Colour Revolt
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Colour Revolt


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The best kept secret in music


"Colour Revolt shows an original edge on EP"

Luckily, for a band like Colour Revolt, emotional does not always mean emo, and beautiful does not necessarily mean boring.

This Jackson-bred, Oxford-based band just released a new album that could prove to be an instant self-esteem booster for the Mississippi music scene.

The album was recorded at the Train Station by Steven Bevilaqua and mixed by Clay Jones of Sweet Tea Records in Oxford. It was released on the Jackson-based label Esperanza Plantation and could easily put Mississippi on the map for indie rock.

This six-track, self-titled release is an impressive, versatile mix of intricate arrangements, distorted vocals and heavy downer-rock presence.

Though some of the songs might be compared to those of Radiohead, Arcade Fire or Modest Mouse, Colour Revolt's harmonica intros give the band an original edge and give their songs a twisted folk sound, which usually drives into straight rock fits of guitar solos and screaming.

The songs are both heavy and energetic, without sounding droning, and the vocals are mature beyond their years.

Saturday, Colour Revolt will play at the Library with Living Better Electrically. LBE is a rock-based quintet from Jackson.

They are known for Kinks-esque songs that buzz and hum with edgy pop inspiration and '60s Brit charm.

The show will begin around 10 p.m. For more information, check out or call the Library at 234-1411. - The Daily Mississippian

"Fun with emo: Revolt rocks Hippo"

by Mik Davis

Jackson's Colour Revolt will bring their intoxicating, emotional rock to Hattiesburg on Friday. Yes, I used the dreaded "e" word - but this band revives everything that became cliched within that genre.

At their peak, singer/keyboardist Jesse Coppenbarger screams with passion and bites the consonants off the words that he shrieks while the band pounds a hook that is at the pinnacle of its existence. But during quieter moments, the band reveals its secret weapon - Coppenbarger's melancholic, wordless melodies.

While his "la's" and "do's" whirl around your head, guitarists Jimmy Cajoleas and Sean Kirkpatrick conjure exquisite harmonies and Radiohead-ish atmospherics.

Holding these elements aloft, while never bringing them down to earth, are the potent rhythm section of bassist Drew Mellon and drummer Len Clark. Clark and guitarist Cajoleas followed their love of Nirvana into forming a band in junior high school.

"Jesse joined in driver's ed," Cajoleas remembers, "and we sort of sucked, but had the best time in history."

Taking on new members, the current incarnation began life as Fletcher before a few tours and musical maturation led to the band's current name. Colour Revolt members are in college in Oxford and steeping in the state's fertile literary traditions and history.

"The South has a very violent history," Cajoleas said. "I know most Southerners don't like to talk about it, but when there's a Confederate graveyard next to the basketball courts at your school - these things make an impression on you."

While the group was recording its current eponymously-titled EP for Jackson's Esperanza Plantation, Cajoleas said that he and Coppenbarger were "completely immersed in Barry Hannah."

"There's no way to make music in Oxford without bringing all of this with you. It's our backyard. It'd be foolish to ignore it," Cajoleas said.

Colour Revolt will be in our backyard Friday night at The Thirsty Hippo, 211 Main St., with Hattiesburg-based complex rockers Cottage Industry. - Hattiesburg American

"The Memphis Scene: Augustine and Colour Revolt"

Augustine and Colour Revolt

With Radiohead's "OK Computer" garnering honors from Spin magazine as the best album of the past 20 years, this was a good week to check out two emerging bands that display an obvious influence from my generation's "White Album."

Wednesday's bill at the Hi-Tone, topped by Memphis band Augustine and Oxford, Miss.-based Colour Revolt, was a refreshing change from the retro-fashionable posturing of so many top rock bands today. The order of the night was intricate guitar arrangements, tight tempo changes, and no-nonsense, gut-wrenching emotion.

Colour Revolt's energetic stage presence kept the heavy content of their songs from turning their set into a downer. Their composed instrumental passages struck me as owing something to prog-inspired jam acts like Phish, but the rich layering of guitars (Telecasters, naturally) was unmistakably Radiohead-influenced. Tasteful occasional use of keyboards added another level of interest.

