Monday, May 18, 2015

Revolt Revolt race forward with dynamic restraint

Step forward, pull back

Revolt Revolt play Olympia’s Le Voyeur Tuesday night. Photo credit: Jason Sievers 
Remaining stagnant as an artist is a fear that seemingly everyone besides Roland Emmerich and Michael Bay has. To come back, release after release, with the same sound and vision is death even to superstars like Katy Perry. Reinvention comes, part and parcel, with being a creative person. Even still, there's a worse fear that can arise in the hearts of artists: straying from formula to deafening silence. To use a recent example, Clap Your Hands Say Yeah burst onto the scene with an inscrutable debut, only to fall prey to the indulgences and overreaching that defines the so-called "sophomore slump."
Where is the line between artistic advancement and the misguided reinvention that fundamentally shakes the ground beneath a band's feet? Chris Bock has spent years in various bands, honing his taste for noise-rock and navel-gazing drone. In 2007, he formed Revolt Revolt as an outlet for material he had been preparing as a solo artist. His predilections for post-punk drive firmly in place, the newly christened Revolt Revolt took off for a marathon round of touring and refining what made this band this band.
"I decided I could get different members, if need be, but I just wanted something full on, that I could tour," says Bock from on tour in Santa Cruz. "I really like the people I have now. We just finished up a record that comes out on August 7th, and it was pretty effortless."
Revolt Revolt put out two albums since their formation in 2007, both of which mostly came from the writings of Chris Bock, but the band eventually settled down with Mike Muir (guitar), Jake Fredrickson (bass), and Ben Wieland (drums). On their forthcoming EP, the band comes together to make a truly collaborative record. Wild Unraveling is a remarkably compelling album that truly feels like the work of a group of artists working together to create something of a forward step from what Revolt Revolt has done before.
While the post-punk and noise-rock leanings still exist, Wild Unraveling unveils a new side of the band that doesn't quite stand in opposition to their previous work, but rather indicates a surge forward in emotion and feeling, not to mention the extraordinary texture and novelty provided by opera singer Emma Doupe, as well as Built to Spill's Doug Martsch providing idiosyncratic guitar on several tracks. Bock's trademark rasping whisper is accompanied by a surprisingly complex bed of instrumentation.
"Our earlier stuff was a little more punk-influenced, a little more rocking out, which is cool and all," says Bock. "There is still some of that, even in the stuff we're doing now, but my guys and I are taking a few more chances. We brought in some different instrumentation, like this steel guitar player that I just happened to meet by chance. He came on and played some really cool stuff. We brought an opera singer in, because I heard this melody in my head, and I found a girl to do it. Doug Martsch happened to be in town, and he's known us for a long time. ... We've dynamically enhanced (our music,) I guess. That's a good way to put it."
Where Revolt Revolt find themselves is in a place where they break new ground through the ingenious use of restraint. Instead of sounding like a band backing down, Revolt Revolt sound more assured than ever. This is all not to say that Wild Unraveling is sparse; on the contrary, it teems with details and fun diversions to create a tapestry that shows a band in transition. Rather than rotting in stagnation, or finding themselves neck-deep in preposterous reinvention, Revolt Revolt are a band racing forward.
LE VOYEUR, w/ Mindrips, guests, May 19, 10 p.m., No cover, 404 E. 4th Ave., Olympia, 360.943.5710

