• Sea of Tranquility review of REVOLT REVOLT

    RevoltRevolt: Wild Unraveling

    Hailing from Boise, Idaho, RevoltRevolt was formed in 2007 by Chris Bock (electric and acoustic guitars, micro Korg, vocals) and is joined by Ben Wieland (drums, percussion, micro Korg), Jacob Fredrickson (bass guitar) and Mike Muir (electric guitar).

    The band has released two albums prior to their latest EP Wild Unraveling.
    The music combines drone, noise and '60s flavoured rock with a modern twist that is always highly listenable with some great melodies etched into the soundscape. The guitar work dominates the disc and really adds some cool effects and trippy meanderings. The lead vocals of Bock are laid back and catchy and are a nice fit for the band's mid-tempo grooves.

    "Catch The Light" begins the disc with a somewhat dreamy feel and very much hearkens back to the sound of The Velvet Underground. "Wilderness" starts mellow before heavier garage style guitar workouts take hold. The guitar noise offers a spacier vibe at times. "Hold On Let's Let Go" features a pretty melody before the guitar gets more wild and intense. The time signature change is pretty cool leading to more guitar noise and dirtier riffs.

    The most adventurous track has to be the album ending "Never Fade". A calming bass groove and droning guitar effects offer a slow build, like waves returning to the shore, slowly adding to the sound collage. In the background, underneath the noise, you can barely make out the operatic vocals of Emma Doupé. Then, much to my chagrin, we have one minute of silence. I never understood why bands do this, but alas, at least the music returns with some very trippy and spacey guitar sounds. This is certainly one of the best tracks on the disc.

    These guys certainly have a ton of potential. I really look forward to hear what they do on a full length release.

    Track Listing
    1. Catch The Light 
    2. Wilderness 
    3. Hold On Let's Let Go 
    4. Every Day Youth 
    5. Never Fade

    Added: July 2nd 2015
    Reviewer: Jon Neudorf

    Related Link: Band's Official Site

  • 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, 360.943.571


  • 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.


  • OWL MAGAZINE - 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


  • PowerPop Overdose! Alejandra O'Leary's new single "Burn Me Up"

    Alejandra O'Leary and the Champions of the West release their new single Burn Me Up

    The name tells the tale: Alejandra O'Leary is a melodic mash-up of far-reaching artistic cultures and geographic and musical influences. 

    Alejandra O'Leary and the Champions of the West are proud to announce the release of their new single: BURN ME UP. The song was conceived and recorded during the sessions for "Heartspace Timepiece" and features all the band's trademarks: dueling guitars, evocative vocals, and a beat to keep time to your dreams.

    Combining classic raw rock with a contemporary pop vision, and musical ideas that span the spectrum of pop and rock history, from The Beatles to Elvis Costello, from Liz Phair to The Strokes, O'Leary's music suggests delightfully paired opposites: Hard-charging and luxuriant, defiant and sugar-coated, individual pain and collective ecstasy, physical drive and spiritual transcendence. Rock and roll.

    Get the single on AmazonCDBabyITUNES, or Bandcamp.
  • 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.


  • REVOLT REVOLT finally announce their upcoming release "Wild Unraveling" and May 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

  • LILA ROSE "WE. ANIMALS." out today!

    They’ve been wrapped up in boxes for almost a year now… Finally, today, we present to you my second full length album, produced by Daniel Garcia and myself.

    WE.ANIMALS. is out now!

    Preview, it here on my


    Or to purchase/review directly, visit itunes, amazon, bandcamp, etc.


    Join us for the album release show on May 7th show at The Independent, SF. The lineup is amazing, and we have an entirely new multi media live show which is pretty much incredibly bad ass. I can't tell you more, you'll have to see it yourself!

    Get your tickets here now before they sell out:

    World on Fire:



  • On The Record: Carry Illinois, Roxy Roca


    Carry Illinois, “Alabaster.” Though the official release date for this record is April 7, the band should have copies for sale at its record-release show this Wednesday, March 25, at Cheer Up Charlie’s. Carry Illinois spotlights the songwriting and vocals of frontwoman Lizzie Lehman, an Illinois transplant whose melodic sound would have fit well into the radio playlists of 1970s and d’80s pop stations. Keyboards and guitars form a flowing framework for Lehman’s rich alto, which colors material that bypasses contemporary trends for a more classic song-centered approach. Much depends on the strength of the writing, and some of these songs end up drifting past instead of luring in. But the opening “Detroit Snow” connects instantly, and the raw emotionalism of “Unmerciful Month” brings to mind some of Amy Ray’s finer Indigo Girls work when Lehman reaches high for the paradoxical concluding line, “Hope this is the last one/ Here’s to the next one.”