Mondays mean BandsOnBands, and we’re excited to be posting the PropertyOfZack feature today with our favorite young band, The American Scene. The band is gearing up to release their sophomore album, Safe For Now, tomorrow via Pure Noise Records, so make sure to download the LP here. In this week’s feature, Jeff Wright dives into one of his largest influences, Colour Revolt. Jeff’s story on how he found Colour Revolt via Myspace and went as far as creating a “fake”-podcast to interview the band is a great look into how much music can matter in someone’s life. Make sure to listen to great songs by Colour Revolt on Spotify here and check out what Jeff had to say about one of his biggest influences below!
From Jeff Wright of The American Scene:
It’s 2006 and the Myspace age was booming. I would probably spend about three - four hours each day surfing Myspace in search of new and interesting bands. If in this moment you’re thinking that this was a pretty lame practice - you’d be correct. At the time I was recording bands out of my studio - converted garage, so I felt that it was part of my job to find bands that needed recordings and email them about setting up possible studio time. I’d end up listening to literally hundreds of bands. Sometimes I wouldn’t find anything and end up just looking for new music to listen to on my own personal time. There weren’t many interesting bands that came out of searching through the social cacophony that is myspace for music; but of the few things I did discover, Colour Revolt was a needle in an otherwise fruitless haystack.
Colour Revolt had just released their first EP. They are from Mississippi. “Mattresses Underwater” was one of the singles up on their Myspace for streaming and I was no stranger to the play button. I was enamored by this band. To me, it was a combination of all the types of things that I grew up listening too and my teenage music tastes. My dad used to listen to The Who almost every day when I was younger, and I felt a great presence of that in Jesse’s vocal style. On top of that, the songs were very strangely structured, which at the time was something that I was very into. I was very much interested in dynamics and arrangement at that time. I literally couldn’t write a verse, chorus, verse, chorus bridge, outro song. Anything that resembled a standard song setup, I’d shy away from. Hell, I wouldn’t even submit to playing an octave chord. I was 16 and ready to get weird. Colour Revolt satiated that craving for me through their song structures, but also was able to keep a looming hooky-pop-sensibility to their tracks.
They released their second album and I just shut off all other music. I would listen to Plunder, Beg & Curse back to back, multiple times a day. This would be regular practice for me for the entire year of 2008. I was freakishly interested the tones, the song structures, the dynamics and probably most importantly, their ability to take something so simple and build it into a complex amalgamation of majors and minors. Their raw ability to go from an upbeat, consciously rocking groove and come down to a point where the song you felt like you were in a “moat” or “bayou” was something I couldn’t find anywhere else in indie rock music. The lyrical content was parallel to what I was going through at the time. Stories of unfolding domino situations and relationships that were written under heavy metaphorical scrutiny; it was like candy to my ears.
I went as far as to create a semi-fake podcast website so that I could get a press pass to one of their SF tour dates at Slims. I wanted to ask them all the questions about the EP and LP that I never had the answers too; so I did. I interviewed them and recorded it before the show. We talked about how the EP was recorded in a dark basement, we talked about why the mix of EP is so unique due to an aggravated mix engineer and touched on how all the instruments on the LP were recorded completely live. We talked about everything and at that moment I was the happiest person to ever live. I watched them play afterwards is it is too date within the top five performances I have ever witnessed. One of the great regrets of my adult life is that I didn’t back up the recorded conversation before my computer bit the dust. I would kill for that interview.
As I grew, Color Revolt grew with me and drastically effected the way I’d write music. I was (and still) am unable to follow / submit to major chord voicing because of this band. Colour Revolt heavily effected the outcome of
Safe For Now. Maybe not directly in sound - but at a point before I was in the band, we were all listening to The Cradle with the same shock and awe that came with Plunder, Beg & Curse. We were all great friends before I was in the band, so we’d nerd out on Colour Revolt regularly. It came to the point where their old guitar player / singer had left the band and they needed a replacement. Matt reached out to me by telling me he wanted to jam and that he wanted to add a Colour Revolt feel to the music. After I received that text, I immediately knew that I was in. It was really the name drop that sealed the deal for me to be in the band.. I honestly don’t know if I’d be around if Matt hadn’t of mentioned Colour Revolt.
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