Reviews
Control Freaks
https://dmme.net/revolution-rabbit-deluxe-control-freaks/
Blackwood horsemen of Apocalypse stake their claim on a place in the sun – in a world where the sun doesn’t shine.
While most mortals write about G-spots and Californian whores, this South Wales ensemble rage about the G7 and Ukrainian war – it’s been the foursome’s modus operandi since “Tales From Armageddonsville” announced their arrival on the scene back in 2018, and the band’s fifth album “Control Freaks” is tightening the gloriously gloomy method that marries provocative political and personal lyrics to marvellous melodies. Although Rev Rabbit and his fluffle pretend they don’t give a damn about anything – the “you tell me “go to hell,” I say, ‘I’ve been there plenty’” couplet suggests as much – ultimately, there’s a wonderful story in the dozen pieces on display, which emphasises the quartet’s firm grip on reality. Yes, they do care, immensely so.
Sure, opener “I’ve Got Nothing” may make the audience assume the musicians are at peace with minimal means to show for their trouble, but its bluesy twang and life-affirming swirl of guitars reveal their unwillingness to surrender to existential ways without a fight, before the deceptive shoegaze shuffle and relentless groove allows “Cult Of Me Me Me” to accuse web consumers of misplaced pride. And if “Head In The Sand” lets Maxine Perrera shoot incendiary six-string riffs at Ben Davies’ bass rumble so that Rev could lay infectious vocal lines over the instrumental barrage, “Between A Mother And Her Child” offers electronica-enveloped romantic sentiments – a contrast to the scintillating balladry of “The Girl From Irpin” where drama and anger elicit symphonic sympathy from the listener, and the “I’m sorry for your loss” refrains turn into a belligerent, vocal harmonies-enhanced march. But then, there’s the ’60s-indebted rock of “Fabian Control Freaks” to wash away the misery with fun. “Glasgow Kiss”s acoustic strum and electric glide weave a tender jangle to awake a dream in the hardest of hearts.
However, the irresistible drive of “Stuck On Stupid” bares the ensemble’s punk leanings – merged with an affectionate tune – and “The Darkest Of Days” points towards their love of folk piquancy and pop flair, which is why “Summer All Year ‘Round” – that Dave Headon’s heady drumming propels towards rapture – delivers a perfect, exhilarating finale. So yes, the foursome are in control – only this kind of control must be called sympathy and be shared with the world.
****4/5
Pete’s Rock News and Views
https://petesrocknewsandviews.com/revolution-rabbit-deluxe/
Hailing from near Blackwood in Wales, this powerful Alt-Rock four piece have been together since 2019. The band comprises of Max Perera (Lead Guitars), Ben Davies (Bass) and Rev Rabbit (Guitar and lead vocals). The drums were provided by Dave Headon who left the band in June 2023.
All the band members have experienced mental health difficulties with Ben and Ant being on the Autism Spectrum (Aspergers). Their openess about this is refreshingly uncommon. They have released four albums up ’til now: Tales From Armaggedonsville; Swipe Left; Myths and Fables; and the critically well received The Great Divide.
Soon to be releasing their now fifth independent album, Control Freaks, this first peek at new material is a double A-sided single that showcases the high energy album opener and closer. The first (I’ve Got Nothing) is a plea for inequality to be reversed and the second (Summer All Year ‘Round) is a happy little ditty about global climate change.
The songs do not wander far from the band’s alt rock / post punk roots. The band’s influences vary from the lyricism of Andy Partridge and Billy Bragg, to the angular rock of the Pixies and Smashing Pumpkins.
The Great Divide
RRD hail from near Blackwood in the Welsh Valleys, same home town as the Manic Street Preachers. And sorry guys if you’re sick of the comparison but it’s inescapable that there are similarities not only in the inventive clanging hard-edged Alt Rock sound but also in the upper register and passionate vocals that resemble the young James Dean Bradfield to an extent. That’s the comparison out the way because there is no question that RRD have a sound that is quite distinct from the Manics and are setting out their stall early on The Great Divide. This is a band with plenty to say musically and in socio-political terms too.
