(l-r) Greg Trammell (guitar), Paul Mcoy (vocals), Eric Weaver (guitar), Erni Gainer (drums & background vocals)

Former Memebers: Kevin Dorr... Bass (til 2004)

The two years sincethe release of 12 Stones' debut album have been "definitely a whirlwind," according to singer Paul Mcoy. The group sold over 300.000 copies of that album, largely through touring with the likes of Creed and 3 Doors Down and word-of-mouth. Throw in Mcoy's feathured vocals on Evanescence's breakthrough hit Bring Me to Life and a steadily growing fan base, and you've got a hard - rocking band on the brink of a major breakthrough.

Potter's Field, the group's take -no -prisoners second album, should be that breakthrough.

" This is a bigger record all the way around." Mcoy states. "We wrote it the way we wanted it to be put out. A lot of songs don't necessarily sound like 12 Stones songs, people might say, 'That's not 12 Stones I know'. Maybe not, but it's the 12 Stones you're about to know." "I'm extremely proud of it," adds drummer Aaron Gainer. " I feel like we've really come together musically, it's heavier in some senses, but also a bit more musical as well,"

Filled with crunching, memorable riffs and melodies, and spotlighting McCoy's aggressively expressive vocals, Potter's Field runs the gamut from intense, emotional grind of "Photograph" to the wistful, intropective "In Closing". One of the album's many highlights is the first single "Far Away", which is an energetic, melodic powerhouse. "The shape of that song was pretty much the way it sonds on the record from day one," McCoy says. "It's about a friend of my sister's, who in high school was in a relationship that ended about three months in -- and how he killed himself in a very weal way."

The arrangement, he continues, "was a reflection of how I felt sad about what has happened. As I started working no the song it started to make me angry, that someone would take their life over something so trivial. A lot of people might expect "Photograph" so somehow be reassuring and say, 'it's okay' -- but it's not okay, instead, it steps up and says, 'Don't be a punk."

Songwriting in 12 Stones is shared equally by all four members, and is "pretty much an all-the-time-thing," says guitarist Eric Weaver. "Every time I have a guitar in my hands I start messing around with ideas. Very often we'll start out in a room together, and each of us will start throwing ideas around. What works, works, and what doesn't we leave out.

Production duties on Potter's Field were handled by Dave Fortman who, addition to co-producing the group's debut album and working with such acts as Evanescence and Atomship, also played guitar ni Ugly Kid Joe.

"He's very musical, and a lot of respect comes with that," Weaver says. " There are some producers who might want you to change something but can't reallt give yu a reason why.  We take direction a lot better from someone who's been in our shoes before. " 12 Stonea also takes a lot of energy from the byplay with its concert audiences. "It's really inspirational for us to walk onstage," Weaver says. "When we're backstage, getting ourselves together, you can tell from the noise level when our banner goes up. It can get really crazy - but in a good way."

"!2 Stones to me is primarlly a live experiance," says Gainer. "The show. The music. The energy exchanged between us and the crowd, it's the whole reason we exist as a band. Anyone can make an album, but not everyone can reproduce it live, We wanted to capture that on the record, and we feel like we did."

"Touring is really all we've got," McCoy adds. "It's  so great to see these people coming to our shows, and singing along with every song. That's what we love about what we do."

In fact, the group's four members didn't know each other that we;; when they started playing togetehr. "We were all hanging out at this record store (in Mandeville, La) and randomly met." McCoy recalls. "We just started jamming, which led to practicing, which seven months led to being on a label. " The 12 Stones a;bum was well received by fans and critcs alike, but it was afetr McCoy's apperance on Bring Me To Life that the band members felt a new phase beginning.

"That really did wonders," McCoy says. "Evanescence's album has sold 12 millon worldwide, so that many people at least have now heard of 12 Stones. It's given us a much broader market."

Seeing the phenomenal success of their Wind-Up Records label mates, and being exposed to new cultures and ideas through its relentless touring schedule, helped 12 Stones grow into the more conesive unit that's so evident on Potter's Field. "We were very naive when we started, and we've learned so much in the years since the first album came out," Weaevr says. "We've figured out where everybody's place is and what everyone brings to the party."

As for the album's title, McCoy explains: "Typically a Potter's Field is the cemetery where they bury the Jane and John Does, the homeless people who have no family relations or friends, who are really lost. And that's the way musicians very often are, working anonymously a lot of the time. We may have sold over 300,000 units but as the end of the day tehre are still a lot of people who have never heard of 12 Stones.

"On the other hand we've recieved a lot of messages from people saying they heard a particular track of ours, adn it helped to change their life, " he continues. " That's a great felling, taht we're able to reach out to al those John and Hane Does and possible effect their lives."

Though the 12 Stones sound remains forcefully muscular, there remains a sense of intelligence and a feeling of vuinerability that very much seperates the group from the pack.

"There's a massive amount of hateful music out there now", McCoy admits. "It's important for someone to step up and say yes, you can be angry and scream, but you need to keep your heads up. Everyone feels confused at some point, and needs guidance. I'm noy saving we're there guide people, but we want them to know they're not alone -  that there will be a brighter day, no matter what goes on."  

(Bio from www.12stones.com)

(l-r) Ben Kolarcik. (Vocals, Guitar), Justin Unger (Vocals, Keyboard)

Meeting the members of new Word Records duo Across the Sky at Starbucks is like being with a child on Christmas morning—their enthusiasm is that tangible. And the caffeine doesn’t hurt either.

Both 21-years-old, both full of passion for God, and both brimming with musical talent that had drawn the interest of the record label, Ben Kolarcik and Justin Unger had never met before early in 2002. By the end of August, the two were “close as brothers,” as they will quickly tell you.

“It’s been really cool getting to know and respect each other. We really feed off of each other in our personalities and humor. It’s funny—some days it’s like we have too much coffee, but I think some of that comes from so much excitement about what we’re doing,” says Justin.

The result is their eponymous debut, Across the Sky, filled with a swirling blend of sounds that makes them completely unique, in Christian music and beyond. Hope-filled lyrics, primarily written and co-written by the two, permeate the disc alongside a true blend of pop and rock—blond Justin claiming the more pop and ballad-focused influences, while Ben is the shaggy dark-haired rocker.

