Christian alternative rock

The name Christian alternative rock is undoubtedly a topic of great relevance today. Throughout history, Christian alternative rock has been the subject of study, debate and controversy in various fields and disciplines. From science to literature, through politics and popular culture, Christian alternative rock has left an indelible mark on society. In this article, we will explore different facets of Christian alternative rock, examining its impact on today's world and its relevance for the future. From its origins to its evolution today, Christian alternative rock has captured the attention and imagination of millions of people around the world.

Christian alternative rock is a form of alternative rock music that is lyrically grounded in a Christian worldview. Some critics have suggested that unlike CCM and older Christian rock, Christian alternative rock generally emphasizes musical style over lyrical content as a defining genre characteristic, though the degree to which the faith appears in the music varies from artist to artist.

History

Christian alternative music has its roots in the early 1980s, as the earliest efforts at Christian punk and new wave were recorded by artists like Andy McCarroll and Moral Support, Undercover, the 77s, Steve Scott, Adam Again, Quickflight, Daniel Amos, Youth Choir (later renamed the Choir), Lifesavers Underground, Michael Knott, the Prayer Chain, Altar Boys, Breakfast with Amy, Steve Taylor, 4-4-1, David Edwards and Vector. Early labels, most now-defunct, included Blonde Vinyl, Frontline, Exit, and Refuge.

By the 1990s, many of these bands and artists had disbanded, were no longer performing, or were being carried by independent labels because their music tended to be more lyrically complex (and often more controversial) than mainstream Christian pop. The modern market is currently supported by labels such as Tooth & Nail, Gotee and Floodgate. These companies are often children of, or partially owned, by general market labels such as Warner, EMI, and Capitol Records, giving successful artists an opportunity to "cross over" into mainstream markets.

See also

References

  1. ^ a b Gulla, Bob (2006). The Greenwood Encyclopedia of Rock History, Volume Six. Westport, Connecticut: Greenwood Press. pp. 101–102. ISBN 0-313-32981-8.

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