It’s an album of melodic, energetic Alt Rock that presents RRD as a band who understand the value of taking a song and thinking about all the additional features that make it more interesting and engaging. This is true of the semi-pysch atmosphere of Resolving on E, the subtle Folk-infused undercurrent of Little Caesars contrasting with its heavier choruses and the Smashing Pumpkins-ish jangle of Shannon.
Smoke and Mirrors is mid-tempo with a simple but appealing chord pattern and a vocal that starts off mid-register and then rises up an octave once the full band kicks in. It is inventive too with great little switches into guitar figures that lift the track. All about the nuances; a masterclass in how to infuse a good song with great ideas that take it up a level. Manhattan presents another side of their musical character, laid back and dreamy. It ends with Islands, switching between half and full time while an unusual chord structure underpins a Bowie-esque vocal and some sumptuous guitar work. A strong finish to an impressive set.
https://www.anrfactory.com/?s=Revolution+rabbit+deluxe
POUT by Revolution Rabbit Deluxe
Born deep in the chilly trenches of the hard-working South Wales valleys, Revolution Rabbit Deluxe are in pinnacle-conquering form with their new single that sends shade to those who think they are too cool for everything on, ‘POUT‘. RRD is a Blackwood, UK-based indie four-piece post-punk band that has constructed one of the catchiest songs so far in 2022.
”The song came after a jam in 2020. During the instrumental, I sang, “DO THE POUT!” The remaining lyrics fell into place after that.” So what is the POUT? “I think it’s the feeling we all have as children and still have as adults. A child crying over not getting ice cream, and adults who feel entitled to have the world revolve around them like they’re the hero in their own movie.” ~ Ben from RRD
Shaking their tails and causing us to smile and beam all at the same time, RRD have that cheeky style that makes you think that they would actually take the time to have a chat with you after the show. There is so much goodness here in a song so likeable, you might tell your neighbour about it while you are both out in the garden.
‘POUT‘ is a track that will have you tapping your feet and clapping in admiration, for an outfit who are totally themselves. There are zero fake braggadocios elements here, only realness and an honest vibe that is made with fantastic Welsh charm. This is a track to play loud and plentiful, as we are naturally intertwined with such glorious genuineness that is creatively contagious.
Reviewed by Llewelyn Screen
Myths and Fables
Eclectic Music Lover
https://eclecticmusiclover.com/2020/08/25/revolution-rabbit-deluxe-album-review-myths-and-fables/
Revolution Rabbit Deluxe (RRD) is an indie alt-rock rock band hailing from south Wales. Their innovative and sometimes unorthodox music style and sound draw from Brit-rock, pop and punk influences, with meaningful lyrics tackling topical issues ranging from politics, culture and environmental justice to mental health. RRD started out as a solo project but gradually evolved into a four-piece that now includes Rev Rab on guitar and lead vocals, Dan on guitar and backing vocals, and Ben on bass and backing vocals. The drummer Nick, who played drums on their latest album, recently left the band.
RRD is back with their third album Myths and Fables. Like their previous albums, Myths and Fables is a concept album of sorts, in that its overall theme addresses politics, the media, and societal myths like celebrity and fame that people blindly accept as truths. It also has a darker and edgier feel, both lyrically and vocally, with Rev Rab sounding angrier and more frustrated than ever.
The album kicks off with “Generation Voyeur”, a song about the addictive allure of social media, specifically a person who documents everything from what they last ate, to their most intimate personal dramas and trauma. But in a broader sense, it speaks to the voyeuristic nature of society and our attraction for watching a personal train wreck: “There’s a time and a place and a space for disgrace. And then we took a look. He fell down from the ledge as we pushed from the edge. And then we took a look. She cried out to above as she died without love. And then we took a look.” The strong pulsating beat is overlain with spooky psychedelic industrial synths and rolling riffs of gnarly guitars, giving the track an almost sinister vibe.
