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On October 15, 2021, rapper FLF dropped a spooky-sounding, heavy-themed new single, The Wizard of Oz. This is the first new material to follow up his 2020 self-titled re-launch album, and it sees FLF delving deep into the murky and haunting side of theology where many artists fear to tread. While there are superficial references to the classic fairy story - such as mentions of a yellow brick road - FLF's The Wizard of Oz primarily chronicles a more apocalyptic tale of trickery, scheming, and sorcery. Drawing heavily on themes from Revelation 13 and Daniel 7, the song deals with the infamous Mark of the Beast, eschatological dread, and themes of spiritual resistance. The opening lines of the song recall the ominous warnings of Revelation 13:16-17 - "Seal the servants in the head or in the hand / buy or sell while you can." The eerie beat coupled with the descriptive lyrics do a good job at capturing the aesthetic of classic historicist eschatological preaching, while serving as a critique of the excess and desperation of modern western greed. The repeated B-chorus that stands where you might otherwise expect a second verse really drives home this theme: "They'll take your soul for an ounce of gold / take your life for an ounce of gold / they'll take your mind for an ounce of gold / Oh, you ain't know? / They'll take your soul for an ounce of gold / take your life for an ounce of gold / they'll take your job for an ounce of gold / Oh you ain't know? Now you know" One worthwhile point here is that this song is a strong counter-example to the idea that Christian music in contemporary styles must by nature always veer away from deeper theological topics. Here, FLF spits bars that absolutely do not come across as "sunshine and roses." Instead, it's quite literally Lions, Tigers, and Bears, and beasts from the sea and land. This is contemporary Christian music showing no signs of throwing out the prophetic identity of its theological foundation. Some listeners may even find that the material here may be too much on the doomy side - a point which FLF seems to be aware of in the first verse: "But maybe it's conspiracy / a mystery. epiphany / the predicament of seeing the serpent's identity / Difference being that you persist to uncover the illusion and trickery / until what you get to see / paints a picture of history." It bears repeating that this is the same artist whose 2020 album prominently featured audio samples from Doug Batchelor sermons. The staggering juxtaposition of the traditional (prophecy-centric sermon material) with the contemporary (Hip-Hop) illustrates the inherent diversity and interconnectedness of the church. We are not bound to being either the apocalyptic old-timer or the grace-focused young hipster. There are plenty more than just two perspectives or angles from which to approach the faith. FLF seems to consistently position himself in the role of the "rapper-evangelist," a role that some of the preachers he himself has sampled from would no doubt openly malign. It may very well be that FLF sees his lyrical mission as too important to get distracted by "quarrelling over words" (2 Timothy 2:14). That might be a good takeaway lesson for all of us. Artist Info: Hometown: Phoenix, Arizona Genre: Hip-Hop Website - Facebook - Twitter - Instagram - YouTube - Spotify

Emma Hamel is a relatively new face on the music scene, but her potential for impact is already very evident. With a voice that sits somewhere between vulnerability and richness, and multi-instrumentalist skill, Hamel has in a short time proven that she has the ability to grab people's attention, connect to deeply felt emotions, and bypass the "awkward" stage that marks so many young artist's artistic development. In the spring of 2020, Hamel gained attention for a solemn piano ballad written as a lament for her graduating class of 2020, not being able to celebrate in person with traditional graduation fanfare. The song gained a fairly sizeable audience on YouTube and Spotify, and was used by multiple schools across North America as part of online graduation ceremonies. Granted, she was already uploading occasional performance videos to her YouTube channel, but that upload rate accelerated after her graduation song. Having garnered a fair bit of attention, Hamel recently announced her upcoming debut album, entitled Headspace, set for release on November 5, 2021. The first single I'm Not Here For You dropped today, and it immediately delivers tons of musical twists and turns. While maintaining a lot of the traditional piano balladry that first won her notoriety, this new song features multiple noticeable tempo changes, modal mixture, expanded instrumentation, subtle electronic textures, and the kind of hypnotic, Billie Eilish inspired surround-sound vocal production that has become so characteristic of Gen Z singers. Perhaps the most unexpected twist comes less than 30 seconds from the end of the song, with the sudden introduction of thickly distorted electric guitars with a tone that would typically sound more at home in sludge metal than in indie-alternative or folk-pop. But it may be that we should have gathered from her first song back in 2020 that Emma Hamel was an artist capable of hitting us with surprises. Moving from the self-described "shy girl" to a semi-viral generational voice, and now jumping from musical minimalism to genre-warping ambition, she has proven with only two officially released songs that she simply cannot be put in a box. Now, with less than a month until her debut album drops, Hamel has perhaps inadvertently set the bar quite high for herself. But all signs currently point to that being a very good thing. More about Emma Hamel: Location: Berrien Springs, MI, USA Genre: Pop / Indie / Alternative Website - Instagram - YouTube - Apple Music/iTunes - Spotify - Facebook

BLOOMED IN THE MOONLIGHT, released on August 24, 2021, is the first LP from Florida-born rapper Wilfredo. With 13 tracks and a runtime just shy of half an hour, the album ranges from energetic anthems (No Ice) to mournful lam ents (Phantom Pain). This record is an emotional journey through joy, loss, and faith, all presented through the means of bilingual bars and genre-hopping production. The Haystack sat down with Wilfredo to talk about all things Bloomed In The Moonlight. HS: First of all, congratulations on the album release. Who were some of the key players, besides yourself of course, who were important in the creation of this project? Give us all the shoutouts! Wilfredo: First off, thank you so much for this opportunity and the space you guys are creating for artists that don’t fit what’s considered the normal mold in our denomination. Please keep up the amazing work. There are so many voices that need to be showcased that are doing an amazing and unique work. Giving credit is extremely important to me because this project could have never been done by me alone. It definitely took a tribe to raise this child. First to the production team for Wayne Klassik, one of the main