Thursday, May 14, 2015

KEOL New Music: REVOLT REVOLT, Wild Unraveling

By KEOL Staff
Boise’s Revolt Revolt mixes healthy doses of ‘60’s-style garage rock, hard rock, noise, opera and space/psychedelic rock to create a unique experience for the listener. Their latest EP release, Wild Unraveling, is a creative collaboration between group founder, guitarist and vocalist Chris Bock, drummer Ben Wieland, guitarist Mike Muir and bassist Jake Fredrickson.
“Catch the Light” offers sounds like some late ‘60’s or early ‘70’s experimentation by artists such as David Bowie and The Velvet Underground. Subdued lyrics by Bock and spacey guitar riffs from guest musician Doug Martsch of Built to Spill meld beautifully with the rhythm created by Wieland and Fredrickson.
“Wilderness” offers a funky, Red Chili Peppers-like undertone that leads to some guitar work and a sound reminiscent of 1969 Jimi Hendrix.
Guest musician Todd Dunnigan, a bandmate of Martsch, adds background organ work to “Hold on Let’s Go” that teeters on the edge of gospel and something Al Kooper may have played on a Bob Dylan tune in the ‘60’s. The sound will bring older listeners back to a time when rock music wasn’t simply a couple of guitarists and a drummer, but a wall of sound that often included piano or an organ as well. The quiet of the song is interrupted, quite nicely however, by some stellar guitar work by Bock, Muir and Martsch.
Sounding musically more like something from the 1990’s, “Every Day Youth” adds several voice-overs early in the track before any vocals begin. Mid-way through the song, the band switches up the tempo and delivers a heavier sound with pounding percussion and staccato lead guitar. The track doesn’t end so much as it blends into the final song on the EP, “Never Fade.”
The band ends with something that might be a cross between Pink Floyd, The Smashing Pumpkins and Alan Parson Project. The sound is full and loud and constant, yet holds a beauty deep within in the form of guest singer Emma Doupe’s operatic vocals. Think “Great Gig in the Sky” plus “Welcome to the Machine” with a splash of “Tonight, Tonight” and a sprinkling of “I, Robot.” Don’t be confused by the silence mid-song; there is more to come before it’s all over.
The lyrics and vocal work throughout the EP add the perfect counterbalance to the often loud and disjointed guitar solos of Bock and crashing cymbals of Wieland. The sound, even when it includes some of the industrial noise elements, is not overly intrusive to the listener. In fact, much of it has an underlying calming effect.
Revolt Revolt plays Jefferson Street Depot on May 23. Visit them online at www.revoltrevolt.com or find them on Facebook.

Sunday, May 10, 2015

PICTURE THIS: Lila Rose @ The Independent, San Francisco 5/7/2015

The Independent in San Francisco was the seen of a theatrical event as much as a concert. Lila Rose released her new album WE. ANIMALS. Just before her set the cloaked object on stage was reveled to be a cage. As her set started that cage came alive with Rose inside it. She was surrounded by ghostly images of animals and faces. On one side of the stage playing drums was the producer of the album Daniel Garcia. The other side of the stage was the excellent string quartet Squid Inc. Her music is dramatic and theatrical with influences from Florence and the Machine and Bj√∂rk. The set finished with the title song We Animals. Back inside the cage. Back behind bars Rose left us with the word’s “we are animals, least we forget it.”

May 10. 2015 | By Don Albonico
Lila Rose @ the Indepndent, San Francisco 5/7/15

Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15Lila Rose @ the Indepndent, San Francisco 5/7/15
http://www.theowlmag.com/photos-pictures/picture-this-lila-rose-the-independent-san-francisco-572015/

Monday, May 4, 2015

Taking their "driving, noise drenched" sound for a little fresh air



Revolt Revolt 

Tuesday, May 5 at The Crux

Revolt Revolt is hitting the road.

Revolt Revolt is hitting the road.
It's road season for a lot of bands and local rockers Revolt Revolt are taking their "driving, noise drenched" sound for a little fresh air.
Teamed up with fellow locals, garage band Mindrips, Revolt Revolt is kicking off a monthlong West Coast tour ahead of the Aug. 4 release of new EP Wild Unraveling. First stop: The Crux on May 5 for a 6 p.m., all-ages show. From there it's on to Pocatello, Las Vegas and a southward swing to Pasadena, Calif. The road home leads through Portland, Ore.; Olympia, Wash.; and Seattle. The tour wraps with a TBA Boise show on May 23.
According to Revolt Revolt's website, Wild Unraveling is the first collective project for the current line-up of the band, which solidified in 2014, and includes special guests Doug Martsch and Todd Dunnigan, of Built to Spill, and Earl Hughes, whose bona fides include work with Alabama, The Beach Boys, Don Ho and Freddy Fender.

Monday, April 20, 2015

REVOLT REVOLT finally announce their upcoming release "Wild Unraveling" and May tour dates

BIG NEWS: REVOLT REVOLT has finally announced their upcoming release "Wild Unraveling" and its release date of Aug 4th. And a full list of May west coast tour dates!