“I tend to be more eclectic, more like the rocky-edge sort of guy,” says Ben. “Our sound together is a really cool thing that we hadn’t realized would happen.”

Although their list of differences runs a mile long, the paths of the two had paralleled each other in many ways, finally meeting in Nashville under the insistence of the higher-ups at Word. Ben and Justin each originally came to the label as solo artists—Ben hailing from Louisville, KY, where he’d found an avid following, and Justin calling Phoenix, AZ, home, where he’d also built an extensive fan base.

Recognizing the talents of both young men, the label had their own ideas for musical futures. The two eventually met in the hallways of the label, and as they spent time together, hanging out and writing music, they realized that there was a greater plan at work.

“Ben and I talked about it and said, ‘Let’s bring a duo to the table’,” says Justin. “We played a demo for the record label of some songs we’d been working on, and they got our vision.”

“We all have plans and ideas of what’s going to work, but then the Lord changed our mindsets and ordained this meeting, opens the door, and we find ourselves walking through it,” Ben agrees. “He’s always opening stuff that wasn’t our idea in the first place.”

The label was in agreement, and with the musical and songwriting chemistry at work under the Lord’s guidance, Ben and Justin quickly abandoned their solo careers and became Across the Sky.

With the production team of some of Nashville’s finest songwriters including Jim Cooper and Kenny Lamb working half of the record and co-producer Jeremy Bose rounding out the other half, Across the Sky brought over 50 songs for consideration out of their songwriting sessions. The duo ultimately settled on 12 songs for their self-titled debut, which range from upbeat radio-friendly hits to poignant ballads. Their writing talents were complemented by sessions with such noted songwriters as Cindy Morgan, Scott Krippayne, Matthew Gerrard, Jeff Borders, Kyle Matthews and Tony Wood, among others.

“Our songs are full of hope and faithfulness. Everyone can relate to at least one of them. It’s life—we’re talking about life.”

For two guys in their early twenties with such enthusiasm running through their veins, life includes songs like “Exciting Times.” Seeing the path before them, both Ben and Justin find excitement in the challenge that lies ahead. “We have a lot to do, but we have so much to say. We are excited because we have an everlasting message to share with people,” Ben says. “Then you see the scope of the world today, and people are afraid—the war, the economy. ‘Exciting Times’ was written because of a message that was needed in the church, but now even more so in the world.”

Another stand-out cut is “Shooting Star,” a ballad co-written by Justin and Jason Ingram, which reflects personal experience and God’s faithfulness. “Everyone makes mistakes, but no matter far how far away you are, God’s there when you’re ready to come home,” says Justin, noting that God’s faithfulness is a theme that’s also reflected in “When I Open My Eyes,” which teams Ben and Justin with producer Jeremy Bose.

With Word Records now a part of Warner Brothers, also home to bands like Sixpence None The Richer, who have been torchbearers in reaching out beyond the Christian fan base, Across the Sky is hopeful that they will be able to make an impact as well.

“The Lord’s people should be known when they are seen,” says Ben. “It’s more than just being a ‘positive force’.” “I can see us moving out in the darkness,” Justin adds quickly. “The little light that we have can overcome so much, and make such an impact. We will go onstage and be real, with a message about God in our lives and where we’ve come from.”

Artists who have done the very same thing, and as a result are veritable Christian music legends, have affected Ben and Justin the same way they hope to affect others. Ben can quote the exact date that Steven Curtis Chapman came to his hometown for the Great Adventure Tour, where he was able to go backstage and meet the multi-award winning singer/songwriter himself. Justin cites Michael W. Smith as a huge influence because of his integrity on and offstage. Family has also been a huge influence in both of their lives. While music runs in the veins of both young men, and their families have always been supportive of their endeavors, other differences are obvious.

Hailing most recently from Louisville, KY, where his family has lived for most of his life, Ben’s father was in the military for over 21 years—which meant lots of moving around with his five brothers and sisters, including Australia, California, South Carolina and Virginia. Although Ben is number four in the lineup and the only one to pursue music full time, he is quick to note the musical talents of his siblings. A talent easily traced to his father and both of his grandfathers, one of which was a well-known Irish tenor.

Raised in Christian schools, Ben has been doing solo performances since his high school years. This also included leading and organizing worship for the weekly chapel services at school. Opportunities at both school and church eventually led to the decision of becoming a full time independent artist. Shortly after graduating high school, opportunities came about to perform consistently in several regions of the U.S. and all over the world, including Australia, Costa Rica, New Zealand, and Poland. A self-taught guitarist, the multi-talented artist also dabbles a bit with piano and lap dulcimer.

While Ben’s musical influences range from The Beatles, The Police and Jeff Buckley to Keith Green and Rich Mullins, Justin grew up listening primarily to Christian music. Born and raised in Phoenix, AZ, Justin is the middle of three brothers. While his mom held down the fort as a stay-at-home mom and sometime helper at his elementary school, his father had the musical instincts in the family, finding time out from his roofing business to teach himself how to play numerous instruments by ear. Justin followed in his footsteps, and began playing piano at age 10 and playing trumpet in the school band.

His songwriting career began at age 17, as he began co-writing music with his grandfather, a local pastor. Soon after, Justin started a Christian band called “Emmaus,” performing as lead vocalist the songs that he and his grandfather had written. Within a few months of the band’s creation, money was given to them to participate and compete in the Gospel Music Association’s Seminar in the Rockies at Estes Park, CO. With the forms filled in and their slot confirmed, Emmaus broke up three months prior to the event.

It is easy enough to call the next turn of events “divine intervention,” as Justin decided to go ahead to Estes Park on his own. In addition to taking a few seminar classes, he competed in the vocal competition in the 12 to 19-year-old age group, accompanying himself on the piano on the songs he had written. Justin took home the grand prize over all of the age groups, and knew that God had a plan to use his talents. Back in Phoenix, he soon heard from several different label executives, including Word Records.

Both Justin and Ben took the first major steps in their careers by making the move to Nashville. Now roommates in the suburb of Franklin, TN, the members of Across the Sky have already been on the road performing the songs from their self-titled debut.