producers of the album (Fortaleceme, No Ice, I AM, Back 2 U, Oracion). Joseph Augusto for mixing and mastering and producing Phantom Pain. Julian Prosper (King Saul), Kolby Niblack (Moonlight), Joe Hernandez who mixed and mastered all the way from Salt Lake City, UT, and Dennis, an engineer from East Room Studios in Orlando, FL. Thank you to my family and friends that I would vent about my ideas and send unfinished versions of the songs. Thank you for your patience and feedback Jonathan Wright, Raymond Viera, Manny Arteaga, Manuel Fonseca telling me to do better, Joel Fonseca, Joshua Fonseca, and Michael and Zashira Carey. Big shout out to the support crew that has been holding me up when grief would hit: Bryan Garces, Christian and Giovanna Garces who also developed the amazing cover art for the album, Gabriel and Eileen Cardona, Eric and Admelyz Camarillo, Natalia Alvarez, Isa Zenon, Eddie Rolon, Johans Romero. The features you made the project so much better. Nahkaz, Paula Rodriguez (who was also a part of my support crew), G.I. Jojo (my older brother), Edwin Bliss, Richard Canales and The Way - comprised of Jose Perez, Antonio Acosta, and Cesar Rivera. Last but not least my father Wilfredo Montalvo, who has deeply influenced me with the way he demonstrates not only his love to me and my siblings, but how he loved my mother. And the person this whole project was dedicated to was Rosa M. Flores. I truly wish this project wasn’t birthed as a result of her passing. She was able to hear the song Oración, her two sons professing their love to her and the impact she’s had, she loved the song. She’s the biggest influence in this project and my life and honestly can’t wait to be reunited with her in that wonderful morning where the mourning will cease. HS: The album title is delivered lyrically in the song Moonlight, as well as on the opening track, and you apply the concept of “blooming in the moonlight” to yourself. Can you unpack that concept for us a bit? Wilfredo: Originally the working title for the project was “God-breathed” - coming from the word coined by the apostle Paul - because I felt that the whole project came in a flash. The writing process for the songs and the arrangement of what initially was only going to be an EP was roughly around two and half months after the passing of my mama. Then I remembered that my friend Nakhaz featured on “I AM,” who I’ve known since my freshman year of college is a part of a podcast by the same name. I reached out to him and after a discussion agreed to see if I could come up with another title to avoid confusion. I seriously thought that was the perfect title, but as I kept writing this imagery and concept came from a poem I wrote years ago where I mentioned a rose blooming in the moonlight and at once everything fell in place. The concept and imagery are that of a rose that is opening under circumstances that normally would cause it to close. The symbolic night is a representation of suffering and grief. It’s anything and everything that is seen as an obstacle. And yet the rose continues to bloom and show signs of life despite its surroundings. It’s not because of the rose's grit, but the moonlight that is shining its rays of hope in the nebulous night. The Moon is not the source of light but merely a reflector of the Sun’s light. Likewise, many of us are moons reflecting the Son’s light to many that are in a proverbial night and are pushing forward solely because of our presence. The moonlight is a reflection of all the love and support I’ve received in this very trying and tectonic shifting moment of my life trying to navigate the reality of my mother’s passing. So do I want to be a reflector of the light to other roses that I know are trying to bloom in the night. HS: Given that you have released other projects before, how much did grief play a factor in your decision to make a full-length album this time around? Did your life experiences give you more to talk about, or had you been planning to do a full record anyway? Wilfredo: In the development of this project, grief wasn’t the deciding factor in making this a full-length album. Grief was the driving force behind it. It was as if I was trying to hold everything behind a dam of a docile demeanor suppressing a typhoon of emotions. In what seemed like flood flashes songs would develop, all touching on fragments of pain. I was already working on a full-length album titled “Theordinary” since 2020 and I put that on pause to allow the flow of expression that would become Bloomed in the Moonlight. I see every body of work as its own body, so I didn’t want to Frankenstein the project by placing songs that were created before the loss. One thing that BITML did bring out of me was being more transparent, not just genuine, with what’s going on in my life through the music. The writing process almost felt like I was journaling. The intended release date was on May 9th, for Mother’s Day, but was held back due to production and having to re-record most of the project again. I didn’t want to sacrifice quality just to rush a release. It was because of that decision that two more songs were written “Fortaléceme” and “Back 2 U” and was able to release it on a much more meaningful and significant date: August 24th, my mother’s birthday. HS: The slight majority of your lines on this album are delivered in English, but there is a significant amount of Spanish here as well. Do you find it easier to write or perform in either one of those languages? What is the likelihood of you taking cues from the last song, Oración, and doing a fully Spanish release? Wilfredo: I’ve been intentionally writing lyrics for about 17 years, 13 of which were exclusively in Spanish. Spanish was easier for me to the point where I would construct songs by memorization rather than writing lyrics. My 2018 release Story of Redemption was the first time writing a complete song and project in English. When I prayerfully made the decision to begin to create music again I knew I didn’t want to hear “I don’t know what you’re saying but sounds dope!” anymore. I feel like I’m still developing as an English lyricist, but I’ve noticed the progress between the two projects released. I’m at the place where I feel confident writing, recording, and performing in both languages. I have plans to do a full Spanish release. I’m currently trying to expand and venture into different genres and styles of songwriting. I want to share the gospel and my experiences along this journey we call life, encouraging others in any way possible. In every facet of our human experience a story is waiting to be told and I have the ability and gift to share it through the powerful medium that is music. I feel a sense of responsibility and accountability to honor Christ doing so. HS: There is a remarkable amount of intertextuality between the first song, Fortaléceme, and the rest of the album. Within the track you make lyrical allusions to the tracks Moonlight, King Saul, No Ice, Carta De Mami, Phantom Pain, Oración, and possibly more references that I’m missing. Was this song