May Tour - Revolt Revolt + Mindrips
05.05.15 - Boise, ID @ The Crux
05.06.15 - Pocatello, ID @ Flipside Lounge
05.07.15 - Las Vegas, NV @ Double Down 
05.08.15 - Pasadena, CA @ Old Towne
05.09.15 - SoCAL, CA @ TBA
05.10.15 - Santa Monica, CA @ The Trip 
05.11.15 - San Jose, CA @ TBA
05.12.15 - Santa Cruz, CA @ Blue Lagoon
05.13.15 - Oakland, CA @ Stork Club 
05.14.15 - Ashland, OR @ Club 66
05.15.15 - Medford, OR @ Johnny B's 
05.16.15 - Corvallis, OR @ Harrison Bar
05.17.15 - St Johns, OR @ Slim’s
05.18.15 - Portland, OR @Ash Street 
05.19.15 - Olympia,WA @ Le Voyeur 
05.20.15 - Seattle, WA @ LoFi w/Skate
05.21.15 - Leavenworth, WA @ Der Hinterhof
05.22.15 - Yakima, WA @ The Sports Center

The music of RevoltRevolt incorporates simple 60s garage band drones, hard rock, industrial noise, opera and space music to produce a challenging, mind altering experience. On Wild Unraveling, they take their driving, noise drenched, delicately nuanced sound in surprising new directions. "The lyrics and music on this record are about being on the edge," says group founder, guitarist and singer Christopher Bock. "I relate a lot to the wilderness, I feel that we are beautiful, unique, interesting beings, all on our own epic journeys. The album title implies letting go and opening up to the wild. The songs all talk about being on the edge, not knowing, realizing that nothing is sure in life, but change."


After a lifetime of playing in bands, Bock took a brief time out from music, returning in 2007 to start Revolt Revolt. "I had a friend mad enough to join me as a duo and we began playing gigs, touring like crazy" Bock says. "We gradually evolved into today's quartet with Jake (Fredrickson), who is a tightly grooved eclectic bass player, Ben (Wieland) who delivers dynamically solid killer drums. Guitarist Mike Muir has the balance from a delicate touch to a definitive shred; he's the perfect compliment to the band and my dark, chord heavy approach."


The adventurous sonic palette and open-ended approach to the recording of Wild Unraveling allowed band members to give full expression to their creative impulses. "I wrote the majority of the songs on our first two albums, Chordata and Latah Nights," Bock says. "This record was a cooperative venture. We all brought in ideas and developed them together. It was written in three weeks and recorded and mixed in a few months, with producer/engineer Todd Dunnigan (Built to Spill, Caustic Resin)."

The EP opens with "Catch the Light." Wieland's drums and Fredrickson's bass lock down a mellow, Velvet Underground groove to compliment Bock's whispered vocal, which urges us to forget our pains and reach for the light. Guest guitarist, Built to Spill's Doug Martsch adds shimmering, tremolo drenched guitar figures to the background, before stepping up with an eerie solo. Dunnigan's gospel tinged organ gives the poignant melody of "Hold On Let's Let Go" a dark, unnerving tone. Bock's bluesy, distorted solo duels with Martsch's mixed down, metallic shredding to disturb the song's calm, quiet feel, then quickly vanishes to let the woeful vocals and mournful sustained notes of special guest Earl Hughes's steel guitar take the tune home.  

"Never Fade" is a droning, cacophonous sound sculpture that sets Fredrickson's subterranean bass, Wieland's wild cymbal splashes and an avalanche of guitar noise produced by Bock, Martsch and Muir against the operatic improvisations of guest vocalist Emma Doupe. "The EP is balanced between taking things too far and reeling them back into place," Bock says. "It's our most intricate, dynamic album. "It really challenged us to move in new creative directions."

RevoltRevolt is the culmination of Chris Bock's long musical journey. "My mother got me a guitar at age 12, after I'd been blown away by a Mariachi group in Mexico City," he recalls. "I learned how to play songs off of the radio. I was captivated by the process of songwriting. My father is a guitar player and my grandmother and grandfather met while playing in a symphony orchestra in France. My fathers side of the family were mostly artists and musicians, and within the family tree is the famous Dutch Golden-Age artist Jan Vermeer. "My step-father was Basque; he sang Spanish love songs around the house while he worked. My mom's record collection included jazz, country, and rock. I liked Punk, Metal, New Wave, Black Sabbath, Dead Kennedys, The Cars, Joy Division and spent all of my lunch money on LPs, until I got a job in a record store. I worked in record stores until 1996."