On “Killswitch”, RRD decries the cannibalistic profiteering by corporations in monetising our personal information: “Turning the on switch off / They tell you it’s progress, it’s progress baby / Stealing your life away / They tell you it’s progress, it’s progress baby. They’ll thrill you, betray you, then they’ll bill you / It’s big business now.” I like the song’s urgent chugging psychedelic groove and mix of sharp chiming guitars and grimy distorted riffs, along with the shrill sounds of what seem to be steel train wheels breaking on a track.
The title track “Myths and Fables” sees RRD railing about tired old platitudes people have repeated for years like “it’s better to have loved and lost” or “all roads lead to Rome”, and how they’re just meaningless bullshit that never result in action: “It’s time for truth, open eyes, no secret lies / It’s time to choose, we’re outa time / The planet burns and we choose lies.” On “Channel 5” he laments the depressing effects of TV news: “And you’re watching it live, on channel five / You’re taking me down, taking me down down down / I don’t want to drown.“
One of my favorite tracks is “Pretty Escarpment”, with its bouncy yet melancholy opening piano riff and ensuing galloping rhythms. The lyrics speak of a past love who wasn’t a good match, but whose memory still haunts: “Too many memories in your shade / Too many echoes from your walls / Do I get up and walk away or stand at the edge and plunge into the pretty ravine that held my eyes / The pretty escarpment built from lies...” “Superstar” is a cheeky take down of celebrities, with their superficial and often excessive lifestyles: “You drive a big fast car / You drive around with your harem of young blondes / You say they keep you young / Any younger you’ll reenter your mother’s womb.”
“Battle Hymn (Of the New Republic)” seems to be an attack on the nationalistic attitudes that resulted in Brexit and the election of leaders like Boris Johnson and Trump. Lets take care of ourselves and screw everyone else. “The track’s jaunty melody contrasts with the biting lyrics “Tell me you feel safe in this land of hope and Tory / Will anybody stand or take the cheque and plead the fifth / We excuse ourselves, denying our responsibility / Taking all we can, we screw the system / It’s do or be done or be damned.”
On “TV Junkies”, RRD calls out politicians and the media for feeding endless streams of fear and lies to keep society divided and angry, not to mention upping their ratings: “In darkened rooms throughout the land TV junkies get sky high / They throw us targets for our hate / They fan the flames and toy with fate.” I think we can all identify with the powerful sentiments expressed in this song, regardless of political persuasion.
While I don’t think Myths and Fables is quite as strong an album as Tales From Armageddonsville or Swipe Left, it’s still a solid work filled with songs featuring timely and compelling lyrics, along with some terrific instrumentals.
Revolution Rabbit Deluxe are a band based in the Blackwood area and although they have an ominous stance in regards who they are and what their message may be, they have crafted an interesting third album. It opens with the track “Generation Voyeur” which melts into your mind with its dynamic synth line, assertive drum beat and unearthly spectral vocals. A chorus chant of “Click! Click!” has quite an alarming tone to it, putting you on edge, kicking off the overall feel of the album perfectly.
“Killswitch” continues with its bubbling synth and sweet mellifluous guitar line, drawing you in with its lyrics, drawn out by the optimistic vibe of the instrumentation. It’s a real highlight of the album as it has a nice divide between despondency and the serene, clashing in all the right ways. Title track “Myths & Fables” bounces along with some synthy sounding bass, seemingly a reoccurring trope of the album so far, but one of the reasons why I’m enjoying it so much! This song has more of a Brit-Pop vibe to it, harking back to the early 90s sound of bands such as Primal Scream or (dare I say it?) the Manic Street Preachers. I really like how varied and catchy the album is, adding the electronic elements to a more traditional band set up really gives it an extra layer for the band to play with. It’s like when Billy Corgan introduced electronic elements to the Smashing Pumpkins sound, the results were wonderful!
