Those with a robust view of Christian theology generally have little appreciation for the kitchy, knock-off pop that masquerades itself as Christian music today.

"It's trivial."

"Positive and encouraging doesn't reflect the depth and breadth of Christian spirituality."

"If I hear another version of the same worship song by a different artist, I am going to throw my totally depraved fist through these speakers."

If you know the names Calvin, Knox, Edwards, Wesley, and Augustine, I am sure you are well acquainted with these criticisms.

This is why "Against the Grain" stands among few today who seek authentic artistic expression of a faithful theological pilgrimage.

From the opening track, "At the Fountain" to the haunting keys of "Creature," and concluding with the recorded-on-site-in-Papua-New-Guinea, "Chambri," the album puts dirt underneath the fingernails of Christians seeking solace in place that is east of Eden and far from home.

The title track, "Against the Grain" headlines this sobering, yet joyful, reality. Good Friday hurt. For both the sinner and the Savior, we are speaking of an event where "bloody amniotic fluid" was split. The cross isn't jewelry and shouldn't conjure up the same feelings as a romantic comedy. Those seeking a God without wrath and a cross without blood should look elsewhere.

We should expect no less from front-men, Matt Taylor and Joel Nash. These young men are on a bee-line to pour out their lives for the sake of the gospel among the most remote peoples of the world.

Taylor's vocals are reminiscent of a more masculine Dashboard Confessional and Nash's earthy range is eerily similar to that of David Crowder. Both are fully displayed with a backcountry-screamo twist in "Homesick".

In modern Christian worship, reciting repeatedly, "I am a Friend of God," warms the soul and tickles the ears of most congregations. But, how many pew-warmers would embrace a heaven that contained nothing but Jesus? In "Bare White Walls," Nash stands in the place of the psalmist and boasts, "Whom Have I in heaven but you, I have nobody, If Heaven's just a room with bare white walls, that's all I'll ever need."

Additionally, Christian musicians who are willing to challenge the listeners mushy commitment are few and far between. As, "Missing Workers" echoes God's commands, "Spit out the salt, its lost all its taste, not good to season, a lukewarm disgrace." It's apparent that Nash and Taylor have reflected on the true cost of wasting their lives on eternally meaningless things and aren't afraid of calling their audience to do the same.

Yet, in its gritty display of scriptural faithfulness, the album doesn't suffer from missiological snobbery. The music is delightfully singable. Though it is only a minute and forty eight seconds long, "Invitation" lives up to its name. As its opening verse closes reflecting on the fallenness of the human heart, the chorus, "Lord, let your kingdom reign!" is anthemic. It's not hard to imagine an unaware seventeen year old belting it out at a stoplight when driving alone.

From there, the album transitions seamlessly into the upbeat, yet rooted, "Tree Song," the track is a delicious sonic and spiritual feast. If a listener didn't know that sanctification doesn't move apart from the sovereign oversight of God's gracious pruning, it is explicitly clear when Colossians 1:15-20 and Psalm 1 are recited as a bridge.

If the album suffers from anything, it is perhaps the overly used acoustic guitar and spots where it is pretty clear that recording was done in an apartment.

But, make no mistake, "Temples" isn't going anywhere.

According to Revelation 5:9, the redeemed will be singing about the man who was put "Against the Grain" for awhile.

Download your digital copy here and leave a tip for Matt and Joel.