“We have a vision to make a difference in the world. Our desire is to share our hearts and make excellent music to reach the masses, whether that’s to the church or outside the church,” says Ben. “It doesn’t matter if we’re on Jay Leno or talking to the Christian radio station morning drive guy—we will be faithful and declare the Truth, and after that it really isn’t up to us anyway. It’s really liberating to realize that God is in control of all of this—it takes us out of the picture and lets Him do His work.”

(Bio from www.cmcentral.com )

Joshua Havens (Guitars, Vocals), Matt Fuqua (Guitars, Vocals), Brad Wigg (Bass, Vocals), Marc Dodd (Drums)

The unlikely origin of the Texas-based rock quartet The Afters is steeped in caffeine.

Josh Havens and Matt Fuqua were working together at a Starbucks in Mesquite, Texas while playing for other bands. On slow nights, they entertained customers and themselves by playing a few acoustic songs. "I'm sure we weren't supposed to be playing music on the clock, but the customers liked it," Havens jokes.

They wound up playing an acoustic show together at a church conference, and were surprised when people came up to them after the show asking where they were playing next. "We thought it would be fun to play a show and then go back to our bands," Fuqua explains. "Instead we were overwhelmed with incredible feedback from people. We decided to keep playing together and see where it took us."

The road led to a series of acoustic shows at The Door, a legendary Dallas club. "We wound up with 300 people at our first show and the crowds got bigger every time we played," Havens recalls.

Agreeing to shift from acoustic to electric, Fuqua and Havens began looking for a drummer and bassist. Naturally they found what they were looking for at Starbucks. Dodd and Wigg, also employees, joined to play drums and bass respectively. The band's powerful performances earned The Afters a loyal following and for two years the band packed The Door consistently.

Wigg explains, "We were able to draw people in at our live performances initially through our onstage charisma. Especially Josh. He has that sort of dreamy, wistful look of innocent vulnerability while maintaining a degree of confident charm. But when you break the show down to its elements there's a great deal of variety to be found. Josh sings, I sing, Matt sings, we have pop songs, we have really dramatic rock-your-face-off songs, we have sweeping, melodic ballads. There really is something for everyone."

In 2000, The Afters went into the studio to record a six-song EP. They sold all 2,000 copies in a few weeks and earned enough money to return to the studio to cut their debut, WHEN THE WORLD IS WONDERFUL. Independently released in 2001 under their original name Blisse, the album sold more than 25,000 copies and became a staple on Dallas rock radio.

The band knew it was onto something, but it was a show on Halloween 2002 that convinced Dodd. "That was when I knew I was finally going to be able to quit Starbucks," he says with a laugh. "We were on stage and all of a sudden the parts clicked into place at the same time. It felt like nothing could stop us."

Two years later and with a new moniker, The Afters signed with Simple/INO Records to record their follow-up, I WISH WE ALL COULD WIN. Based on the strength of the album, Epic Records agreed to sign The Afters and release the album in the winter of 2005.

(Bio from www.cmcentral.com )

Stephen Christian (Vocals), Deon Rexroat (Bass), Joeseph Milligan (Guitar), Nathan Young (Drums), Nathan Strayer (Guitar)

Former members: Joey Bruce (Guitar til 2003)

When Anberlin signed to Tooth & Nail Records in
the summer of 2002, you could almost see the stars
in their eyes. Though wide-eyed awe generally accompanies a brand new, blooming band upon being given a major green light to their prospective career, there was something so instantly captivating about these Florida boys that immediately made believers
of their biggest skeptics.

And with one of the most electrifying line-ups in tact, singer Stephen Christian, guitarist Joseph Milligan, bassist Deon Rexroat and protégé drummer Nate Young were ready to take the world by storm; Furthermore their 2003 debut release, “Blueprints
for the Black Market,” was a perfect launch to do so. Instantly charming audiences with their incessant choruses, shredding guitar lines and sheer
pop-perfection, the album immediately received critical acclaim, something Anberlin had no problem backing up on stage as they joined tours with bands like Fall Out Boy, My Chemical Romance, and Story of the Year.

With two years, hundreds of tour dates and tens of thousands of copies of “Blueprints…” sold since then, Anberlin are eagerly poised for what's next. With time comes obvious maturity, something vocalist Stephen Christian doesn't shy away from.
“I don't feel that we as Anberlin have evolved into something our fans won't recognize,” Christian explains, “but I definitely think we have matured musically and broadened our listening tastes,
coming into our own as a band.”

This evolution can be witnessed in full on their February 2005 full-length sophomore release,
“Never Take Friendship Personal.” Created with “Blueprints…” producer Aaron Sprinkle, who recorded their debut without ever seeing the band live, the obvious change of NTFP from its predecessor is that magic word: maturity. But after Sprinkle witnessed the band's live set for himself, something else was quick to change as well. “Never seeing us live, he never knew how intense we were,” says Christian. “He realized that the second album had
to reflect what he saw live…energy.”

The energy nearly leaps off the disc mere seconds into the first track as Milligan's guitar explodes through the opening riff, captivating the listener
with bated breath. Each instrument and vocal
delivery are not only dynamic, but filled with a real sense of confidence only experience could bring them. Even in diverse tracks like the ballad “Symphony of Blasé,” Anberlin shine both individually and as a collective force.

For a band that seems to have no problem creating
hit songs, and joining some of the biggest tours in the country, success is almost expected. Still, it's one of the facets Anberlin have yet to fully come to terms with. “We are amazed at the reaction from the last album, “ Christian elaborates. “It's crazy how many bigger bands in our genre know our music and love ‘Blueprints…' Just tonight we were here in North Carolina and an older gentleman came up to me and we talked for a couple of minutes about bands and music. He went on to tell me that his son Adam had gotten him hooked on Anberlin and he had been a fan ever since. I learned after leaving the show that the man that I had met was Adam from Taking Back Sunday's dad!! I couldn't believe it! Adam got his
dad hooked on our music!”

And just as it had that first summer, the sparkle returns to Christian's eye, even brighter than before, but this time showing so much more than mere potential of a young band, more than the excitement of what “could be.” This time there is a new confidence brewing, an excitement that is not only explosive but silently assuring their rise to the top.

