Tuesday, September 29, 2015

Introducing Câlisse and the Birth of the New Portland Label Almabrain

The story of how a chord was struck between the band and producer Jason Driver, leading to the formation of a label while recording their debut record.

Câlisse, from left to right: Morganfield Riley, Kevin Hoffman, Karen Moore, James Collette and Rob IgguldenCâlisse, from left to right: Morganfield Riley, Kevin Hoffman, Karen Moore, James Collette and Rob Iggulden
Summer was nearing the end of its peak. The sun had long since set by the time I pulled onto a side street just blocks away from the Doug Fir Lounge.
In my lap were the directions to a small studio nearby called Fur Vault PDX. Yet, from looking around, there weren’t any signs indicating that this was my destination. It wasn’t until I shuffled across the intersection of SE 10th and Sandy that a group of people standing in front of the designated address became visible. Assuming positive intent, I walked up to them.
A tall presence made his way toward me.
“Hi, you must be Joanna. I’m James and this is the band, Câlisse,” he extended one hand as the other waved to the rest of the group. Turning, he walked toward two older members within the group. “And these are my parents. They’re in town visiting, we’re just finishing up.”
The other bandmates playfully teased lead vocalist James Collette about needing parental guidance for the interview. Their exchange seemed genuine though, as if I had stumbled into a few friends hanging around for the night.
His parents said their goodbyes and promptly left. Everyone began to introduce themselves, putting faces to the names I’ve known only through email: Morganfield Riley as guitarist, Karen Moore on keys and backing vocals, and Rob Iggulden as the band’s drummer. The only exception was bassist Kevin Hoffman who joined us later in the evening. Without much immediacy but with the same friendly disposition, the founder of the band’s label, Almabrain, and their producer/engineer came forward.
“I’m Jason Driver, or JD. Whichever you prefer. Glad to finally meet you,” he shook my hand. Moving inside, we walked through a dimly lit maze of walls strewn with art until we finally came to the studio: Fur Vault PDX.

