About
INTRODUCTION
Thank you for visiting the website for Industrial Revelation. Here you’ll find our latest show information, albums and other info about the group. I hope our music will bring a great since of joy, happiness, peace and love to your soul, spirit, mind and heart. Through our music we bring our lives, our inspirations, our differences, and we do so with a great amount of passion and good vibes. We look forward to seeing you at our upcoming live performances and THANK YOU for your love and support!
-D’Vonne Lewis
PERSONNEL:
Evan Flory-Barnes – upright bass
Josh Rawlings – piano/fender rhodes
BIOGRAPHY
Industrial Revelation formed in 2005 with the collective interest to build a group that would have the ability to express freely outside a specific genre or label, and to play with the utmost passion.
From the moment they first performed at spots like Lo-Fi Performance Gallery and Sea Monster Lounge, the group brought their fire to the stage — sending their audiences into an uproar, dropping musical bombs and displaying complete abandonment in the music. In just a short amount of time they went from an emerging Avant-Jazz band to a complete standard breaker that was truly capturing the hearts and minds of listeners from all walks — all genres. Over the next 3 years I.R. would release ‘It Can Only Get Better From Here‘ (a Live CD / Demo containing a single song running 21:44), and record their debut studio album ‘Unreal Reality‘ with start-up emerging indi-jazz label BrokenTime Records featuring local names Owuor Arunga on trumpet (Macklemore / Big World Breaks / Sounders FC Band) and the lovely Seattle Soul singer Choklate (Vitamin D / Jake One / Darrius Willrich / Jumbalaya) on vocals. I.R. also began playing large local rooms such as the Triple Door and pushing the envelop further in Jazz music after being invited to play at the internationally recognized Earshot Jazz Festival in 2006.
The band has completed 2 Northwest Tours and is in the midst of planning future tours in support of their upcoming album ‘Oak Head’ to be released later this year.
PRESS:
1/26/13 (Industrial) Revelation at the Comet
Written by Jonathan Zwickle, City Arts
The following is an excerpt of the article
“The problem is the word: jazz bears too much baggage, reeks of crusty antiquity, is easy to make fun of. The music Industrial Revelation played at the Comet Tavern last night had as much to do with jazz as did the music Radiohead played at Key Arena a few months back.
Industrial Revelation had more in common with post-rock, the climactic, cinematic music of bands like Tortoise and Explosions in the Sky and Sigur Ros.
Within the first five minutes of last night’s gig, bassist Evan Flory-Barnes ripped the fretboard off his upright. Yes: He was playing so damn hard he ripped his damn bass apart.
Josh Rawlings sat at a Fender Rhodes with a head-high rack of compressors behind him and wah-wah pedal beneath. He played the [Rhodes] like a guitar with a whammie-bar, making the ancient thing screech and belt and roar in analog ecstasy.
Aham Oluo was spare in his runs on the trumpet, often coloring the space around the melody rather than filling in lines. His horn was an instrument of pressurization; he blew with such force and volume you could almost feel the air shifting inside the club. Oluo lolled in sensual blue notes, mediating Rawlings’ gonzo organ spasms.
On drums, D’Vonne Lewis was impeccable and versatile, probably Seattle’s most undersung drummer of any genre.
The songs they played were beautiful, dramatic, psychedelic, funny, funky, swinging, punchy. So much breadth in a single tune; many were multi-movement pieces of six or eight minutes that would sojourn in unexpected interludes before returning triumphant to a principal theme. They had names like “No Tears for a Wolf” (an Oluo original) and “Shadowboxing in the Wind” (by Lewis). By the end of the set, Oluo was in his undershirt and the other guys were sweating through their sweater vests.
All night the Comet was the Comet—beer-stained, noisy, dim, brick and broken-down. There were regulars at the bar, hippies and hipsters and grandpas in the audience. It was perfect. The old music sprung from places like this, not from supper clubs or concert halls. Putting Industrial Revelation there on a Friday night was the best thing Seattle could do for jazz.”
11/06 Industrial Revelation
Written by John Gilbreath, Seattle Sound MagazineThe following is an excerpt of the article
“[Industrial Revelation] is ready to both circumvent the jazz tradition and hit you over the head with it…In spite of their youth, the group members express a deep soulfulness in their music and their philosophy, assimilating what used to be valuable in jazz as “great Black Music”: a spirit that one doesn’t realize was missing until its presence reappears.”