When Anberlin signed to Tooth & Nail Records in
the summer of 2002, you could almost see the stars
in their eyes. Though wide-eyed awe generally accompanies a brand new, blooming band upon being given a major green light to their prospective career, there was something so instantly captivating about these Florida boys that immediately made believers
of their biggest skeptics.

And with one of the most electrifying line-ups in tact, singer Stephen Christian, guitarist Joseph Milligan, bassist Deon Rexroat and protégé drummer Nate Young were ready to take the world by storm; Furthermore their 2003 debut release, “Blueprints
for the Black Market,” was a perfect launch to do so. Instantly charming audiences with their incessant choruses, shredding guitar lines and sheer
pop-perfection, the album immediately received critical acclaim, something Anberlin had no problem backing up on stage as they joined tours with bands like Fall Out Boy, My Chemical Romance, and Story of the Year.

With two years, hundreds of tour dates and tens of thousands of copies of “Blueprints…” sold since then, Anberlin are eagerly poised for what's next. With time comes obvious maturity, something vocalist Stephen Christian doesn't shy away from.
“I don't feel that we as Anberlin have evolved into something our fans won't recognize,” Christian explains, “but I definitely think we have matured musically and broadened our listening tastes,
coming into our own as a band.”

This evolution can be witnessed in full on their February 2005 full-length sophomore release,
“Never Take Friendship Personal.” Created with “Blueprints…” producer Aaron Sprinkle, who recorded their debut without ever seeing the band live, the obvious change of NTFP from its predecessor is that magic word: maturity. But after Sprinkle witnessed the band's live set for himself, something else was quick to change as well. “Never seeing us live, he never knew how intense we were,” says Christian. “He realized that the second album had
to reflect what he saw live…energy.”

The energy nearly leaps off the disc mere seconds into the first track as Milligan's guitar explodes through the opening riff, captivating the listener
with bated breath. Each instrument and vocal
delivery are not only dynamic, but filled with a real sense of confidence only experience could bring them. Even in diverse tracks like the ballad “Symphony of Blasé,” Anberlin shine both individually and as a collective force.

For a band that seems to have no problem creating
hit songs, and joining some of the biggest tours in the country, success is almost expected. Still, it's one of the facets Anberlin have yet to fully come to terms with. “We are amazed at the reaction from the last album, “ Christian elaborates. “It's crazy how many bigger bands in our genre know our music and love ‘Blueprints…' Just tonight we were here in North Carolina and an older gentleman came up to me and we talked for a couple of minutes about bands and music. He went on to tell me that his son Adam had gotten him hooked on Anberlin and he had been a fan ever since. I learned after leaving the show that the man that I had met was Adam from Taking Back Sunday's dad!! I couldn't believe it! Adam got his
dad hooked on our music!”

And just as it had that first summer, the sparkle returns to Christian's eye, even brighter than before, but this time showing so much more than mere potential of a young band, more than the excitement of what “could be.” This time there is a new confidence brewing, an excitement that is not only explosive but silently assuring their rise to the top.

When Anberlin signed to Tooth & Nail Records in
the summer of 2002, you could almost see the stars
in their eyes. Though wide-eyed awe generally accompanies a brand new, blooming band upon being given a major green light to their prospective career, there was something so instantly captivating about these Florida boys that immediately made believers
of their biggest skeptics.

And with one of the most electrifying line-ups in tact, singer Stephen Christian, guitarist Joseph Milligan, bassist Deon Rexroat and protégé drummer Nate Young were ready to take the world by storm; Furthermore their 2003 debut release, “Blueprints
for the Black Market,” was a perfect launch to do so. Instantly charming audiences with their incessant choruses, shredding guitar lines and sheer
pop-perfection, the album immediately received critical acclaim, something Anberlin had no problem backing up on stage as they joined tours with bands like Fall Out Boy, My Chemical Romance, and Story of the Year.

With two years, hundreds of tour dates and tens of thousands of copies of “Blueprints…” sold since then, Anberlin are eagerly poised for what's next. With time comes obvious maturity, something vocalist Stephen Christian doesn't shy away from.
“I don't feel that we as Anberlin have evolved into something our fans won't recognize,” Christian explains, “but I definitely think we have matured musically and broadened our listening tastes,
coming into our own as a band.”

This evolution can be witnessed in full on their February 2005 full-length sophomore release,
“Never Take Friendship Personal.” Created with “Blueprints…” producer Aaron Sprinkle, who recorded their debut without ever seeing the band live, the obvious change of NTFP from its predecessor is that magic word: maturity. But after Sprinkle witnessed the band's live set for himself, something else was quick to change as well. “Never seeing us live, he never knew how intense we were,” says Christian. “He realized that the second album had
to reflect what he saw live…energy.”

The energy nearly leaps off the disc mere seconds into the first track as Milligan's guitar explodes through the opening riff, captivating the listener
with bated breath. Each instrument and vocal
delivery are not only dynamic, but filled with a real sense of confidence only experience could bring them. Even in diverse tracks like the ballad “Symphony of Blasé,” Anberlin shine both individually and as a collective force.

For a band that seems to have no problem creating
hit songs, and joining some of the biggest tours in the country, success is almost expected. Still, it's one of the facets Anberlin have yet to fully come to terms with. “We are amazed at the reaction from the last album, “ Christian elaborates. “It's crazy how many bigger bands in our genre know our music and love ‘Blueprints…' Just tonight we were here in North Carolina and an older gentleman came up to me and we talked for a couple of minutes about bands and music. He went on to tell me that his son Adam had gotten him hooked on Anberlin and he had been a fan ever since. I learned after leaving the show that the man that I had met was Adam from Taking Back Sunday's dad!! I couldn't believe it! Adam got his
dad hooked on our music!”

And just as it had that first summer, the sparkle returns to Christian's eye, even brighter than before, but this time showing so much more than mere potential of a young band, more than the excitement of what “could be.” This time there is a new confidence brewing, an excitement that is not only explosive but silently assuring their rise to the top.

When Anberlin signed to Tooth & Nail Records in
the summer of 2002, you could almost see the stars
in their eyes. Though wide-eyed awe generally accompanies a brand new, blooming band upon being given a major green light to their prospective career, there was something so instantly captivating about these Florida boys that immediately made believers
of their biggest skeptics.