written after you had an idea what was going to be on the rest of the album? If not, how did you approach building in these references. And is this something that you do on other tracks on the album? Wilfredo: The song Fortaléceme was written after the setback on May 9th. I remember that month was particularly rough not just because the project didn’t drop when I said it would, also because it was beginning to experience what seemed like panic or anxiety attacks, which I never dealt with prior to my mother's passing. I wasn’t really dealing with the loss properly and was always at a hundred, just trying to stay busy. What felt like lapses of concentrated grief began to intensify and one day driving around while listening to some instrumentals I uttered the opening lines to the song “I’ve been up for four days and no I don’t do coke/ most days I feel useless like a wheel without spokes/ cause I’m drowning in depression and I hide it well/ at least that’s what I tell myself/” which was exactly occurring that week and immediately drove to my brother’s house to record it in his home studio. On the way which was about a 10-minute drive I had half of the sound structured and it felt like I was venting. I knew this would be the opening track to the project so I thought of lacing the titles of the songs of the project in order in this opening verse. HS: You’ve had some opportunities to perform live recently. Tell us a bit about your album release event, as well as your other live appearances. How has it been getting out in front of people, especially in light of COVID? How has the live reception to your music been? Any plans for further touring in the near or distant future? Wilfredo: Moving back to Orlando, I’ve seen how the Lord has been opening opportunities rather quickly to perform live which is similar to preaching, yet also a whole different experience. A week before the album released on August the 24th I got the last minute idea to throw a listening party. The whole event was planned in four days, I cannot stress enough that without my sister Zashira I. Montalvo, Christians Garces, Emmy Arbelo, Vanessa Valleray, Natalia & Angely Alvarez, Isa Zenon, Jonathan Wright, and others helping put it all together, it would have never happened. I had never done an album listening party before. I just knew I wanted to celebrate the completion of the project and the people that were a part of it so I made it a formal attire gala event. Food was provided and the artworks of the lyrics were on display on tables. I was trying to go for almost an exhibit of the project with pictures of everyone that contributed to the project. As we went through the album, I explained the stories behind the songs and performed a few of them. At the end, it felt like everyone went on this emotional rollercoaster with me, I just remember everyone singing along and hype and then at the end crying with me, it was beautiful. Performing is nerve-racking for me; it's the same sensation I get before preaching. I feel excited and nervous simultaneously. But the anxiety for me heightens the performance; it does not hinder it. Once the ice is broken, it’s extremely fun. The most surreal moment for me was when performing at the SALT Outreach Benefit Concert we put together where we were able to raise a little over $2,000 in donations. The moment when I got up to do my set the place got packed and when I began to sing No Ice the crowd was singing the chorus with me to the point where I stopped and just heard them, it was crazy! They were repeating a prayer I had written one night and it blew my mind. The reception to the music and the live performance has been encouraging to continue creating music. Every show I’ve been a part of has taken our current pandemic seriously following all the protocol, but it’s been amazing to see the support of people to take their precious time and come out. Thanks to Chris “Crescendo” Mercado and The Verb - a ministry that helps local Christian artists have a space to perform - I've been able to do local shows here in Orlando, FL. I would like to one day do a tour, prayerfully next year. Hopefully 2022 is a better year! HS: Earlier this year you also appeared on a couple songs on Jonathan Wright’s New Jerusalem album. Between you, him, Edwin Bliss, DBrealmuzik, and FLF, it feels like there is currently a significant surge of young Adventist hip-hop artists. Even ten years ago, something like that would have seemed almost unthinkable. What do you think it means for the future of this particular genre of music in this denomination? Wilfredo: I think that there are a lot more artists of this genre of music that will continue to emerge in this denomination. Will they be accepted, promoted, endorsed, or supported by the church as much as the individuals that go into full time ministry creating classical sounding music? Probably not. But it won’t stop or slow down the movement. In most of our circles of ministry it seems we are playing an infinite game - a concept developed by James P. Carse in his book “Finite vs Infinite Games.” An infinite game consists of trying to remain in the set game for as long as possible which naturally calls for adaptability to the rules to achieve longevity, only competing with your past work. But the finite game mentality is boxed into rigid rules and instead of trying to play the long game, they focus on trying to beat the opponent and simply win. We focus so much on not doing what others are doing for the sake of being peculiar that we throw the baby out with the bathwater. I completely agree with Pastor. Marcos Torres when he stated that “instead of attacking culture - a finite strategy - we need to influence culture - an infinite strategy that requires friendship and earning trust.”[1] Churches in other denominations are already seeing the impact this genre is having, and are collaborating, not by demonizing it, but using it to influence and reach a younger generation. The same way that many churches are up to date on the news and the political world, we need to be up to date with the music world, whose influence is much more far-reaching both in impression and location. I remember going to an isolated island in the Pacific Ocean and they didn’t know who the United States president was, but they could recite rap songs to me, and knew the artist. The future of this particular genre will continue to develop, whether this denomination gets on board or not. A lot more artists will come forth, and I want to encourage them when they feel like they don’t fit in or are misunderstood. I pray you continue to share the values and beliefs that are rooted in your experiences with Christ as you minister to people that most pastors and evangelists will never reach. HS: What last thing would you like to say to whoever is reading this? Wilfredo: “I urge you to live a life worthy of the calling you have received.” (Ephesians 4:1) I truly believe that as followers of Christ we are called to influence and redeem the good qualities of our culture for the use of sharing the Gospel. The same way