It’s easy to see why many secular types consider Christian music a joke. Badly produced, pre-programmed Casio backbeats and plastic saxophones providing the soundtrack to a holier-than-thou message inspires snickers and winces from even those least jaded. OKC’s Soul Williams aims to and succeeds in knocking some sense into that rightfully stereotyped scene.
Three volumes in and A Blackwatch Christmasyet again nabs a spot on the nice list, showcasing a smattering of Oklahoma artists with charming new holiday standards. This year shakes up the status quo with two themed halves — serving up dusty, countrified Christmas ditties on the Holly-Tonk side and soulful hip-hop carols with Jingle Beats, both with joyful returns.
It has been a relatively rocky road for Weatherford alt-country outfit Green Corn Revival, which has seen its share of highs (acting as backing band for rockabilly icon Wanda Jackson) and lows before an (amicable) split in the road led half of the original lineup to forming Honeylark.
Oklahoma is quickly becoming the indie Christmas music capital of the world, it seems, with yearly compilation albums featuring everyone from Stardeath and White Dwarfs to Graham Colton. So it makes sense that Colourmusic — freak-poppers hailing from Stillwater — would craft a full album of original, offbeat holiday tunes themselves.
The Oklahoma City metro has a thriving garage rock scene. With seasoned acts like Broncho and Copperheads carrying the modern-day torch, the way has been paved for a flock of gritty, young, guitar-centric acts. But nascent Norman trio Poolboy has a knack for riotous hooks that few of its contemporaries can boast.
August Burns Red with Silverstein, Texas in July and Letlive 7 p.m. Thursday Diamond Ballroom 8001 S. Eastern diamondballroom.net 677-9169 $18 advance, $20 door
Metalcore band August Burns
Red is rapidly approaching a decade together with relatively few lineup
changes and nothing but smooth seas in sight.
never blew up and exploded overnight,” guitarist JB Brubaker said. “We
grew at an organic pace and amassed a following that way. That’s the
difference between us and some of the bands that go away as quickly as
Pennsylvania-based group — which got its name from a newspaper headline
detailing a founding member’s unstable ex burning his dog alive —
gradually garnered its devout following within secular and Christian
audiences starting in 2003 with a dense, vicious noise that, in
retrospect, didn’t carry much actual weight despite a spiritually
informed message pinned onto its underbelly.
we started out, we just wanted to be a heavy mosh band. We didn’t care
about anything but playing breakdowns,” Brubaker said. “At that point,
we really weren’t capable of doing much else than chugging on an open C.
It was fun, but it got boring.”
But 2007’s “Messengers” and
2009’s breakout “Constellations” found the band musically growing up to
a certain extent, and also gave it a unique identity among the
we were playing weird time signatures, and it wasn’t as cookie-cutter as
a lot of what the other bands were doing. I think we kind of pioneered
that — not that we invented it — but it’s something more bands are doing
now,” Brubaker said. “We’ve always, especially now, been motivated to
write songs that are different from the other bands in this scene. We
don’t want to be the copycats; we want to be one step ahead.”
August Burns Red’s newest album, “Leveler,” has the group breaking new ground in that relative wilderness by
broadcasting a sound that strikes an unfamiliar line between metal and
hardcore. Crowds have responded by making the effort its
highest-charting to date.
a lot more experimentation than there’s ever been. We branched into
genres we’ve never explored before,” Brubaker said. “We actually sang on
this record. It’s a big step for us, and I hope we can use that to