And with one of the most electrifying line-ups in tact, singer Stephen Christian, guitarist Joseph Milligan, bassist Deon Rexroat and protégé drummer Nate Young were ready to take the world by storm; Furthermore their 2003 debut release, “Blueprints
for the Black Market,” was a perfect launch to do so. Instantly charming audiences with their incessant choruses, shredding guitar lines and sheer
pop-perfection, the album immediately received critical acclaim, something Anberlin had no problem backing up on stage as they joined tours with bands like Fall Out Boy, My Chemical Romance, and Story of the Year.

With two years, hundreds of tour dates and tens of thousands of copies of “Blueprints…” sold since then, Anberlin are eagerly poised for what's next. With time comes obvious maturity, something vocalist Stephen Christian doesn't shy away from.
“I don't feel that we as Anberlin have evolved into something our fans won't recognize,” Christian explains, “but I definitely think we have matured musically and broadened our listening tastes,
coming into our own as a band.”

This evolution can be witnessed in full on their February 2005 full-length sophomore release,
“Never Take Friendship Personal.” Created with “Blueprints…” producer Aaron Sprinkle, who recorded their debut without ever seeing the band live, the obvious change of NTFP from its predecessor is that magic word: maturity. But after Sprinkle witnessed the band's live set for himself, something else was quick to change as well. “Never seeing us live, he never knew how intense we were,” says Christian. “He realized that the second album had
to reflect what he saw live…energy.”

The energy nearly leaps off the disc mere seconds into the first track as Milligan's guitar explodes through the opening riff, captivating the listener
with bated breath. Each instrument and vocal
delivery are not only dynamic, but filled with a real sense of confidence only experience could bring them. Even in diverse tracks like the ballad “Symphony of Blasé,” Anberlin shine both individually and as a collective force.

For a band that seems to have no problem creating
hit songs, and joining some of the biggest tours in the country, success is almost expected. Still, it's one of the facets Anberlin have yet to fully come to terms with. “We are amazed at the reaction from the last album, “ Christian elaborates. “It's crazy how many bigger bands in our genre know our music and love ‘Blueprints…' Just tonight we were here in North Carolina and an older gentleman came up to me and we talked for a couple of minutes about bands and music. He went on to tell me that his son Adam had gotten him hooked on Anberlin and he had been a fan ever since. I learned after leaving the show that the man that I had met was Adam from Taking Back Sunday's dad!! I couldn't believe it! Adam got his
dad hooked on our music!”

And just as it had that first summer, the sparkle returns to Christian's eye, even brighter than before, but this time showing so much more than mere potential of a young band, more than the excitement of what “could be.” This time there is a new confidence brewing, an excitement that is not only explosive but silently assuring their rise to the top.

(Bio from www.anberlin.com )

Members: Mark Stuart... Lead Vocals, Will McGiinniss - Bass, Tyler Burkum- guitar/vocals, Ben Cissell... Drums

Take a full throttled blast of musical passion, meld it with a compassionate desire to impact the world at large and add members’ rock solid grounding in reality with their vulnerable, no holds barred songwriting and the results comprise Audio Adrenaline’s nucleus. Thanks to such earnest performances and undying appreciation for its fans, the group has thrived for nearly fifteen years, sold over three million records and racked up 18 number one singles. Add in a Gold sales award and the prestigious “CCM Song of the Decade” crowning in the 90s, and Audio Adrenaline has consistently proved its relevance, artistry and heart.

At this stage in the game, the foursome could quite contentedly fall into two categories: look back on the past with fondness and seek to recreate it or fly on autopilot under the wings of today’s current fads. But never being a group of guys to take the easy way out of any circumstance or capitalize on a trend, singer Mark Stuart, bassist Will McGinniss, guitarist/vocalist Tyler Burkum and drummer Ben Cissell are thriving with a progressive, inventive and comfort zone crushing direction. 

“Don’t get me wrong, I think we’ve had records that were really good, but I think this is a way better record that really catches the energy of who this band is now,” Stuart says of the group’s ninth studio effort, which was over two years in the making. “More than any record, it captures the feel of a concert and the passion we give off from stage. There’s a more raw, heavier at times feel overall that finally sums up where we’re at in this stage of our career.”

Much of that sonic leap towards elevated intensity stems from a pairing with acclaimed producer/guitarist Jay Joyce (The Wallflowers, Iggy Pop, Patty Griffin, Macy Gray). His expansive mainstream experiences, coupled with a cutting edge approach behind the boards, stretched the foursome.

“He was really the first producer who really ‘got’ what it was that we wanted to do and encouraged us to bring out our passions to the greatest extent possible,” McGinniss confirms. “We had no idea what to expect at first, but God really directed our relationship with him and the end result brought all of our performances up to the next level. Jay is a rocker and a rockstar who simply wanted to capture the here and now and vibe of a certain moment, rather than making It perfect or polished.”

But perhaps as pivotal as the assertive direction in the control room were the spiritual sentiments behind the disc’s nameplate Until My Heart Caves In. Since debuting on Forefront in 1992, AudioA has always meant more than simply its amplification abilities, but rather to reach out to those grappling with life’s most paradoxical questions. McGinniss believes in “having real life situations as the muse for most of our songs.  We all go through life’s up and downs. Being a Christian doesn’t protect us from that, but gives us a better way to cope. We want to be individuals who unto our dying breath walk through life experiences victoriously.”

Stuart continues: “When you’re in a band as long as we’ve been, one thing you really want to be conscious of is staying on top of your passion and not just walking through life numb. Until My Heart Caves In is about living for God until your body collapses. It's about never giving up, even when you feel like it. So many people aren’t living with a fire in their hearts on a day-to-day basis, which is something we’re really committed to capturing at this stage of the game. We should be living like warriors and get out there worried less about the nice clothes and plastic personas and more about getting on the edge, living with authentic and real passion."

Indeed the title track carries that concept and dispenses it throughout the entire album at various volume dosages. Such a thread is possibly most apparent throughout the driving “Lost Inside the Wonder,” the explosive surges of “King” and the boiling over enthusiasm of “Clap Your Hands.”

