Elephant Revival’s fourth studio LP, Petals, launched them to national attention last year. The Coloradans’ multi-instrumental dimensions behind Bonnie Paine’s mesmerizing, jazz-styled breathiness and Daniel Rodriguez’s tender-harmonied folk shade the songs alongside strings and rhythms as the narratives wind through beautifully existential meditations. In one instance, that landed them a show backed by the Colorado Symphony.
“With a symphony, you feel like you're hopping on a train and you just have to surrender to that,” laughs Rodriguez as the band drives through Wisconsin. “You have to keep your eye on the conductor.”
Onstage, the quintet explodes with energy, at times roiling with a jam band fervor and at others hushing crowds with delicate intricacy. An Elephant Revival show showcases an instinctual coherence from the band’s long history of playing together.
“We’ve been together 10 years, so we’re pretty psychic,” offers Rodriguez. “Everybody in the band has really good ears, because we want the best listeners who hear a song and feel exactly what it needs while being really selfless about it. You learn over time in any group dynamic that it’s a marriage of personalities. I think by now we have a Ph.D. in group dynamics.”– Doug Freeman
US Weekly is to punk as platypuses – Australia’s duck-billed, beaver-tailed, egg-laying swimmers – are to mammals: categorically undefinable. The Austin foursome shatters archetypes, lobbing hardcore shouts into a crossfire of No Wave, New Wave, and noise. On their eponymous LP, vocalist Chris Nordahl’s political protests, emotional purges, and cultural critiques resound punk potency.– Kevin Curtin