(Electro-Jazz / Garage-Jazz / Post-Rock) Industrial Revelation - Oak Head - 2013, FLAC (tracks+.cue), lossless

REM GENRE Jazz
REM DATE 2013
REM DISCID 72082B08
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PERFORMER "Industrial Revelation"
TITLE "Oak Head"
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What is Industrial Revelation? This question is not easy to answer. I have tried again and again to put my finger on the music, to say what it is precisely, where it comes from, what its roots are, what it might be related or referring to. But I honestly have no idea how to classify it. This critic has to be silent on the matter. True, the four musicians have deep jazz backgrounds—the founder D’Vonne Lewis is a jazz drummer, Evan Flory-Barnes is a jazz bassist, Ahamefule J. Oluo is a jazz trumpeter, and Josh Rawlings is a jazz pianist. But knowing the background and training of these musicians does not help to explain the music they make as IR. Yes, there are some tracks that have a clear jazz sound, but with the exception of one—the exquisitely beautiful “Color of Caliman”—it’s never stable but evolves into other strange and wonderful things.
“All the music I make with other groups is done with the aim of supporting IR,” Lewis told me one afternoon in a cafe. “This is my core project.” That’s a huge statement coming from a man who is recognized as one of the best and most established jazz drummers in the city. IR is a risky project; it’s ungrounded and indifferent to the limits of the jazz tradition. Why would it be at the center of his career and not, say, an interesting side project? Because for Lewis and the other members, IR is essentially research and development. Meaning, you have to see this album as the result of a kind of blue-sky musical thinking. And indeed, this kind of thinking is all the more rewarding if it is placed at very center of things. The most productive research programs in science and also the economy always place a premium on blue-sky thinking. From the unknown, the new emerges. Charles Mudede

Seattle, WA–Garage-jazz quartet Industrial Revelation has been making music together in various incarnations for a decade, but with their new studio album Oak Head (October 15, 2013) they’re poised to make a major statement in the world of black improvised music. Founded by D’Vonne Lewis, one of Seattle’s most sought-after drummers and the grandson of Seattle rhythm and blues legend Dave Lewis, the band also features Ahamefule J. Oluo on trumpet, Evan Flory-Barnes on bass, and Josh Rawlings on keyboards. Individually, the four members of I.R. have worked with nearly every major artist in Seattle, and plenty more beyond–from Macklemore and Das Racist to Robert Glasper and Wynton Marsalis. Collectively, the band is equally at home playing at a house party in Olympia or on stage at Benaroya Hall, and they bring that affinity for the epic and the intimate to every track onOak Head.
With their previous albums, I.R. sought to capture the engrossing, stomping scope of their live shows, which turn on a dime from hushed sincerity to sweaty bombast and have earned the band an obsessive cult following (City Arts’s Jonathan Zwickel described I.R. in concert as, “beautiful, dramatic, psychedelic, funny, funky, swinging, punchy”). But Oak Head marks a stark, pointed departure, both musically and conceptually. The album celebrates the introspective capacity of studio recordings, distilling and polishing I.R.’s messy fire and powerful spontaneity into something utterly new. “On Oak Head,” Oluo explains, “we embraced the refinement of the studio–it’s a very deliberate album–but at the core of every single one of those songs is a group of people playing in one room together at the same time, feeding off each other’s energy and welcoming the unknown.” Lewis adds, “If there’s one thing about this band, it’s that we all just play from our hearts. This album represents that so well–it’s just straight focus, straight stripped-down emotions.”
The album’s advance single, “Saying Goodbye (to rainbow socks and hair dye),” strikes a radiantly minimalist groove, layering a simple but obsessive melody (in Oluo’s sonorous flugelhorn) over a relentless, twinkling heartbeat held down by Rawlings on the Fender Rhodes. Penned by Flory-Barnes and largely improvised on the day of recording, “Saying Goodbye” is direct musical communication–so stripped of posturing that it’s almost above genre. That devotion to pure melody, to the rejection of the confines of genre, is the driving philosophy behind Oak Head.
I.R. recorded the album at a remote cabin called Oak Head over just two cold spring days–including some songs they’d been playing for over a year, and others that weren’t even written before they started setting up microphones. It’s a deeply honest, deeply personal piece of work, fixated on the idea that a simple, strong melody can be as experimental as the most esoteric art. Oluo explains: “Sincerity is the absolute ripest playground for experimentation. The idea that the two are at odds is a myth. It’s all about balance. The more you stretch to the experimental ends of music, the more you have to embrace the humanity of music. The taller the tree, the deeper the roots. The roots of this album go deep.”
“It’s a jump-off,” says Lewis. “Even though we’re four albums deep, Oak Head is just the beginning. With our earlier albums we were still growing, you know? Finding our focus. Now we can really get it going.”

D’Vonne Lewis – drum set
Evan Flory-Barnes – upright bass
Ahamefule J. Oluo – trumpet
Josh Rawlings – piano, fender rhodes