“All three of those tracks relate to filling the void in your heart with the beauty of God and His love for all of us,” Burkum reveals. “There’s been a lot more fuel to those truths as of late, especially because we sought to create ideas of personal growth rather than just a bunch of random pop songs. I feel like this record is confronting our own complacency and crying out for something more.”

On a more reflective note, there’s the “Ocean Floor”-like feel of the redemptive ballad “Starting Over” and the melodic meatiness of the praise tipped “Light of the Sun.” A cover of Otis Redding’s “Your Love Keeps Lifting Me Higher” takes on a tambourine tipped tone of rejoicing, while the equally exuberant “Ready For Love” is rooted in progressive expressions and the call for a revolution amongst Christians.  

“We finally took the time we needed to get all those ideas out on paper and to develop them to the fullest potential,” admits Cissell. “Studio wise, within a year and a half we were working on Lift, two new songs for Hit Parade and all of Worldwide. That’s three projects basically in less then two years and we often found ourselves having to write in the studio. Having so much more breathing room made a big difference that shows on the new album.”

Such observations have also been ample on stage as of late, with the new material earning a rabid response from dedicated followers. No strangers to the road, AudioA remains one of today’s top touring attractions known for members’ explosiveness and energetic outpourings, coupled with state of the art production to permeate each of the senses. Coming this fall, such songs will be translated to a headlining slot on a virtual rock and roll festival tour featuring the likes of Pillar, Sanctus Real, Superchic[k] and Kids in the Way. The ambitious effort will not only reinforce the band’s celebrated performance status, but also provide a riveting platform for its meaningful batch of fresh messages.

"We're a band that's been around for a long time," notes Burkum. "To some extent, you start thinking, 'Man, I don't want to sing this stuff half-heartedly and just kind of fade away, I'd like to go out screaming.'"

Even with all the attention surrounding the launch of Until My Heart Caves In, AudioA is insisting another recently generated endeavor doesn’t get swept under the rug. Anyone who’s caught the band in concert over the last year can attest to their upstart of “The Hands and Feet Project,” a missions styled awareness campaign seeking to spread the gospel and provide resources to less fortunate regions (including recent plans spearheaded by Stuart’s parents to help orphans in Haiti).“This is a chance for us to put words into action and model a humanitarian perspective,” says McGinniss.  

Transforming word into action, living with passion and purpose, and consistently pushing oneself toward the edge of what is comfortable, these are the ideas that shape revolution and exist at the heart of Until My Heart Caves In. 

“I think the overall theme of this record and the places we’re all at as individuals is a passionate cry for purpose,” Burkum outlines. “I know it’s been in the band’s heart all along, but it’s really rising to the surface. The music’s got attitude, it’s got teeth and we’re all taking a big step forward, definitely moving on with less complacency. Sometimes you make a record and feel like you’ve passed over what it’s saying by the time it comes out, but this one really does feel where we’re at right now within our hearts.”

(Bio from www.cmcentral.com )

Members: (l-r) Jody McBrayer, Melissa Greene, Greg Long, Janna Long

Former members: Michael Passons, Cherie Adams

In today’s ever-changing musical landscape, there are fewer and fewer artists whose collective works can stand the test of time. But an eight-year career that has birthed five successful studio projects, a remix album, two RIAA-certified gold records, 20 Dove Award nominations, three Dove Awards (New Artist of the Year, Song of the Year for “Testify To Love,” and Inspo song of the year for “Adonai”), two Grammy Award nominations, an American Music Award and no less than 17 No. 1 radio hits provides ample proof that Avalon has etched its own, well-earned place in the Christian music history books.

On the heels of their recent American Music Award win for 2002’s Favorite Artist – Contemporary Inspirational Music, Avalon members Michael Passons, Janna Long, Jody McBrayer and Melissa Greene are releasing Testify To Love: The Very Best Of Avalon. And while it’s certainly a sampling of some of Avalon’s best-loved songs, Testify To Love is not your typical greatest hits package. Not only is this a collection of some of Avalon’s greatest songs, it’s actually a collection of 12 No. 1 radio hits – an impressive accomplishment that puts Avalon in an elite group. Few artists (including the Beatles, Mariah Carey and Elvis) have been able to compile an entire album of No. 1 singles.

“These songs are a timeline of the past eight years we’ve had together,” says Michael. “It’s fun to look back at these songs and remember each step of the way and how God has been faithful to us on the whole journey.”

“Listening to each of these songs takes us back to a certain place in time,” Jody agrees. “We can remember where we were when we recorded them, and what it was like working in the studio together. It’s a reminder of how our friendships really grew deeper. It’s all indelibly etched in our minds.”

Along with favorites like “Adonai,” “Give It Up,” “The Glory,” “Testify To Love,” “Wonder Why” and “Always Have, Always Will” that span Avalon’s five previous studio projects, Testify To Love also features three brand new songs recorded specifically for this album. They are also the first studio cuts the group has recorded with newest Avalon member Melissa Greene.

“Melissa is a very gifted singer,” says Janna. “She’s so professional, and she didn’t miss a beat when she came into the group. We’ve all had a great time working with her.”

Formerly with Truth, Melissa joined Avalon last September after Cherie Adams left to pursue a desire to speak at women’s conferences. “It was so easy to come in and begin working with this group,” Melissa shares. “They welcomed me with open arms and it really felt like I’d been here the whole time. They are all so talented, and I’ve been challenged by watching them, both on stage and in the studio.”

Co-produced by Brown Bannister and Tedd T., the album’s three new songs include the upbeat opener, “New Day,” showcasing Janna’s powerful vocals and a guitar-driven music bed; the funky, up-tempo “Pray,” an edgy declaration that features lead vocals by Jody and Melissa; and the album’s first radio single, “Everything to Me,” a powerful ballad performed by Michael and Melissa.

Heading into the studio to record new songs was a bittersweet end to a year that brought sadness with last summer’s untimely death of close friend and musical collaborator, Grant Cunningham. Cunningham played a major role in bringing Avalon together and helped form the group’s musical identity through his A&R direction and songwriting contributions.

“Of all the people whose fingerprints will be on this record, Grant’s will be the biggest,” Jody shares. “He was really the fifth member of Avalon, and this record is just as much his as it is ours.”