that God has redeemed you and uses the good qualities of your personality, which is a collection of your experiences, upbringing, education, beliefs, values, traditions etc., that culminate into the beautiful idiosyncrasies that makes the inimitable person that is you. “Each of you should use whatever gift you have received to serve others, as faithful stewards of God’s grace in its various forms.” (1 Pet. 4:10) You are called to be a steward of many things and most times the emphasis is placed on money, but you are called to be a faithful steward of God’s multifaceted and colorful grace. Grace is a state of being from which we live our new life in Christ. Think of it like being a little franchise, a representative of the kingdom in your local area. Each one of us has a particular aspect to share about God’s wondrous love because we all have a story to tell. Some will express it through creating music or films, others writing blogs or books, and others by serving food through a food truck. “Preaching through your personality”[2] is the goal for me. Being able to adopt and adapt the methods of ministry to display the ever-deepening diversity of God’s bountiful love should motivate us to build bridges to connect to communities with the hope of cultivating meaningful authentic relationships. Not deify decorative walls of separation and make one method the only routine, where it becomes ritualistic. In order for you to be impactful, you need to be impacted. You are a distributor of God’s varied grace. Don't let anyone choke out the creative ways to express the transformative power of the gospel. BLOOMED IN THE MOONLIGHT: NOTES: [1] (Why Are Adventist Churches Always 10 Years Behind?) [2] Philip Brooks, Lectures on Preaching, 1877 More about Wilfredo: Location: Orlando, FL, USA Genre: Rap / Hip-Hop Instagram - YouTube - Apple Music - Spotify - Facebook

Atlanta-born rapper Patience has been on the Christian Hip-Hop scene for a while now. His earliest releases go all the way back to 2005, and he hasn't seemed to have any major hiatus or pause in his musical output since then, releasing something new every couple of years. The 2020s seem to be no exception for him either, with September 24, 2021 seeing the release of his latest single, Secure The Bag. The track picks up heavily on contemporary Trap production, with fluttering hi-hats, deep sub 808s, and a haunting piano sample that repeats throughout. Overtop, Patience drops bar after bar critiquing the excesses and pitfalls of materialism. It's a theme that has been a staple of Christian rap critique for a long time, but Patience manages to bring the theme solidly into a new decade with clarity and resonance. It's the same wisdom that once said, "“Do not store up for yourselves treasures on earth, where moths and vermin destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven, where moths and vermin do not destroy, and where thieves do not break in and steal." (Matthew 6:19-20 NIV) Back in 2019, Patience was also featured alongside fellow Andrews Seminary grad DBrealmuzik on the track "Answer The Call," for which the two shot a music video. Patience boasts a solid handful of features, collaborations, and accomplishments that have seen him bumping shoulders with some of the most significant names in Christian music, as his Spotify bio will tell you. It's a solid reminder to young creatives that - spiritual concerns aside - persistence and consistency are crucial for effectively securing the bag. The new single is also currently being featured in a poll on Rapzilla, where users are voting on the best Christian Hip-Hop tracks submitted this month. The poll closes on September 30th, so head over there and drop a vote in support of Patience! More about Patience: Hometown: Atlanta, GA Genre: Rap / Hip-Hop Artist Links: Instagram - Spotify - YouTube - Facebook

Lifelong Worship is the worship & music ministry of WholeLife Church in Orlando, Florida, and they have several releases of original music. The Haystack spoke to Richard Hickam, Executive Producer for the group, in the wake of the release of their latest single, Sing a new Song to learn more about their ministry, and their future plans. Haystack: Tell us about how Lifelong Worship got started. Richard Hickam: We had a pretty active music ministry at Florida Hospital Church (now WholeLife Church). Our senior pastor decided to run a sermon series on an acronym for CREATION. We decided to write some original music for this series and then record a few that we thought were the best. We felt that the name of our church as a band was a bit wordy. We looked at our mission statement, “Loving people into a lifelong relationship with Jesus,” and liked that word lifelong. HS: On your website, you have included this statement: “We serve a multi-generational, multi-ethnic congregation in Trinitarian worship.” Can you walk us through why each of these factors is so important to your ministry? RH: We like to reach deep into our congregation and community for musical inspiration. Our approach is a bit unique in that I don’t know that we have a specific “sound.” We want to pursue excellence and connect with people in a variety of genres. People these days listen to all kinds of music; it’s a bit of the shotgun approach. Adding Trinitarian means that we believe in all those forms of the Godhead, and we want to make sure that we acknowledge this in our music. HS: Over the course of Lifelong Worship’s discography, there has been quite a substantial range of music styles being explored. Creatively speaking, how does the group decide what’s next stylistically, what to include or not? RH: This far in our journey, we have created around themes for worship or partnered with AdventHealth for specific events. Our approach has been more organic than a conscious decision around styles. HS: How flexible or fixed is “band membership” in Lifelong Worship? Is there a core group of members or creators who drive the vision, or is it something that everyone in your church is involved with? RH: The band membership is pretty flexible. We have a loose core of a musical team, but we take the rather unusual approach of changing things up regularly. The vision stems from leadership on the team, with input welcomed. HS: Tell us about the creative process behind Sing A New Song, the newest single. How was the song conceived, and what was the production process like - especially in light of concerns around COVID? RH: In 2019, I was preaching a sermon series (doesn’t happen often) and this particular sermon was based around creativity and Psalm 98. I asked one of our songwriters, Ron Ryan (a local physician), to write a song on that theme. He did so, it was nice, but it ended there for a while. During quarantine in 2020, I got to thinking that it would be great to “Sing a New Song” when this season had passed, and we started working on the production process. We worked with Ron’s cousin Roger Ryan; a grammy nominated Nashville producer. Our vocalist, Natrickie Louissaint, was a student at Oakwood, and she would drive up to Nashville to