life has its ups and downs and there’s nothing perfect around it. Focusing on God, and relying on God… that helps you to endure the struggles and obstacles that come your way.”

Theory wants to teach people through his sucuesses and failures and he’s had no problem airing his shortcomings on the album. He said he hopes it will be a guide, a light to show others how situations can be handled.

“When people hear this album… I really want them to learn from it. I have a gang of mistakes on the record, basically teaching lessons on that. I want people to react and take it in and apply it. The message of the album is creativity. Creativity is not dead, especially doing it unto God. Doing it with God.”

While the powers that be are keeping the release date under wraps, expect Modern Marvels to hit the shelves sometime this winter. For now, check out the title track featuring Wildchild and Lightheaded at: http://bit.ly/2mbaTP.

———–

Josh Gloer is a freelance writer based in Los Angeles. He’s written six season of MSNBC’s Lockup: Extended stay. He has also written for MTV, TLC, TruTV, HGTV and Oxygen. Josh has been a journalist for over 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

By: Josh Gloer
 

Akron, Ohio. The former Rubber Capital of the world. It’s the home of the ice cream cone, hamburgers and caramel corn. Visitors here can see the world’s largest model train in the city that stakes claims on famous residents like Angie Everhart, Hugh Downs and Devo!

It’s no surprise that Akron, however, is not known for a budding young hip-hop scene.

“The hip hop scene is pretty dry in Akron.”

But its fitting that 24hits (Steve Bader) hails from the City of Invention. It might not yet be a household name, but its one that carries with it, a heavy message. October 20th marked the date that 24hits, along with DJ 2 Snaps, dropped his album The Grey Area – and his message was quickly downloaded to computers across the country.

“It’s basically like the elephant in the room,” Bader said of his album. “If you’ve met a Christian who really turned you off from Christ its kind of letting you know that that’s not what its about. It was something that, a topic that I felt didn’t have a representation as far as like the church and the kind of like messed up stuff that it does, and if there’s a representation that speaks out about that its not really a Christian perspective.”

His message may be controversial, but his intention was never to make waves. He’s clear about one thing – he’s trying to help.

“I didn’t want to piss anybody off and make diss records about the church,” Bader said, “but I think it covers the extremes that people get carried away with and kind of put in place of what’s really supposed to be the reason that we all get together and the reason we even congregate – just to share the love of Christ and to worship the savior.”

His goal is to reach out and grab those people who’ve been jaded, or turned off from the church.

“Anything that a non – Christian would look at the church and say this is what I don’t like about the church, I think it covers those things in a loving way. But also doesn’t shy away from the fact that we’re all sinners and we all need Christ.”

He’s constantly asking hard questions in his tracks.

“Why is it that we would get together and hurt each other?” He asked. “Why would we put laws on something that has nothing to do with what the scriptures are?”

Questions that may have no answer.

But Bader continues to ask. The producer has a unique approach when it comes to music. Raised in a home where all things secular were frowned upon, his exposure to music was very limited.

“I wasn’t allowed to listen to music,” Bader said. “It was pretty much hymnals, maybe a little Sandy Patti if I was lucky. But I ate that stuff up because I loved music.”

Bader remembers the first time he heard Hip Hop. It was during the credit sequence of a Teenage Mutant Ninja Turtles Movie, and he listened to it over and over until he wasn’t allowed to listen anymore. He was hooked.

“Maybe it was just the fact that I had to do without it for so long that made me love it so much.”

Bader was later nearly expelled from his Christian school for having a DC Talk tape in his locker. Now, music has become his life, his vehicle to explore the deep crevices of life. He invites you to do that with him, and experience The Grey Area.

“I don’t think this is an album that everyone is going to enjoy,” Bader said. “I think there’s a certain group of people and a scatter group of people that have been turned off by the church or hurt by the church and I think if they got their hands on it they’d kind of feel that somebody else knew what they were going through. It would kind of maybe give them hope.”

For a free download of The Grey Area, go to: http://www.moongardenrecordings.com/.

For more information on 24hits, check out: http://www.myspace.com/24hits

———–

Josh Gloer is a freelance writer based in Los Angeles. He’s written six season of MSNBC’s Lockup: Extended stay. He has also written for MTV, TLC, TruTV, HGTV and Oxygen. Josh has been a journalist for over 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

By: Josh Gloer

It’s February, almost a full calendar stretch until Christmas. Stockings are packed in boxes, next to bubble wrapped nativities and knotted strands of twinkle lights. The holidays lie dormant, waiting to be unearthed ten months from now. Right?

Wrong.

For Family Force 5, February was the time the band decided to start working on the most upbeat and unconventional holiday album to hit the shelves since… ever.  And in early October, the band’s hard work paid off as their Christmas album, Christmas Pageant finally hit the shelves.

“We decided to make a [Christmas] record because we were tired of listing to the same old Christmas music that we’ve always listened to for the last 80 years of our lives,” Solomon “Soul Glow Activatur” Olds, the band’s front man, said. “This one you pop in, and I think its very unexpected and refreshing to hear.”

Recycled, remixed and revamped, holiday favorites like “Angels We Have Heard on High,” “Carol of the Bells” and “T’was the Night Before Christmas” fill the track list along with a FF5 holiday original entitled, “The Baby.”

“That track originally developed from trying to do a version of ‘We Three Kings,’” Olds said. “We thought why not do it our way and make the kings gangstas from ATL, bringing silver and gold and have them talking about it in their Cadillac.”

Appropriately, Christmas Pageant was born in motion. The band recorded tracks while on tour in Atlanta, Nashville and  the UK. Some of it was even laid down in a portable recording studio in the back of the band’s tour bus. It’s a blend of dance, “ghetto”, upbeat and infectious twists on the timeless tracks American’s associate with Christmas. But, get one thing straight — this isn’t your momma’s Christmas album.

“We wanted to create a Christmas album that you could throw on at a part, or rock at a club,” Olds said.  “Have a Christmas dance party with eggnog and all that – all the Christmas shenanigans that go on.”

According to Solomon, the album gets back to the band’s dirrrty ATL roots, straying from the dance licks of their last album, Dance or Die. But that doesn’t mean this album is falling back into old and stale territory as they boys of FF5 combine gangster and grunge.

“A lot of people expect us to do different twists on music,” Olds said. “Our fan’s are loving it. We’ve got ‘glee’ and ‘jolly’ written all over us.”

And keeping with the Christmas Spirit, Christmas Pageant is a family affair. Of course, the ranks of FF5 posess three brothers, but several tracks boast Jerome Olds, the Olds brother’s dad, Olds’ wife under the moniker “Lalipop,” and his baby exercising his young vocals on “The Baby. 

For more info on the Christmas Pageant show schedule, check out the band’s MySpace page at: http://www.myspace.com/familyforce5.

And remember, for FF5 fans, it’s never too early for Christmas.

“It’s been Christmas all year for us. It’s an overload on Christmas, but it was a very fun album to make.”