In 1989, the emergence of dc Talk was unusual--a multi-racial Christian rap act--but hardly revolutionary. But three hard-working years netted a Grammy and platinum record for 1992's Free at Last. As fans and industry moguls anticipated a safe sequel, Toby McKeehan, Kevin Max and Michael Tait undertook a risky metamorphosis, one perhaps unprecedented in Christian music. Jesus Freak (1995) recast dc Talk as serious artists, mixing rap, Seal-influenced pop, Beatle-esque harmony and familiar grunge riffs into a winning, eclectic vision.

With Supernatural (releasing Sept. 22), dc Talk makes a major label leap to Virgin Records with hopes of bringing its inspired music to a dark world. To that end, Supernaturalcontinues and expands the joyous musical smorgasbord and passionate delivery of Jesus Freak. Meanwhile, dc Talk is still growing and taking risks. Perhaps more so than the last album, this project demands an open mind, as it attempts hairpin turns between mosh-pit rock, bouncy pop, Stevie Wonder funk and soft soul crooning. Gone is the rapping that once helped define the group. Arguably, Supernaturallacks a unifying musical style and suffers slightly from trying to be all things to all listeners. But dc Talk's vocal talent, high musical standards and knack for killer hooks keep it engaging, enjoyable and fun from start to finish.

Like the song "Jesus Freak," the best cuts on Supernaturalpuree distinct genres into an exciting new whole. The soul-drenched opening of "It's Killing Me" melts into a snarly rocker, while "Dive" marries streetsmart synth-pop and British invasion harmony (though the bridge nudges uncomfortably close to the Police's "Invisible Sun"). Modern rock and '60s pop embrace again in "My Friend (So Long)," about a mystery Christian artist who abandons music ministry after hitting it big. Could this be a humorous peek in the funhouse mirror? Like Amy Grant before them, the dc Talk guys have faced countless questions about potential crossover sellout (listen for a familiar snippet of sampled music).

Among the gentler cuts, the hitsville-bound "Consume Me" brandishes a strident beat and confident chorus (it's a bit more appealing than the mushy-leaning "Godsend"). More surprising than either is "Red Letters," which recalls the comforting, epic majesty of Keith Green.

Once again, give unseen "fourth talker" Mark Heimermann his due. He shines as co-producer and co-writer for many of the album tracks, including "The Truth." On this lounge-tinged rocker, submitted for The X-Files: Fight the Future movie soundtrack, dc Talk did not compromise its beliefs one iota: "I am living proof that the Spirit moves/It's a holy interceding absolute." Supernatural, indeed.