Band rehearsal at Fur Vault PDXBand rehearsal at Fur Vault PDX

“The cool thing about Portland is, everyone’s in a band,” Collette says. He jokes, “I’m actually doing a triangle solo project."
“Don’t forget the Zephyr,” Riley adds and everyone laughs. “But seriously. If you’re only in one band, you’re slacking!”
When the laughter dies, the questions begin. Who is Câlisse and what’s the band’s goal? Iggulden smirks after everyone pauses to chew on the question.
“I’m curious too,” he jokes.
Riley answers amid the group’s hesitant giggles. “I don’t think there were any expectations to what we’re supposed to be, but only because of how we started. James had these songs worked out on his acoustic and they were full-fledged songs. Then, he wanted to record this album. I started helping him with some of that.”
Collette and Riley were introduced through a mutual friend last year, initially because both were scoring films at the time. Despite a slow start to the friendship, they gradually grew to respect one another’s work.
Their single “Omnibrain” was the result of their first collaboration late last year, using the equipment Collette had in his home at the time. There was more at stake, however, than two friends simply playing music together. The duo eventually came to realize their shared desire to create something more. They had the material, but they needed some sort of foundation.
“That was the first song we started and the reaction went really well,” Riley continues. “We were both like, we should continue this, and soon it became a collection of songs.” The pair turned their focus toward creating a full-band sound, a decision which led them to the formation of Câlisse and, subsequently, to producer Jason Driver.
Câlisse formed in October 2014 when the duo enlisted Karen Moore, a longtime friend of Collette, to cover a series of songs by Neutral Milk Hotel. At the time, Moore played the part of backing vocalist. Eventually, when the group began to grow serious about recording, Collette approached schoolmate Rob Iggulden to be the band’s drummer. Despite his hectic schedule as a student nearing graduation and playing drums for local band Future Historians, Iggulden agreed.
“We got lucky. We all enjoyed working together,” Collette says.
With the band missing only a bassist, Kevin Hoffman came along at the right time. Having spent time in New Orleans, he was still fresh from moving back to Portland in early spring when he was approached by Collette. The two had known each prior to Hoffman’s trek to Louisiana and had kept in touch throughout his stay.
Together, the five-piece created a unique sound influenced by the elements of alternative rock intertwined with the emotional urgency in Collette's vocals. The next step was to find an affordable studio and jump-start the recording process.
“These guys called me to use the studio and booked it for two days. They came in and just rocked it, you know. I get a lot of bands that come in and aren’t prepared for the studio, so they get in here and start choking,” Driver pauses. “These guys came in and they had it together.”
Riley jumps in the conversation: “This was my first initial experience recording in a studio and it was the best. It was seriously awesome."
“We were a good fit,” Driver says.
“JD is artist-friendly and very supportive. We’re working really fairly with one another, which has given us [the band] a lot of opportunity to plant some seeds locally,” Collette says. “We have a lot of potential for making it work.”
“I want to be able to help a band like these guys and support them enough to get out there touring,” Driver adds. His own background involves a history of playing music as well. Although he initially began as an audio engineer, Driver switched professions early in his career and spent time working as a touring musician. Later, after he married and looked for ways to settle down, he returned to engineering. Regardless, his collection of gear naturally grew. This, combined with the small space he rents for his studio, has provided him with the opportunity to remain affordable and artist-friendly over the years.
Almabrain logo by Collin BuenerkemperAlmabrain logo by Collin BuenerkemperThe transition from musician to engineer changed his perspective on what he looks for when bands come to him for his services. “I really love when bands get that magic live. That’s one of the reasons I really like Câlisse. They came in with a band, they wanted to play it as a band, and I think that’s the most important part: how music becomes a kind of magic that happens between people,” Driver says.
Hums of agreement echo among the rest of the group inside the studio. He continues, “That time I spent as a touring musician helped me to understand that there’s much more to engineering than just turning a knob or putting a mic in the right place. It’s more about getting the band in the right frame of mind so they can relax and play."
Collette sits on these words for a while. His own history of working with smaller independent labels in his native state of Mississippi prevents him from completely agreeing with his producer’s sentiments. “It’s still intimidating because there are so many talented people. You meet all these random people and you remember their music. There’s great music here. No one’s going to rub it in your face either, so you’re seeing it at face value.”
“There’s a lot of opportunity in Portland, for sure,” Iggulden chimes in.
“You take it as either intimidation or motivation,” Driver continues. “I have a lot of bands that come in and want to record a good album, but they don’t have the budget. This is like having some support where we can take some of the production costs and make some money back by selling albums. It’s a better business model as far as long-term growth is concerned. My initial decision to create Almabrain with Câlisse rode on that philosophy. ”
Processing the direction our conversation has taken, Collette interrupts: “When is it wrong for an artist to want to be sustainable? We just want to be able to play music and travel. Most importantly, we just want to continue playing. That’s the cool thing about Jason though. We instantly felt like good friends and we’ve actually become good friends since this started.”
Regarding the topic of business, I ask about the possibility of the band looking to crowdsourcing as a way of funding their efforts. Immediately, I'm met with an almost hostile “no” from Riley.

“We’re eager, but we’ve held off from being too eager to jump out there because we want to be sure we’re putting on the best performance that we can in Portland,” Collette explains, lingering briefly on the topic as a way to justify the outburst. “Like I said, there’s a lot of talented people here. We want to step our game up and earn our keep. We want to show we’re working hard.”
From there, the conversation strayed back into a casual tone and humor still remained much on everyone’s agenda as the evening came to a close. The relationship between Câlisse and their producer seemed strong to an outsider walking in that night, almost as if one couldn’t exist without the other. There was definitely a chord struck in the creative process, yet this venture is far from the finish line. The next step is to share the work.

