Tooth & Nail Records let Christian teenagers be both safe and subversive.
Like every theological tradition, US evangelicalism is as much a subculture as it is a set of beliefs. It’s a community built on shared practices and products, and few have been more commercially successful in the past decades than contemporary Christian music (CCM). That phrase may evoke squeaky-clean pop playing in the minivans of many an evangelical childhood. But as those children of the ’80s and ’90s came of age, many of them began looking for something more potent. For them, the Christian music worth listening to came from a record label called Tooth & Nail.
Since 1994, out of a nondescript office building in an upper-middle-class Seattle neighborhood, Tooth & Nail and its associated imprints have released 600 albums by 200 bands. There’s the wall-of-sound guitar sludge of Starflyer 59’s “Blue Collar Love” and the raucous anarchy of MxPx’s “Punk Rawk Show”; the paranoid shouts of Roadside Monument and the high-energy ska of the O.C. Supertones; the guttural growls of Underoath and Norma Jean; the strained emotion of Pedro the Lion and the Juliana Theory.
Source:: Christianity Today