Janna adds, “So much of what we did was from Grant, through his writing and producing. In light of losing him this past year, I’ve had a lot of big life questions for God – questions I realize I may never have the answers to. It’s been a growing and learning experience to just try to make sense of it all and to realize that it’s okay if we don’t understand it. God is going to work out what He wants to in all of us individually and in Avalon.”

It’s those kinds of life-changing experiences that have helped keep Avalon members close to each other as they’ve journeyed through the past eight years together. While Testify To Love is a retrospective look at a career filled with success and accolades, it’s also a timeline that helps these four reflect on those things that are truly important in the grand scheme – family, friends and faith.

“I think this album is very representative of who we are to each other,” Jody says. “It really is kind of a new day with us as a family. God has really done some amazing things with us as people and has brought us closer than we’ve ever been.”

“You can’t know someone for this long and work so closely beside each other without getting to know one another more and more deeply,” adds Michael. “I think we are constantly coming into a more intimate place with each other and that’s what makes us stronger. It’s probably why we are still around so many years later. It’s not just a working relationship, it’s family.”

And with an intimate look back, a new Avalon chapter begins…

(Bio from www.cmcentral,com)

Members: (l-r) Becca Barlow - Drums/Vocals, Alyssa Barlow - Keys/Bass/Vocals, Becca Barlow- Guitar/Vocals

Who we are

Barlowgirl is an all girl band made up of three sisters: Rebecca, Alyssa and Lauren Barlow. (Can you guess how they came up with the band name?) For two years they traveled around the country and were the back up band for their dad. During one concert Lauren, who was the keyboard player at the time, caught sight of a drumset, fell in love.... and so a drummer was born. Soon after that the girls began experimenting with song writing and out of that came songs never to be played or heard of again :) During that time they decided to start their own band and have been one for the past three and a half years. What happened to their father, you ask? Well don't... kidding. He and his wife (ironically, the Barlowgirl's mother) are now the girl's managers. Yes, it is a family affair.

Fiercely independent, self-assured and secure in her artistry, Crystal Lewis is a rare talent. She knows exactly what she wants and how to achieve it--in a positive way. A Christian recording artist who has followed a unique path to attain success, Lewis listens to her heart in all things. In the past that’s meant establishing her own record label, cutting six albums in Spanish, and releasing her 2000 CD, Fearless (Metro 1), which garnered a Grammy nomination for Best Pop Contemporary Gospel Album.

Never one to rest on her laurels, Crystal Lewis now releases More. More than a ‘best of’ cd, More is a look into the last 5 years of Crystal’s career, combining 11 of her best loved songs with remakes of ‘I Now Live” and “Shine, Jesus Shine,” and 3 brand new songs. A separate DVD included in the packaging features a documentary on the recording of the project, all of Crystal’s past videos and stereo 5.1 surround sound mixes of the new tracks.

“With life comes change and growth, spiritually, musically and creatively. The 3 new songs on More represent some of those changes,” states Lewis. One of the more interesting parts of the package is the video for the title track. Filmed by acclaimed director Darren Doane (Blink 182, Pennywise, Audio A), Crystal got the opportunity to test her acting skills. “It’s filmed to look like the trailer to a blockbuster summer film, so it’s basically action sequences and live performance--and I got to beat up my band! It was definitely the fulfillment of many childhood dreams. I always wanted to be the superhero.

Crystal continues, “I am also truly enjoying the creative, musical and spiritual input and insight for the four members of my band who contributed their remarkable talents to this project. It was our first time to record together--but it won’t be the last!” The project once again features the programming skills of Jyro Xhan from Mortal and Fold Zandura. Xhan played the keyboards and did all the programming on Fearless as well. Also in the band are drummer Frank Lenz from Fold Zandura and Cush, bass player Eli Thomson from the band Passage and guitars by Shawn Tubbs, who is probably best known for the Violet Burning. “My band rocks.”

Forging uncharted territory is hardly new for Crystal Lewis. Born and raised in Orange County, California, Lewis began singing at four in her father’s church. Her mother, an accomplished musician, was a huge, albeit indirect, influence on Crystal, as were R&B and blues artists like Mahalia Jackson, Billie Holiday, and Aretha Franklin. At 15, she earned her first professional gig in the stage musical, Hi-Tops. At age 16, she joined the rockabilly combo, Wild Blue Yonder which recorded only one album but did lead to a meeting with future husband Brian Ray. In 1987, she released her debut album, Beyond the Charade, which combined her love of R&B with her strong Christian roots. Other albums quickly followed, and in 1991, she recorded the first of six Spanish albums, opening up new audiences in both the United States and Latin America.

In 1992, Crystal and husband Brian decided to continue their base of operations in Orange County and formed their own label, Metro 1, now distributed by Word Records. “We kind of felt like we were under someone’s thumb when we were on other labels,” Crystal says. “We wanted to branch out. Since we’re not in Nashville, like most of the Christian music scene, we’re able to maintain our independence. It’s beneficial in many ways.” Also in 1992, Lewis participated in the pilot and subsequent 1st season of the Nickelodeon show Roundhouse. But as the new label took off, she decided to steer back toward pursuing the music career full time.

Through a mutual contact, in 1998, Kirk Franklin invited Crystal to sing on his chart -crossing hit, “Lean On Me”, along with Bono, R.Kelly and Mary J. Blige. It brought her new recognition, including a 1999 Grammy nomination for Best R&B Group Performance, as well as a performance on the 41st Annual Grammy Awards. Since then, Lewis has continued to blaze a trail. Her 2000 Christmas album, Holiday, found Crystal working with the award-winning Peter Erskine Trio to record jazz interpretations of holiday favorites. She also appeared on the Child of the Promise tour, a Broadway musical-style rendition of the Christmas story, based on the album of the same name. Crystal portrayed Mary opposite Steven Curtis Chapman’s Joseph. She recently worked again with Franklin, recording his song “Someday” (which he produced) for the film, Kingdom Come starring Whoopi Goldberg.