“Channel 5” creeps along, reminding me of a David Bowie song that I can’t quite remember. A bit more of a glam stomper with some brilliantly fiddly guitar playing, militant drumming and prominent bass lines. Anthony is bellowing for his life here by repeating the refrain ‘taking me down’ and I really admire the space-age guitar outro alongside the industrial sounding drums. “Reconstruction (Through_Deconstruction)” has an almost Pop-Punk guitar intro which soon gets dispelled when the vocals slip in, giving it more of an Indie Rock feel with the scratchy guitars, layered vocals and it’s choral incantation of ‘if you want it, make it happen’. The next track “Pretty Escarpment” contains a refreshing keyboard sound, confident vocals and squidgy/fuzzy guitar licks. I had the piano melody from this stuck in my head when lying in bed. It has such an emotive quality to it.
What happens when you your Acid House turns New Wave? You “Go Supernova” with its wickedly distorted vocals and infectious bounce. I must say that “You say they keep you young, I say much younger, you’ll re-enter your mother’s womb” is the lyrical highlight for me! Onwards from its clamorous break and supernatural sounding synth lines, we get into “Battle Hymn (of the New Republic)” kicking off with an electronica introduction once again, but I’m beaming as I listen. Bringing back the Brit Rock presage, it sails along with a great upbeat pace and general concern for a potentially dystopian future which is coming to fruition. “TV Junkies” concludes the album with its captivating melodies and unstable but rousing guitar bends. “Show me, show me, reveal who you are, reveal who you are!” is the chorus of choice, being equally as catchy as it is antagonistic. A great way to finish off the album, with a memorable indie-punk war cry, littered with a multitude of interesting vocals samples and exploratory sound effects.
I think this release in the Revolution Rabbit Deluxe oeuvre is pleasurable to my own personal musical intrigue and audible palette. Stuffed to the brim full of fascinating concepts and extensive sonic playfulness, this is a great Indie Rock meets Experimental Brit-Pop album that has been a delight to listen to. The band seem quite prolific lately and I’ve noticed the shift in progression to their overall sound and musical output, ticking all the right boxes. If you get the chance, check out “Myths & Fables” I’ll be jumping down the rabbit hole myself to check out their previous albums and I’m also looking forward to seeing what they come up with next! Listen HERE on Spotify and follow the band on Facebook for future news and releases.
Swipe Left
Bright Lights Gig City
I recently found a new band on Twitter. Not my usual hunting ground for new music. However I was pleasantly surprised to have a band fall into my lap. REVOLUTION RABBIT DELUXE – This four-piece from the South Wales valleys describe themselves as a “power pop, Brit Rock, indie project.” I listened to their album and I have to say… I was surprised. I dont know what I was expecting with their description but they are EXACTLY what they say they are, power pop, Brit Rock and indie. The album, Swipe Left, is a fantastic listen. Honestly it took me back to 1996. I felt like any song off this album could have been on a “Best of Brit Rock” compilation. It’s the album you want on a good old casette tape. You can tell the guys have put a lot of time and effort into this. I found it hard to pick out one standout song because I genuinely enjoyed them all. I will however mention Punk Rock is Dead purely because it’s genius and I haven’t stopped singing it for days. Seriously… if you want a band who are what they say they are, do what they say they do and transport you back to the glory days of Brit Pop/Rock, then look no further than Revolution Rabbit Deluxe. Very Well done guys.
Eclectic Music Lover
Revolution Rabbit Deluxe (RRD) is an indie rock band hailing from South Wales. Their innovative, alt-rock sound draws from Brit-rock, pop and punk influences, with meaningful lyrics tackling issues ranging from politics, culture and environmental justice to mental health. RRD started as a solo project for founder and guitarist Rev Rab, but evolved into a four-piece band, when I reviewed their terrific debut album Tales From Armageddonsville. They comprise of Rev Rab (guitar, lead vocals), Dan (guitar), Ben (bass, backing vocals) and Nick (drums), and recently dropped their sophomore album Swipe Left.