Câlisse’s debut album, 'Farewell, Blacksheep,' is set to be released via Almabrain this November. In the meantime, catch the band performing with And And And and Times Infinity at Dante’s on Wednesday, September 30 and listen to the first single from the upcoming record below.


Saturday, August 29, 2015

Video Premiere: Carry Illinois, “Smoke and Medicine”

Video Premiere: Carry Illinois, “Smoke and Medicine”

Written by  August 28th, 2015 at 10:55 am
Photo by Pooneh Ghana
Photo by Pooneh Ghana
There are some childhood memories that stick with us forever. For Carry Illinois’ Lizzy Lehman, an incident with her brother became one such memory, one that inspired her to write the confessional tune “Smoke and Medicine.” The Austin-by-way-of-Evanston songwriter has a knack for channeling small moments into meaningful tunes, as evinced by the band’s debut album Alabaster, which counts its influences as spanning from Laurel Canyon to Smiths hometown Manchester, England.
“I simply didn’t want to hide anymore. ‘Smoke and Medicine’ reveals my imperfections, my secrets, my truths, and my need to express that, like most people, at times I need to quell my fears, anxieties, and sadness through a less than accepted vice,” Lehman tells AS. “When I was in high school, I told on my brother for smoking pot in the garage solely because I was not a fan of the kids he was hanging out with.  A few years later, I found myself hiding away, just the same, partaking in order to feel just a little bit better.  I needed to apologize for what I had done and own up to my own hypocrisy.  I needed to say that I wasn’t always the perfect child, that I did things wrong time and again, and that I needed to decompress from life.  I wanted to tell the world that I wasn’t doing anything wrong even though so many believe otherwise.  We shove legal chemical cocktails into our throats every day and still become unhinged.  It seems that the universal mentality about drugs is backwards, and I want people to know that that is truly how I feel.  Clearly, as we have seen over the past few years, the times are changing, laws are changing, and minds are changing.  People are beginning to see light and it should be discussed.
When deciding how the song should be portrayed visually, I wanted the movements to express physical and mental struggle as well as growth, change, and freedom. I wanted the video to be simple yet strong.  I wanted it to express the trials and tribulations of youth that every young person deals with on a daily basis.  Toronto based video director Sammy Rawal did an excellent job bringing my visions to life.  The video was filmed in black and white with hand colored red shadows behind Toronto based dancer Ila Kavanagh as she moved.  The red shadows emphasize the very difficult dance we go through when navigating the ups and downs of life.  It is tough to grow up and get through it all, but if we work together, support one another, and stand up tall, we will be able to breathe through it and take on another day.”
Check out the premiere of Carry Illinois’ “Smoke and Medicine” video below, and get Alabasterhere.


Tuesday, August 25, 2015

LA's Folk&B Ladies ArtPeace Announce Release Date For "Free Music" And Video Teaser!

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Website:  http://www.weareartpeace.com


And here is the video teaser for single "Hi:)" which is out Sept 18th

On one lazy yet fateful Saturday afternoon, Birmingham, Alabama born and Oakland, California raised, singer/songwriter Taura Stinson googled "Serape Headboard". Feeling unimpressed with initial results, she headed over to Craigslist in hopes of finding a local designer willing to make her Serape dreams come true. She came across Chrissy Depauw's "Love Shack Designs" and the two began discussing specs for Taura's new art piece(pun highly intended). As the conversation came to a close, Taura felt a cosmic nudge deep in her soul and asked Chrissy if she'd consider bartering for the headboard. "Sure, what do you do? ". "I'm a songwriter", Taura responded.

Now Taura could have listed her many accolades, being a Grammy nominated, multi-platinum songwriter who has written for/with artists including but not limited to long-time writing partner Raphael Saadiq, Steven Tyler, Andre 3000, Kanye West, Destiny's Child, Kelly Rowland, Paloma Faith, Jennifer Hudson, Solange Knowles and even Earth Wind & Fire, but being humble she didn't. Instead, Chrissy (an accomplished Singer/Songwriter herself) visited Taura's website and jumped at the chance to seal the deal. Chrissy would handcraft a custom Serape headboard for Taura in exchange for a song. Feeling energized by this quirky coincidence, in less than a week Chrissy had completed the most amazing headboard that Taura had ever seen and they quickly arranged their first writing session.