record. We relied on Roger for most of the parts due to the pandemic. The funny (not so funny) part was that as we scheduled the release, Covid flared back up again. Regardless, we can sing a new song to God daily for who he is and what he has done. HS: With numerous worship groups springing up in Adventism (Anthem Worship, Contagious Faith, etc.), do you think that Lifelong Worship will ever look to eventually start touring around, or is the goal to stay more locally grounded? And in any case, what are some of your plans for the foreseeable future? Richard Hickam: That is a great question. We had this conversation last week. We are beginning our next album which will finally focus on songs for our local church to sing. Our goal is to do some touring (largely in Florida), particularly to do workshops at churches and help them establish a stronger music and worship ministry. Our initial thought is five new P&W-style songs and five classic hymns with new praise choruses attached so that we can meet most people where they are at. We will see how it all plays out. First things first, I have some fundraising to do to get this thing rolling! HS: What final thoughts would you like to share with whoever is reading this? RH: I would share that God calls us to do big and small things for his Kingdom. However, these things happen by putting one foot in front of the other, taking risks, becoming uncomfortable, and working with people in places you can’t envision right now. At times, this is also a lonely road, and you wonder if anyone cares because you aren’t Elevation or Maverick City. The truth is that we are living out the gospel commission by participating in kingdom work and that people are being impacted for God’s glory. Get out there and make a joyful noise (might get loud). Blessings! Artist Links: Website - Instagram - YouTube - Spotify - Facebook Everyday Heroes EP: Lifelong Worship Debut Album:

The year of our Lord 2021 has been a journey for us all in one way or another. But one thing that has remained constant has been the drive of young. creative musicians, continuing to push themselves to put out new material. Here is a roundup of noteworthy Adventist music news so far this month. Lifelong Worship releases new single Based in Orlando, FL, Lifelong Worship is the music ministry of the WholeLife Church. And the group has been putting out a diverse array of music for some time now. Their previous single, Everyday Heroes, was an upbeat folk-rock anthem that wouldn't have felt out of place on a Chris Tomlin or Michael W. Smith record. Now with their latest single Sing A New Song, released on August 7, the group ventures further into Gospel territory than in their previous efforts, although those influences have admittedly always been present in their music to some extent or another. Featuring the powerful lead vocals of Natrickie Louissaint and noteworthy lead guitar work, Sing A New Song feels like one of those songs that may have staying power in church services if it gets a chance to catch on. Lightshore releases new single The Indiana-based Indie rockers are back with a second single that perfectly follows up their last release, Take It. Fans of Switchfoot, Relient K, and MuteMath will once again find themselves right at home with this tune. We do know that there is more coming in the future from this band, but details are scarce right now. Anthem Worship releases debut album Universal Hearts We already covered this release at length, but it's worth repeating. Between Lifelong and Anthem, prominent Adventist worship groups are popping up across the United States and making high quality music. The live video linked above catches the energy from Anthem's recent release show. It seems like things are only going uphill for this group. Emily Guzman teasing new music Earlier in the year, Emily Guzman began teasing new music. While we don't have further details right now, her Instagram page has remained active, so we will hopefully hear something new from her soon. Wilfredo wrapping up album production Wilfredo is no stranger at this point to Haystack readers. Having already dropped and handful of singles this year, he has been teasing on his Instagram that production on his new album is basically wrapping up. In the meantime, the rapper recently posted a new video to his IGTV for an older track, My Darling, from a previous project. With a guest feature from Enkosé, the song envisions repentance as a breakup with sin. Keep checking back, as we will for sure be covering the eventual release of Wilfredo's album. DJ Kezz Kenya Makes News At the end of July, a Kenyan news outlet called The Standard ran an article about a young DJ making waves online by streaming live mixes of Seventh-day Adventist music. Her story involves a return to Seventh Adventism after spending some time as a DJ in secular environments. DJ Kezz Kenya currently posts 60k+ Instagram followers, and her livestream two weeks ago drew in over 10,000 views on YouTube. This is one influencer who clearly knows how to meet a need for connection and shared celebration that has likely only grown stronger over the course of the pandemic. While the music she streams leans to the more traditional side, the role of DJ represents a cutting edge new lane of ministry that the church would do well to take note of. Intercession performs at Toronto's Jerk Fest Canadian gospel group Intercession performed during Toronto's Caribbean culture and food festival JerkFest. This year's festival was a virtual event, featuring both local and international music artists across multiple genres. Selected as winners of a contest by G98.7 FM, Intercession were the first performers during the livestream on Sunday, August 8 (performance starts at around 20:15 in the linked video below). Their set included their debut single Free as well as a lively medley of familiar church songs. DB Embarks on The Invasion Tour Coming back to the world of Christian Hip-Hop, DBrealmuzik has started on a month-long tour alongside other CHH artists. The first night of the tour, DB premiered a yet-unreleased song, sharing a clip on his instagram that is so short, we can't even discern the title yet. Time will tell what this tour means for the rest of this aspiring rapper's career, but we are hopeful that there are good things ahead. There has certainly been more happening in the world of Adventist music, but we will wrap it up there. Make sure to stay tuned to The Haystack for all your news about Adventist art and culture, and make sure to follow our Spotify playlists in order to keep up with all the best SDA music, whether old or new. Independent Adventist Worship: Songs from across all genres for worship, devotion, and congregational singing. Adventist Party Night: Fun, upbeat songs with various lyrical themes, for church social events that need a lively soundtrack. Mostly hip-hop, rock, and electronic music. Advent Alternative: Songs by Adventist artists that lean into more mainstream lyrical territory. Mostly "alternative" music genres, but less high-energy than Adventist Party Night.

