There’s a story behind Colour Revolt’s sophomore album, The Cradle. Listen closely and you might hear echoes from long nights, frustration and the banality of business. Albeit, the band made some changes: it lost a few members, fought rumors of a break up and ultimately decided to release this record solo, with the help of the Dualtone Music Group. This Oxford, Mississippi based band is on a high wire at the moment, above a sea of fans to hold them up–and the fans will not be disappointed.
The opening track reads like a bio for listeners. For musicians who’ve experienced the road, it reads like a resume, covering eight years of parking tickets, mechanical bulls and live shows. As the song powerfully states “one man’s limo is another man’s hearse.” If this is a metaphor for an affliction toward success, the band may have sunk deeper into the limo with what is beginning to sound like a fine piece of work. A vocal melody over strong percussion sounds something like Menomena and Henry Rollins slam poetry.
The title track has some destructive qualities, audibly and lyrically. It speaks volumes to starting over, burning down your house and getting out with what’s really important. “Everything Is The Same” seems like a somber look into getting what you wanted, then realizing nothing has changed. Perhaps I’m projecting some of the bands past, but these songs, paired with 8 years, seem to fit nicely into a patter, belittled with unfortunate events. It’s the kind of music you listen to right before making a huge mistake, which years later (8 to be exact) turns into one of those “the best thing that ever happened to me” stories.
While the band is advertised as Jesse Coppenbarger and Sean Kirkpatrick, additional sounds emanate from Daniel Davidson, Brooks Topton and Hank Sullivant. The team fills in the blanks with elegant keys, percussion and bass.
The album ends on a track called “Reno.” The song speaks of a man driving into Reno with fume soaked clothing and a box of matches. It’s hard not to read into themes of burning down your past, introduced in the fourth track the Cradle. Intentional or not, it’s an interesting quality to an album that has proven to be designed–not simply thrown together.
The Cradle has a strong opening and a promising ending that I hope consumes future projects. Listeners can enjoy picking apart songs in search for some grand story. But if you find yourself dilapidated, soaked in gasoline in a car on your way to Reno, you’ve dug too deep.