The album has 12 tracks, and I’ll touch on what I think are the highlights. RRD gets right down to business on the opening track Doomsday Clock/Cornucopia Croaked, a rousing foot-stomper about mankind’s relentless assault on our planet. The track starts off with what sounds like a huge ticking clock in an empty room, backed by distant sounds of civil unrest. At the 30-second mark, the clock stops and we’re hit with a barrage of gnarly distorted guitars and hammering drums, driving home the urgency of the subject. Rev Rab issues a scathing assessment of our destructive tendencies: “We tore down the hills. We dug up the valleys. We pulled down the trees. Replaced them with concrete. And it’s goodbye world… Cornucopia croaked. Strangled by plastic. All the floodplains soaked. Need to do something drastic.” Keeping with the theme of earthly degradation, Gods of Folded Bills speaks to how greed, over-consumption, and the downside of capitalism have led us toward the looming prospect of our own demise: “We sold out to darker powers, and all the while, we pray to gods of folded bills. There’s no return, we’re driving down a one-way street. There’s no concern, as the rhino joins the queue.” The song has a cheerful synth-driven melody that belies the darker lyrics.
So too with Superglue, its catchy new wave/psychedelic grooves in contrast with the more serious subject matter. “Can’t you tell this fragile shell on which we live…is gonna give… The edifice you’re building in your heart. A monument to pride. A prisoner inside. A prisoner to hide. The prisoner is you. And my advice is pull it down, tear it down, smash it down.”
Picture of a Man is a rather somber song about a man who puts forth a charming, gallant image at sharp odds with his shortcomings and cruel nature: “Don’t you paint a fine, fine picture of a man. So subtle, so refined, so charming, so cultured, so well-groomed… A player, you play her well. You beat her, you cheat her. Please leave her, relieve her. Just walk away. But freedom is what she wants from you. The one thing you can’t give”
Guess Which Number is a sweet tune, with sparkling synths and a lovely piano-driven melody, while Father of Lies pays homage to David Bowie’s Heroes with its similar iconic driving riff. One of my favorite tracks is Punk Rock is Dead, a bouncy punk-infused song about how societal pressure to conform killed off the free-thinking, anti-establishment spirit embodied by punk: “Take a message. Subvert it. Pump it out as truth. Take a free man, create dependence, erode away identity. Millions like him share the uniform of corporate rebellion. Punk rock is dead. Who killed it? Punk rock is dead. You killed it. Punk rock is dead. We killed it.”
Steel September Skies is a complex and haunting track. It begins with a gently strummed folk guitar, then a thumping drumbeat ensues as Rev Rab describes what starts off as a bucolic scene that quickly turns ominous; symbolising a nation formerly at peace but now plunged into an authoritarian regime or civil war: “A picture-perfect parade winds down my street. As adults clap and children cheer, frozen in time. I hear the crash of jackboots black. Let’s change the scene. Ignore the screams… My mother’s arms holding me tight, keeping my safe. I try to smile, but my belly aches, there’s flies in my eyes. And then the screams, my mother screams.” The music intensifies as his vocals turn urgent:“I am just one man, got no master plan. But I’ll try to stand if you’ll take my hand. Til the sun turns black, Til the sky is cracked. Til the curse lies choked, I will cling to hope.” Suddenly, things turn around to a more positive, hopeful tone: “Parade’s rewind and jackboots fade. All our wrongs are being undone, the guilty can’t run. It’s time to live, it’s time to love. I am just one man, got no master plan…” The music calms back down to the gently strummed guitar as the song fades out. It’s such a powerful and stirring song.
Swipe Left is another strong work by Revolution Rabbit Deluxe. Given their unique, sometimes unorthodox sound and deep, thought-provoking lyrics, their songs often require a couple of listens to unpack and fully appreciate all the nuance to be discovered within them. Putting forth the effort pays off nicely once you come to realize the high quality of their music.