Anthem Worship, resident at Loma Linda University Church, has been teasing new material for a while now, while also finding ways to stay on top of their responsibilities as worship leaders during the thick of the pandemic. Now, with more public spaces across the United States being populated by people eager to return to some sense of "normal," Anthem is able to host a release show for their debut album, Universal Hearts, on Saturday, July 31, 2021. The Haystack got in touch with band leader and worship pastor Josh Jamieson to talk all things Universal Hearts. Haystack: Tell us a bit about the significance of the title, Universal Hearts. How did you all land on that name, and what do you want people to take from it? Josh Jamieson: The title of the Album came from one of the songs off the Album entitled Universal Hearts. The song speaks to the idea of God being present and alive in the here and now. The question we ask our congregation every week at our worship gathering is, “Do you truly believe that God is alive and well, and that he can work right here and right now?” We leave space for that to happen and then we sing this anthem believing that something can happen right there in that room. We want to instill this belief into the very framework of our culture and community. Sometimes I wonder if we, as a church, truly believe that when we come to worship that a miracle can happen, a situation can be improved, that a life can be changed, that Jesus is really there with us. Some of the lyrics from the song go like this, “God of all galaxies Fill the universe of my heart God of all history Come be in this moment God of great miracles Come work inside this room Creator of the heart beat Take this old life and make it new.” HS: What were some of the biggest challenges you faced in the process of creating the album and preparing for its release? JJ: The biggest challenge was trying to go through the album making process during the pandemic. There were many times where we had to cancel recording sessions due to new restrictions that were constantly coming and going. HS: Who are some of the musical influences that have shaped the band? JJ: This is a tough one! Honestly it’s an amalgamation of sounds that we thought sounded unique. But If I really had to answer that question I'd say there is definitely an influence from artists such as Kygo, Zoe Worship, Young & Free, The Strike, and Dua Lipa. HS: One thing that stands out about Anthem is the way that you are incorporating a lot of electronic elements into your sound. Tell us about the rationale behind that - whether practical, artistic, or theological - and how have people responded? How much of that can we expect to hear on the new album? JJ: This is a great question! From the very beginnings of Anthem we wanted to try and create something that was unique, different, up to date, and also resonated with the up and coming Gen Z. I myself am a millennial and much of the things of my generation, including the worship music I listen too, has become outdated. For this new generation, "traditional worship" no longer means organ and hymns. Rather, to them "traditional worship" refers to what my generation has been worshiping to: Acoustic ballads with big reverby electric guitars, etc. Whereas, the popular music of today has a lot more electronic elements incorporated into the sound. My personal opinion is that “modern” worship music has stopped evolving. Therefore, our goal at Anthem is to experiment, create, and journey beyond the boundaries that have been set by what is traditionally seen as “contemporary” worship. For these reasons, when it came to the making of the album, we wanted to experiment with different sounds, arrangements, and song structure that didn’t necessarily fit the traditional bill. HS: Church Song has been floating around online in some form for a while now. What inspired that song and what do you hope people take from it? What message do you think Anthem Worship has for the Church at large? And as a worship leader, what is your biggest hope/wish for the Adventist Church? JJ: At each of our weekly Anthem services, we take our congregation through a structured liturgy. First we come into the presence of God with adoration, second we refocus our eyes on Christ, Thirdly we celebrate the Gospel and assurance of salvation, Fourthly, we hear the word, and then last but not least we are sent out into the world to bring light to the darkness. Church Song was born out of this idea of the sending. Our church needed a strong anthem that we could sing together that would remind us at the end of our gathering our worship didn’t stop there but that as the body of Christ we were commissioned to step out beyond the walls of that physical space, to step out into the world to bring light to the darkness, strength to the weak, and healing to the sick. The lyric from the chorus of the song go like this: We are the church stepping out Beyond these walls Tear them down We are the fight and we’re bringing it out Moving like no tomorrow You can’t help but feel a sense of passion and urgency when you sing this song. And that is what we hope happens to our congregation when they sing it, and when they come to worship. We hope that they are transformed by the Gospel through the Holy Spirit and are sent out beyond these walls to change the world. I’ll add to that by saying, as a worship leader my biggest hope for the Adventist church is that we would stop living in our own little worship camps of conservative, liberal, traditional, or contemporary, and stop fighting about which is better or more holy. I believe there is a different worship camp that we ought to be living in. A worship camp that is not defined by style but rather is defined by the principles of worship found in the Bible. When we move from those other camps into this camp, I believe the church would find a lot more unity and harmony within its walls. When our worship is no longer formed by style but rather by the gospel content that permeates throughout it. HS: Any final thoughts for anyone reading this? JJ: To those reading this interview. Don't be afraid to step out beyond your comfort zone. Don’t be afraid to step out of the box. Don’t be afraid to step into what God is calling you too even though it might be seen as unacceptable and even though others may judge you. Maybe you are that person who has been feeling God calling you to something new, something revolutionary, or something that just might change the church and even the world. I’d encourage you not to hesitate, to move forward into that calling with passion and confidence. I promise you that it will be the most uncomfortable, exciting and scary adventure of your life, but you just might change the world. Anthem Worship CD Release Show Tickets: Free, available here. Location: Anthem Auditorium, 11125 Campus Street, Loma Linda, CA 92354, United States Time: July 31, 2021, 6:00 pm, PDT. Artist Links: Instagram - YouTube - Facebook - Website

