Growing up within the isolated Finnish communities of Michigan’s Upper Peninsula, Jonathan Rundman offers attracted comparisons to singer/songwriters Paul Westerberg and Freedy Johnston for the decidedly homespun quality of his “heartland” rock and roll. Using the physical isolation of his youngsters to his benefit, Rundman created a musical vocabulary grounded within the budding strains of Americana/origins rock and roll, Lutheran hymns, traditional American folk music, and ’70s rock and roll to provide a distinctively eclectic variant of Midwestern rock and roll. Rundman’s 1993 debut, 28 Times within the Yellow Space, rocked with lo-fi give up, though 1995’s Wherever was similarly impressive, using its physical song-cycle providing a good soundtrack for cross-country traveling. Recital adopted in 1997, with Rundman’s pop visual growing increasingly advanced as he included his many disparate affects. After documenting with various aspect projects, such as for example fronting indie rockers the Muckrakers and collaborating with cousin Bruce Rundman within the Chandlers, 2000 noticed the release from the sprawling 52-tune Audio Theology. Though admittedly released with some hesitation, Rundman’s ambitious idea record tracing the weeks from the Lutheran liturgical season is a genuine anomaly within the rock and roll cannon, a Christian-themed rock and roll record that stood in stark comparison towards the modern Christian rock and roll scene while delivering topics unique to contemporary rock and roll. Eventually, Sound Theology was enthusiastically received by both Christian and mainstream press, displaying Rundman’s fears to be swallowed up with the “Christian rock and roll” label to become unfounded.