Soundboard Magazine
My inner alarms started going off like a jail-break klaxon when I heard RRD were releasing a second album so soon after their debut. I was worried that after the success of their first, this would be the infamous ‘difficult second album’ – But I needn’t have given it a second thought because Swipe Left is jam packed with RRD’s trademark ear-worm melodies and hard, punchy tunes.
There’s elements of Pink Floyd, Television, Talking Heads and a bit of Lennon’s nasal sneer. This really is a class rock album of some note. Those familiar with, Blackwood punk rockers, 100,000 Bodybags will have trouble aligning their quiet, masked guitarist with this charismatic frontman – but frontman he is and he certainly knows how to whip up a crowd at live performances. Check them out if you can at one of their live gigs. RRD are quietly getting quite a reputation for themselves and Swipe Left will do nothing to assuage this rollercoaster ride to the top. Definitely ones to watch in 2020.
tracks : Doomsday Clock / Cornucopia Croaked / Defcon 1 / Gods Of Folded Bills / Superglue / Angels Landing / Picture Of A Man / Guess Which Number / Father Of Lies / It’ll Be Alright / Punk Rock Is Dead / Sacred Book Of Lasts / Steel September Skies.
Tales from Armaggedonsville
David Jandrell (Author)
I pressed play on my CD player with trepidation – I’m a stuffy old progger who expects 40-minute introductions to the two tracks that normally fill to capacity the CDs that I listen to. “Too many tracks on this,” I thought.
Anyway, it was a breath of fresh air for me. Difficult to tie down to a genre which most people feel compelled to do when hearing something for a first time. I think this is unfair which is why I didn’t do it – but, if I was of that bent, I wouldn’t be able to classify it. It is just good, punchy, well-written and well-played songs which begs to be replayed over and over. It’s very diverse – which I like. Tempo changes, key changes, off at a tangent stuff. Very interesting to listen to and perfectly structured to maintain interest.
Elements of prog here, punk, 60s vibes, 80s and 90s tinges but so well incorporated into the songs that they fit perfectly. And, I still am not 100% convinced that Lennon is not singing on ‘Going Solo.’ Great stuff – well done.
Eclectic Music Lover
It was a pleasant surprise to be contacted by Welsh band Revolution Rabbit Deluxe about their debut album Tales From Armageddonsville. I was intrigued by the lively, Brit-rock sound and its thought-provoking lyrics. RRD began as a solo act by vocalist Rev Rab (RR), but quickly became a full band.
The album kicks off to a rousing start with “Tarred and Feathered,” a pointed attack on racism and inequality institutionalised by the state: “When you’re judge and jury; to approve by not disapproving. Our best qualities are arrogance and pride.” The band delivers chugging riffs of gritty guitars set to a hard-driving beat and strutting bass line. The piano provides a melodic counterpoint to the guitar, making for an exciting and powerful song.
The band takes on cultural and media mind-control with “Pavlov’s Dogs,” driving home the message with a barrage of punchy guitars, fuzzy riffs, screeching synths and thumping drumbeats. RR laments the false expectations we fall victim to: “See that girl, she’s so unhappy. Thinks her life should be like the silver screen. Sometimes she wants to scream. That video is so seductive. Feeds the dream, but denies the means.”
One of my favourite tracks is “In God We Trust,” a song that calls into question one’s faith in God with an air that exists somewhere between a catchy Beach Boys-esque vibe and a darker psychedelic tone. RR implores “Save me, why don’t you save me?” He goes on to ask why not save an assortment of people that society deems ‘undesirable’ – like the hookers, pushers, pimps, dealers, the one-parent family and union moguls. He finally caustically beseeches “And while you’re at it, you can save the man. And while you’re at it, save the man in the moon!”
“I Can’t Change Your Mind” speaks to mental illness, with jangly guitars and spooky synths that lend a strong 80s feel. RR laments his loneliness and irrelevance: “I’m alone here in the dark. Please don’t throw me scraps of hope. Fade away, I fade away. A shadow lost on sunny days.” A backing chorus sings the refrain “I cannot take much more. I cannot change your mind” throughout.