If you've been keeping up with The Haystack over the course of the last year or so, DB is a name you may well recognize. Having launched his debut album back in March, this rapper has been quickly paving a way for himself as an Adventist voice in the broader Christian Hip-Hop scene. A couple weeks ago, we reported on the announcement that DB would be joining the Invasion Tour alongside the likes of Hulvey and 1K Phew - a significant step within the genre for an artist who has only so recently debuted. Now, DB has just released a collaborative track with one of his upcoming tour mates, which only speaks of more promising things ahead. Produced by Feezie Productions, engineered by Avila, and featuring Miles Minnick, Lose Control is all at once dark in tone and bright in its disposition. The song itself features a prominent, melodic vocal hook, enmeshed in a swirl of synthesized textures, ominous droning piano notes, and an upbeat, driving rhythm section. The minor key atmosphere does feel dark, but the bounciness of the music and vocal delivery of all the performers lands this song is distinctly positive territory. Speaking of vocal delivery, this may be the smoothest and most confident flow that listeners will have heard from DB yet. On this song, he sounds like an artist who knows he is coming into his element. This much is certainly true. With a spot on a tour with established artists, and now guest features from one of those same names, it makes sense for DB to be levelling up every dimension of his persona and skillset as an artist. Time will tell what opportunities await him after the Invasion Tour in August. But so far, things are looking good. Check out the new single at the links below, and hear other contemporary Adventist artists on The Haystack's Spotify playlists. Artist Links: Instagram - Spotify - YouTube - Facebook

Emerging from the American Midwest, Thirteen Roses is a new band whose sound perfectly straddles the line between indie rock and pop music. Their debut single, Confession, is an intimate and atmospheric journey through dreamy, melancholic atmospheres, and lovesick lyrics. Delay-drenched guitars ping across the stereo spectrum while dense electronic pads and deep reverb-saturated drums create a massive space for lead vocalist Grayson Slikkers' plaintive and emotional crooning. The production is clean and crisp, seamlessly blending together synthesized electronic sounds with rock instrumentation. Fans of Twenty One Pilots, Needtobreathe, Nightly, Mutemath, or The Band Camino will probably find something to like here. As this is only the first release from a completely new (and relatively young) band, there isn't much to say about Thirteen Roses except that this is a very strong and professional sounding release for a rock band this young and this fresh. Launching with quality production like this hasn't always been the norm for bands, often being more so the domain of solo artists. If this is any indication of the quality to come, then there are bright things in store for the future. You can check out the song on The Haystack's playlist "Advent Alternative" on Spotify. More about Thirteen Roses: Alternative / Rock / Pop Berrien Springs, MI, USA Grayson Slikkers - Vocals Matthew Lechleitner - Guitar Joshua Ashley - Drums Nathaniel Chung - Keyboards Facebook - Instagram - Spotify - YouTube - Apple Music "Confession" Lyrics: I don't wanna turn the page Don't wanna move on Don't wanna let you go Don't wanna write this song Don't wanna say goodnight Don't wanna go to sleep Without kissing you and telling you You mean the world to me But I can't It's too late But I can't I'm to blame I want to hold you close I want to keep you safe I want to hear your voice I want to see your face I want to say I love you Want you to feel the same And maybe someday in the future Give you my last name But I can't It's too late But I can't I'm to blame I can't It's too late I can't I'm to blame

Hip-Hop artist Wilfredo recently released his latest single, No Ice, on Friday, June 25, 2021. The bilingual pop-trap tune, produced by Who Is Wayne Klassik, and with mix & master by The Producer Joe, is Wilfredo's fifth single overall, but his first musical offering of the year. Wilfredo has been gradually building his presence in the Christian hip-hop scene over the last couple years. His first songs dropped in 2019 in anticipation of his short album The Story of Redemption and since then he has been consistently dropping singles. He has also begun performing live, as in-person music events slowly begin to take place again, and will be performing alongside Jonathan Wright, among others, in a benefit concert for the homeless on July 17 in Orlando, Florida. With the release of No Ice, however, Wilfredo officially begins the countdown to his new album - this time a full-length LP with a host of credited producers and guest features. Entitled Bloomed In The Moonlight, the album was initially slated for a May 9, 2021 release, but was pushed back at Wilfredo's discretion in order to make sure his artistic vision was fully realized. The pressure to get this project right is probably intensified all the more by the fact that the music is significantly inspired by the recent passing of the artist's mother. The whole album was written in the course of just 5 weeks after the tragic loss. The results, however, aren't necessarily all sombre or depressing. While Wilfredo does pay tribute to his mother in the music video for this most recent song, the overall vibe is upbeat, playful, and energetic. This is an artist