Atlanta's Norma Jean were among the main bands of Christian metalcore.
Screaming maniac Josh Scogin sang on
Bless The Martyr And Kiss The Child (Solid State, 2002), containing
their apocalyptic anthem Memphis Will Be Laid to Waste,
but was replaced by Cory Brandan for the tidier (everything is relative)
O'God The Aftermath (Tooth & Nail, 2005). The sound was further
normalized on the mediocre Redeemer (Century Media, 2006) and
The Anti Mother (Solid State, 2008).
The Chariot, fronted by Josh Scogin, played
explosive hyperkinetic hardcore on
Everything Is Alive, Everything Is Breathing, Nothing Is Dead And Nothing Is Bleeding (2004),
The Fiancee (2007),
Wars And Rumors Of Wars (2009),
later collected on the triple-disc career retrospective Before There Was.
An artistic peak of sorts was reached by Chariot on
the feedback-drenched Long Live (2010) among the
visceral intermittently breathless The Audience, the
pure folly of Calvin Makenize, the
machine-gun frenzy of The City (although it ends with a choir worthy of a pub song), the menacing sci-fi overtones of The Earth,
the multi-part David De La Hoz, that begins like a deranged sermon and ends like celestial new-age music,
the feverish metal riff of Robert Rios,
especially the theatrical Spanish-tinged fanfare of The King.
Chariot then turned to atmospheric experiments on One Wing (2012).
Meanwhile Norma Jean continued to release heavy albums
such as Meridional (Razor & Tie, 2010) and
Wrongdoers (Razor & Tie, 2013).
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