The terrific lo-fi guitar-driven tracks “Going Solo” and “Chords Played All Wrong” would have been right at home on the Beatles’ White Album, and “Blackwood Calling” has a throwback 60s Brit-rock vibe, but with 80s New Wave sensibility. More grungy lo-fi goodness abounds on “Helen Needs,” a song about a woman looking for relief from her negativity and self-pity. “Helen needs another love song. Spitting sweetness from her headphones.” I especially like the quirky little guitar notes and powerful drumbeat that continue throughout the track.
Another favourite is the hard-hitting and provocative “Whore?” – a song that, in the band’s words, “deconstructs the modern Western family and asks why so many people in the Third World suffer to give us our standard of living.” “Your perfect family, for you it’s milk and honey, while for others it’s a river of blood.” The song has a bit of a Depeche Mode vibe, with its strong, crunchy guitars, spacey synths and the kind of heavy, mesmerising beat I love.
“Catechisms/Cataclysms” urges us to change our ways for the betterment of the world, delivered with a barrage of gritty guitars and a hard-driving beat. “Armageddonsville” closes the album with an ominous warning of the consequences of our wicked ways. The track opens with late 80s-sounding techno synths and a strummed guitar as RR cautions: “It’s getting hotter and they say we’re gonna fry. The ice is melting, polar bears are gonna die. Spilling blood for oil, it makes me want to cry.” The guitars, bass and drums intensify to become a tumultuous onslaught, driving home the seriousness of the subject matter. RR wails “Welcome stranger, take a seat and say a prayer. There’s nothing else to do in Armageddonsville.”
Tales From Armageddonsville is a fine work, and succeeds as a concept album that speaks to a number of thorny issues currently facing Western societies. The songwriting, lyrics, instrumentation and arrangements are all exceptional, and I enjoyed immensely.
ANR Factory
GOING SOLO: THE REBIRTH OF BRITPOP
If you’ve ever thought that the Beatles would sound better with extra crunchy distortion it’s safe to say Revolution Rabbit Deluxe’s standout single “Going Solo” from their latest album “Tales From Armageddonsville” will be right up your street.
Going Solo has a psychedelic drive complemented by fuzzy distortion which bleeds from the electric guitar as it seamlessly yet raucously glides through the chord progressions. It’s almost a little ironic that the next track on the album is “Chords Played All Wrong.” Irony aside, with riffs which would be at home in a Metal track, yet with an archetypical Psychedelic Pop Rock Vocals, you’re treated to a smorgasbord of elements which no one can deny is prodigal.
Review by Amelia Vandergast
Lost in a Sea of Sound Blog
Tales From Armageddonsville is a heavy testimony. Psychedelic influenced rock music filled with observations about the state of our social structure. Founder Rev Rab started off on a solo journey of song writing and guitar playing. He was joined by Ben, Dan and Nick all contributing to vocals and adding bass, guitar and drums respectively. Maybe the additional musicians are the “Deluxe” of the band’s current name. Together the artists have combined with a driving sound filled with passion and energy.
Trying to classify the sound of Revolution Rabbit Deluxe is tough. Their melodies seem to cross genres and decades, pulling from an array of influences and emotions. This makes comparing Tales From Armageddonsville to other albums or bands a lost endeavour. But finally without hesitation, Lost in a Sea of Sound has one of the only chances of referencing a much-listened-to band from the same city. The ties are their Cardiff roots, well written music and solid rock sound, but Budgie has to be mentioned. These bands sound nothing alike but both possess a love for a heavier sound with well written lyrics and diverse tracks. Replace the metal with a modified lighter alloy and age it over forty years, and you get Budgie’s Stranded mutating into Going Solo. The lyrics on Tales From Armageddonsville are much heavier than metal rock writing of the past.
Self released and available on every digital platform. CDs are available from the band.