For 2002, she hopes to record another hymns record as a tribute to the beloved songs of her childhood. In between, she and Brian are singing artists to Metro 1, including hard rock band Travail and rap groups Priesthood. This Christmas also brings several tour-dates performing the songs from her Holiday project. And, of course, she’s busy raising her two children, Solomon, 7, and Isabella, 5. “I love being independent,” Crystal says. “I like pushing the envelope. I’ve never felt comfortable in a mold. It’s too tight--too confined.” And her fans have learned to expect and appreciate the unexpected from Crystal Lewis.

Mambers: (l-r) Michael Tait, Toby Mac, Kevin Max

Together Tait, Kmax and tobyMac have made strong contributions to Christian music as dc talk. Now, the trio is going to be showcasing their own unique personal styles with solo projects due out this year. "This is the first time we'll be able to pour ourselves into our art and do it our own way," tobyMac stated.

dc talk Solo, slated for release April 24, will feature two original songs from each of the upcoming projects, plus the fan concert favorite "Forty." The seven song will give you a glimpse into the diversity of talent that make up dc talk, while working as a piece to launch the three solo projects which will further show their individual interests of music.

In 1987, three college buddies formed a little band called dc talk that reflected both their deep spiritual commitments and their diverse interests in rock, rap and pop music. Now in their artistic evolution over the past 13 years, an evolution that has been demonstrated by a string of acclaimed gold and platinum albums, sold-out high-energy concert tours, and a growing collection of Grammy, Dove and Billboard magazine awards dc talk brings us Solo.

(Bio from www.cmcentral.com

Members: Martin Smith... Lead Vocals
Stuart Garrard... Guitar
Jon Thatcher... Bass
Tim Jupp... Keys
Stewart Smith... Drums

Delirious? has done the unthinkable in a constantly changing marketplace where the trend of the moment often dictates a band’s direction. Not only has the group managed to stay together through thick and thin (with its original lineup, no less), but it’s also continued to make music on its own terms.  Globally.  The band, a galvanizing force that changed the face of worship, played dates in 23 countries last year alone.  From those stages they looked over masses of people from every race and creed, most recently playing in front of a million people at World Youth Day in Germany.  How does a band stay motivated to create, motivated to tour, year after year?  What else is to be gained?  Why the sense of urgency after so many years?

“We are in this age - 13 years into the band - where these are questions we all talk about when we get off stage. The footnotes of all the conversations are ‘We love what we do, but there’s gotta be more.’ We want to make a change,” answers frontman Martin Smith. 

Surely, this whole God thing is not just for putting Christian records out. Surely God has called us to higher things. I think it’s using the thing that God has given us to make a difference, whether small or large.”

This is the shared vision of Smith, guitarist Stu G, keyboardist Tim Jupp, bassist Jon Thatcher and drummer Stew Smith, delivered in the vessel that is The Mission Bell.  What really separates The Mission Bell, quite possibly the bands most ambitious offering, from the pack (or even Delirious?’ previous efforts) is the urgency, the call to action for the Church to quit talking about what it believes and to take action with all it’s been given. “I think there’s a lot of inspiration for people to get out of these songs,” says Stu G.  “I think it’ll help some folks kind of work out their calling, work out what they’re supposed to be doing.”

In “Our God Reigns,” the band’s global emphasis continues as it tackles the subject of social injustice, particularly A.I.D.S., abortion and the constant focus of Western culture on self-improvement and materialism, definitely not the usual subject matter for rock ’n’ roll, but something Martin felt was important to address.

“All I had was the chorus when I started out, and I thought ‘Oh, fantastic, this is going to be another little church song that everyone will sing. That will be great.’ But I could not write any verses for it, and all of the sudden, these heavy lyrics came out,” Martin recalls.  What happens is the marriage of a most heavenly chorus with the boldest most poignant verses on the record.  At this point in listening to the album it is clear there will be no sidestepping the message Delirious? has to deliver.

 And this message will resonate all over America as the band’s first stateside radio single from the recording, “Now is the Time,” continues its call to action.  “It was the beginning of a new year, and this song simply started as an encouragement for our own people at church to believe we were a 'city on a hill' and that the lives we live do make a difference in our community,” Martin says. “The God we believe in really is alive and wants to transform us and to take responsibility for this generation. The lyrics set the tone for the whole record as we explore the theme of mission and what it means to be a true follower of God.”

And at the end of the recording journey that began last February for The Mission Bell, we find a Delirious? that has received an RIAA Certified Gold album, seen plenty of spotlights and looked out over vast crowds. Now, more than ever, things are personal. A little more broken, a little more fragile, a little more determined. Now is the time all right.

(Bio from www.cmcentral.com)

Acoustic rock made quite an impression on parachute records who in september '02 signed detour as one of only two bands on the parachute label.

Wasting no time, the eponymous debut album was recorded & mixed at revolver and satellite studios, then taken to the states to be mastered in nashville.

The album's nz release was at Parachute music festival in january 2003 and will be launched in America july 2003.

For a band that only started life in april last year, that's a lot of attention in a short space of time. so what's with detour? lead vocalist adrian robertson – "we don't do music for music's sake, its got purpose and we want to use it that way. who we are and what we play is all about music moving people, invading thought processes. if we do that, we're achieving what we set out to do."

A solid fusion of power and raw emotion, detour runs in the vein of incubus, lifehouse and googoo dolls - loud, solid, rock with soul. the band features adrian robertson, jono scarlett – bass, cain coulton – guitars and songwriters evan cooper – drums and matt chapman – guitars, who coalesce music and lyrics that capture heart and passion holding each song in a reality of its own.

Previous to the forming of detour in april '02, each band member had been involved with various other bands and met while training and touring the country together in 1999 with an auckland performing arts school. with two members running a studio recording and producing music the foundation was laid for the beginnings of detour. the pulling together of the band saw a combination of the same passions and love for music, along with the knowledge and skills required to complete a winning unit.

November '02 saw the band in the studio, recording day and night – the same month as the media release and video filming for 'she walked in', the first single. putting this album together has made gruelling demand on both time and vigour, as the boys juggled work, study, band and life. while being an intense climb into the public eye at a somewhat overwhelming rate, their music doesn't compromise passion or drive.

With their heartfelt explosive sound, detour makes a fresh contribution to nz music on a standing of its own. ready or not world, here they come - detour is amping to rock.