The stars aligned perfectly as Taura and Chrissy connected on a level only understood by fellow Artists completely committed to their craft. They discussed the highs and lows of their journeys during that magical session and their shared view of the state of the music industry, coupled with infectious melodies and a relentless guitar loop... their first song was born.

Chrissy's journey had been the antithesis of Taura's. The San Diego native became a staple at the Santa Monica promenade years ago and her angelic voice would cut through crowds like wild fire. During her tenure she'd sold over 30,000 copies of her independently released self - titled acoustic cd. She has also shared the stage/worked with many artists including Andy Grammer, Capital Cities, Colbie Caillat and Javier Colon.

Both Taura and Chrissy contributed their talents to film. Chrissy served as co-writer and performer of "Set it on Fire" and "Dream" on the Honey 2 soundtrack, while Taura has co-written songs for various films including but not limited to the certified Diamond soundtrack for Men in Black (Will Smith), The Sitter (Jonah Hill), Epic (Beyonce'), Black Nativity (Forrest Whitaker & Angela Bassett) and Rio 2 (Jamie Foxx & Anne Hathaway), but the 2014 Gina Price-Bythewood film "Beyond the Lights" is where their collaborative journey officially began. Their song "Airplay" was featured in the film and was performed by Chrissy.

Both Taura and Chrissy felt their serendipitous union was not destined to end with one song and so they embarked on an musical journey, with Chrissy encouraging Taura to rise from the anonymous background she'd grown accustomed to and join her in splitting vocal duties.

One night Taura had a vision of herself standing alongside Chrissy with the name "ArtPeace" scrolling behind them. "Me, an artist?" She asked herself. Her soul replied, "Hell, yeah".

Immediately they began work on their soon to be released debut album entitled "Free Music". It includes the haunting single "High", co-written and produced by Darien Dorsey who also serves as co-executive producer. Darien's formal training at the Berklee College of Music coupled with Chrissy's undying love of 90's R&B and Taura's eclectic sensibility rendered a pervasive collection of music that bursts through the rigid and confined walls of "genre". ArtPeace describes their sound as "FOLK&B" which marries the organic sound of Folk music with rich lyrics and instrumentation that bleeds like the blues.

In addition to Darien, ArtPeace collaborated with Raphael Saadiq on the Southern hinged backyard song, "Son of A Gun". Saadiq also duets with the ladies on "Heaven Down Here" which is the sonic equivalent of licking batter dipped beaters of Grandmas best kept secret recipe.

Sunday, July 26, 2015

Juleah Had Me At Mazzy Star, Oasis, Black Rebel Motorcycle Club, The Verve...

Stumbled on Austrian multi-instrumentalist Julia Hummer who goes under Juleah WHAT A TREAT!

Following the release of her debut, self-titled EP in 2012, Juleah released the album Shimmering Road and another EP called "Entangled and Entwined" in 2013. Her latest offering, Melt Inside the Sun, is her most unique creation to date. Out for release on May 29, Melt Inside the Sun trades some of Juleah’s signature reverb-soaked guitars and faraway vocals for a new more mature soundscape.

I will agree with her bio above that this release is the most unique over her previous releases. In a genre so hot right not it’s hard to stand out and Julia did just that! I don’t know German, which she sings on 2 tracks, but I felt as if I knew exactly what she was saying.
Dirty blues, hooky guitar riffs and almost stoner rock fuzz is what sold me on my favorite track “Wild Machine”

I see she has put this out on vinyl and that is exactly where I would want to hear this whole album!  Recommend checking this gal out! 


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 Björk. 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

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."


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)