Bock grew up in Boise, ID, teaching himself Guitar, Bass, Piano, Harmonica, Percussion, and Keyboards along the way. "I had some personal stuff to attend to, and dropped out for a short time, but I found that music is always there waiting. I enjoyed the years playing in other friend's bands, but was looking to take on a new direction. I really dug the idea of embracing life through travel and music. Eight years ago, I started RevoltRevolt to record songs I'd been working on. I've been lucky to have some great musicians on board for the projects we've completed. The current line-up solidified in 2014 and Wild Unraveling is our first collective project. I feel we are right where we need to be right now with Revolt Revolt. Being in a band that puts out records and tours like we do has provided a wealth of experience beyond what I've ever imagined."


RevoltRevolt

Mike Muir - Guitars (Nightlife & Trees)
Jake Fredrickson - Bass (also plays with Obscured by the Sun & Bliiss)
Ben Wieland - Drums (also plays with Jumping Sharks)
Christopher Bock - Guitar/Vocals/Korg - past bands - The Hand (with Scott Schmaljohn of Treepeople), Geyser, The Magnetics, Bock (solo recordings)

With Special Guests

Doug Martsch - Guitars (Built to Spill, Halo Benders, Treepeople)
Todd Dunnigan - Organ/Piano/Keys (Built to Spill, Caustic Resin)
Emma Doupe, Jie Cheng - Operatic Vocals 
Earl Hughes - Pedal Steel (Don Ho, Alabama, The Beach Boys, Freddy Fender)

http://www.revoltrevoltmusic.com
https://www.facebook.com/revoltrevoltmusic


Thursday, March 5, 2015

Berkeley Place Blog Review: CARRY, ILLINOIS - Alabaster

Dear readers, I bring you the best singer-songwriter album of 2015 (so far). Carry, Illinois is Lizzy Lehman, a woman with a voice like Chrissie Hynde mixed with butter, who writes pop songs in the classic rock styles of Fleetwood Mac. And yes, I did read the same thing from the press release–but I read that after I’d already formed the opinion. The influences are clear, obvious, and wonderful. The songs are so good, in fact, that’s it hard to imagine one person wrote them all.

“Alabaster” also balances well between plaintive ballads and pop songs that, if there were still good radio stations, would be fighting for space in the top 40. There’s not a lot of room for independent, unique-sounding singer-songwriters these days. Hozier gives me hope, but otherwise everyone seems to be trying to do what Taylor Swift does.
It is albums like this that make me glad I still run this blog. It’s hard, as blogs are dying off and my readership has dwindled to less than a thousand readers a day, to stay focused. To stay invigorated. But getting to hear albums like this, which I never would have found on my own, and knowing I can play a tiny part in this band’s future success, is why I started this blog way back in 2001….

Sadly, only the above two songs are offered for streaming–no mpfrees, no album streams–but their 2014 release is for sale (cheap!) on Bandcamp, below…

Tuesday, February 17, 2015

The Get Ahead offers strutting neo-soul with a Northern attitude


The Get Ahead's Volcano is available now.

B
Portland, Oregon may be known as a hipster burb (see “Portlandia”), but it also has a vibrant, many-sided independent music scene. The town boasts indie rockers, first-class jazz players, an Americana/roots music community, and with the five-piece the Get Ahead, one heck of a neo-soul band. On the group’s first full-length album, the 40-minute, self-released Volcano, the Get Ahead showcases a soulful, party vibe dripping with passion, RnB and slowly-simmering rock. On most of the 11 tracks, singer Juliet Howard and guitarist Nathan Earle trade vocals while they sing about couples stumbling into mutual attraction, women rushing into infatuation and kicking out cheating lovers.
During the pumping, sax-soaked “Little Devil” the Get Ahead manages to echo the sizzle and strut of Sharon Dap and the Daptones while maintaining their own individual style. Urban blues burnishes through the striding “Take a Shine,” where a plea for togetherness turns into a sweaty workout for Steve Johnson’s searing and deep baritone sax, Howard’s stinging guitar licks and a tight rhythm section which mirrors the Rolling Stones’ historic Bill Wyman/Charlie Watts rhythm team. With “Earn It,” the band echoes the early rock-and-soul work of the Bellrays via a wicked, wah-wah guitar intro, a four-on-the-floor drumbeat and Howard’s hard-hitting vocals.
While most tunes aren’t moody or restrained, the band effectively ebbs down to a muted smolder on the late-night number, “Moonstricken,” where Howard and Earle sing about how desire can make anyone get a bit crazy. But by the record’s conclusion, the Get Ahead put their forceful energy where it counts, with the commanding “Dollars to Doughnuts,” a modern rock/soul treatment reminiscent of Black Joe Lewis. While the Get Ahead is probably best experienced in a live setting, Volcano is the next best thing to a sweaty Saturday night of grooving, dancing and throwing back some of your favorite drinks.