who thrives in the nuanced space between depth and fun. And while a hard release date for the new album hasn't yet been publicly announced, fans can rest assured that they will be hearing more from Wilfredo soon. More about Wilfredo: Location: Orlando, FL, USA Genre: Rap / Hip-Hop Instagram - YouTube - Apple Music - Spotify - Facebook "No Ice" Lyrics: Wilfredo Who else Wayne Klassik Many want the sauce Others want the juice I just want living water that leads to the truth Not just empirical data talking bout the man on the throne with the scars on his hands The one with the plans who connected heaven and earth and became a ladder Constantly looking for novelty honestly will make you despise monotony I Cashed in my sin now I'm aging is it possible that my Maker is younger than I Untamable grace is what he breathes out every second exhales an heir Inhale his love and make your life unfadeable like my hair Lately, I’ve been praying cause my mama has gone to sleep till kingdom comes then she Will see all my nephews and nieces grow up and meet my lady, kiss my babies La vida es corta, ruda, peligrosa Con fe es larga, bella, y preciosa No te dejes llevar por esas cosa Que la paz te roba y te derrota Lord fill me up until I overflow Empty me of myself Cause I don’t want me no more I want to flow the Nile No longer in denial Surround me like an isle Hey, Hey, Hey So fill me up with no ice (fill me up with no ice) I want to live a new life (I want to live a new life) Empty of myself (Empty of myself) And fill me up with no ice Fill me up with no ice Many want the sauce Others want the juice I just want living water that leads to the truth Not an emotional spasm Induced by chanting repetitive words that leave you weary It's eerie your still walking dreary You handle the truth like it’s a theory Constantly sacrificing character at the altar of fame it will leave you dimmer True change begins with the man in the mirror life is dangerous and it can be a thriller P.Y.T can be a P.I.T for your E.Y.E careful what you can see Pops told me the sickness is in the patient so stop tryna change the sheets The fruit of love is obedience Growth can be tedious Practice is what makes you a deviant Professing only will lead to oblivion Grace is what makes you resilient porque La vida es corta, ruda, peligrosa Con fe es larga, bella, y preciosa No te dejes llevar por esas cosa Que la paz te roba y te derrota Lord fill me up until I overflow Empty me of myself Cause I don’t want me no more I want to flow the Nile No longer in denial Surround me like an isle Hey, Hey, Hey So fill me up with no ice (fill me up with no ice) I want to live a new life (I want to live a new life) Empty of myself (Empty of myself) And fill me up with no ice Fill me up with no ice Fill me up with no ice (fill me up with no ice) I want to live a new life (I want to live a new life) Empty of myself (Empty of myself) And fill me up with no ice Fill me up with no ice Yeah who else Wayne Klassik yeah who else Wilfredo

As public spaces across the United States begin opening up again, live music is beginning to make it's long-desired return. For fans of Christian Rap in the American south, one tour to look out for is the upcoming Invasion Tour (Reloaded) 2021. Sweeping across from Florida to California during the month of August (6th to 21st), the tour features established names like 1K PHEW and Hulvey, as well as 1K PSON, Bryann Trejo, 1K Dontino, Miles Minnick, and CJ Emulous. Notably, DB (@dbrealmuzik) - whose debut album we covered a few months ago - will be joining the tour as an opening act. This is a big step for an artist who just launched an independent debut this year. Invasion Tour Dates: Tickets are available via the Invasion Tour website. Confirmed dates listed below; more dates may be announced. 08/09/21 - Mesa, AZ 08/10/21 - Phoenix, AZ 08/13/21 - Antioch, CA 08/14/21 - Sanger, CA 08/15/21 - Van Nuys, CA 08/18/21 - Houston, TX 08/19/21 -Prairie, TX 08/21/21 - Jacksonville, FL Keep up with DB: Instagram - Spotify - YouTube - Facebook Pay It Forward Benefit Concert Earlier in the summer, friends of The Haystack Jonathan Wright and Wilfredo will be performing in an Orlando, FL benefit concert for the local homeless community. Scheduled for July 17, 2021, the Pay It Forward benefit concert will feature a full roster of artists raising money for a valuable cause. This event follow's Jonathan Wright's recent debut album release, and anticipates recently announced but delayed upcoming material from Wilfredo. Connect with Jonathan Wright online: Instagram - TikTok - YouTube - Spotify - Apple Music - Tidal Connect with Wilfredo online: Instagram - YouTube - Apple Music - Spotify - Facebook

On Thursday, May 13, 2021, Naomi Parchment released a new single, "Ain't Easy." Cleverly crafted around a sample of Twista & Faith Evans' classic song "Hope," this song is a smooth and subtle blend of R&B and Gospel influences that manages to milk the nostalgia of a classic melody while also distinguishing itself as a unique composition in its own right. Fans of Neo-Soul and Jazz will feel particularly at home here, as Parchment throws much more harmonic complexity at the listener than the average songwriter typically would. The song feels like a journey - opening up in a bright atmosphere fitting the sampled elements of the song, but ending up in a dense and nearly mystifying swath of chords and layered vocals. Of the many things that could be said about this song, one point seems particularly fitting from the point of view of any aspiring vocalists: this one ain't easy. Naomi Parchment has been fairly active over the course of the last year. In December, she released an project exclusive to Soundcloud with the timely title "The Care Package EP," and was a headlining performer during One Sound Music's "Isolation Fest 2021" on April 25. With these and many other achievements already under her belt, she is definitely one artist worth keeping tabs on. With this much potential and skill on display, this is certainly far from the last that people will be hearing from her. Ain't Easy is available on all major platforms now! More about Naomi Parchment: Location: Huntsville, AL, USA Genre: Gospel / R&B Artist Links: • Instagram • Soundcloud • Facebook • Spotify • YouTube •