The Get Ahead's Volcano is available now.
Grade: B+

DOUG SIMPSON

- See more at: http://www.campuscircle.com/review.cfm?r=21306&h=The-Get-Ahead-offers-strutting-neo-soul-with-a-Northern-attitude#sthash.AoeDTkoE.dpuf


Tuesday, February 10, 2015

REVIEW: ROCKET 3 – BURN



Rocket 3
Burn
Self-Released
Street: 11.04.14
Rocket 3 = Karen O + 
The Dum Dum Girls
Burn is a sweet, sassy pop rock album that has the capacity to make your heart flutter. Using simple, resonating bass and guitar lines as the core of their tracks, Rocket 3 layer subtle synths, lively keys and drums, and daydreamy vocals to create a compelling soundscape. “Good Enough” kills it both with spunky musical composition and adorable lyricism: “You are better than good enough.” Burn features a few covers of classic rock songs, including The Velvet Underground’s “All Tomorrow’s Parties,” which they make their own with groovy bass and a cheery tempo. Rocket 3 have got dynamics of sugar, spice and everything nice dialed in. –Kia McGinnis 

Tuesday, January 20, 2015

PopMatters - Kool Stuff Katie - "Cars" (Premiere)

The beautiful and hip environs of Portland, Oregon, a catchy tune, and a duo with real chemistry... Kool Stuff Katie's "Cars" has it all. 
And who says Craiglist has to be completely sketchy? It certainly wasn’t in the case of the Portland, Oregon garage rock/pop duo Kool Stuff Katie, helmed by Shane Blem and Saren Oliver. The two met over the website, and have since then forged a creative union that’s as playful and quirky as the city in which they live. With a few curveballs added, the music video to the track “Cars”, taken from the duo’s self-titled debut, could be a Portlandia sketch in the waits. But, alas, the video chooses (wisely) to focus on the rapport between Blem and Oliver—and their pretty sweet ride, too.
 
This video finds the pair attempting to escape the crowded, frustrating noise of the city in order to find a serene setting away from it all.  Fitting for “Cars”, the majority of the video’s attention is on what they are driving: a ’66 Lotus Cortina, which should have fans of vintage autos salivating in jealousy.

The duo tells PopMatters this about the video: “Working on this video was a blast. How often do you get to cruise around in a Cortina for three days and call it work? We definitely got a lot of stares, honks, and people who stopped to ask us about our ride. At one point, we stopped traffic on the St. John’s Bridge in Portland with a ‘breakdown’ in order to clear cars out and get the shot of us going over. Bryson, one of the directors, hung out of the back of a van while driving through tunnels, and we all braved freezing cold wind at points—everyone working on this video was dedicated to do whatever it took to get the shot, which left us with some pretty funny stories. Overall, it was an awesome experience.”



Kool Stuff Katie is out now.


the deli - Video Premier: Kool Stuff Katie's "Cars"




 

Video Premier: Kool Stuff Katie's "Cars"


Like most textbook romances, garage pop duo Kool Stuff Katie formed when Shane Blem and Saren Oliver met over Craigslist. The rest is history. Well, history in the making for now I suppose. The duo's debut self-titled album released this past October doesn't exactly reinvent the wheel per se, but they create an infectious blend of pop infused primitive rockers, reminiscent to the White Stripes. 
Today, we're proud to present the world with Kool Stuff Katie's brand new music video for the track "Cars." Get a load of the car they're noodling around in! It's a Ford / Lotus collaboration that was 1 of 200 ever sold in the US. The specific car in the video was was actually purchased and restored on the tv show Fast N Loud and then sold for $115,000 - how KSK lined up borrowing the rig for this shoot is completely beyond me, but totally awesome. At any rate, enjoy their tune and the cool footage of the duo driving around various landmarks of Portland and the surrounding areas. 
Written by Travis Leipzig
Photo by Jon Currier

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