Augustine is generating plenty of "best band in Memphis" buzz, and after seeing them for my first time, I can't discount the hype. They look like they actually belong on stage -- like they OWN the stage. Their sound is huge, whether it's a full-on crash-cymbals-and-distortion passage, or a quiet, vocals-and-clean-guitars-only moment. You must check these guys out next time around. - Commercial Appeal

"Music review: Colour Revolt"

Music Review: Colour Revolt
by Daniel Brantley
posted January 17, 2006

Colour Revolt
Colour Revolt EP
Esperanza Plantation

While the young men of Colour Revolt look thoroughly disinterested in their press photos, the music they produce is captivating. If you’re familiar with the band’s earlier work under the name Fletcher, many of the same elements are present in this six-song EP.

There are also some new elements introduced, including the first sound of the album – the harmonica. Whether they’ve been soaking in the rays of Neil Young or were under the influence of producer Clay Jones (Fat Possum Records) who mixed the album, the harmonica initially gave me an uneasy feeling that was replaced with acceptance and was eventually welcomed with open arms. Only found in a couple of songs (“Blood in Your Mouth” and “Change Your Face or Your Name”), the harmonica works its way in and out with great subtlety, which sums up the entire disc.

Every song is put together well and is reinforced through the solid instrumentation of Jimmy Cajoleas (guitar), Len Clark (drums), Jesse Coppenbarger (vocals, guitar, piano, organ, harmonica, vibes), Sean Kirkpatrick (guitar, vocals, piano) and Drew Mellon (bass, synthesizer). However, it is the subtleties of the disc that make this a well-crafted EP. From well-placed guitar parts to just the right amount of vocal distortion, the Colour Revolt EP was thoughtfully produced, and the result is an indie rock piece that is wonderful to behold.

As for the lyrics, they’re full of cryptic rock-and-roll depths that only the mind of the artist can fully appreciate. If I attempted to decipher the lyrics, I would only end up looking ignorant. So I will instead claim ignorance at the outset and be heralded for my bravery.

During “Blood in Your Mouth” when Coppenbarger screams, “lions as birds / protecting what we know of works / they say our feet were meant for dirt / I disagree,” I feel there is something of great spiritual weight in the lines, and I am anxious to determine what exactly that is. My fear is that these lines are nonsense – but I am hopeful my fears will be relieved as I age and grow in wisdom.

Pushing a couple tracks further into the disc, Coppenbarger’s lyrics aren’t any more comprehensible, but the melodies and musicianship are inspiring nonetheless. After introducing the song “A New Family” with a gentle bass and piano riff garnished with understated vocals on Coppenbarger’s part, Clark and Kirkpatrick offer the falsetto lines: “do you wonder / if it will overflow / because when you least expect it / you will let it go.” Their vocals blend so well into the music it took a number of listens before I realized they were singing words and not just making sounds to fill up space. In my book, understanding that the voice is an instrument just like the guitar allows these five who hail from Mississippi to tread as near musical genius as a critic will allow.

The final track, “Circus,” is the only song on the EP with lyrics I may understand. Unfortunately, my wife had a completely different interpretation, and as her line of thought is most likely correct, I’ll avoid looking foolish and simply give what I see as the most powerful lines from the song. “Everybody has got a voice of some passionate conscience religion / oh God, it’s true / if this is the price I’ll pay / I’m not afraid of the guns and tanks / to push it away / is this a fashion, conscience, religion, or is it truth?”

Finally…Weighing in at a healthy 25 minutes 47 seconds, with three tracks breaking the five-minute mark, Colour Revolt’s first EP could propel them from a virtually unknown independent band to an underground phenomenon. Complete with pitch-perfect harmonies, amazing production and impeccable arrangement with a handful of quirky time shifts, Colour Revolt’s EP is a magnificent achievement that I expect will have the independent music scene salivating all over itself. - The Chattanoogan

"Paste Culture Club"

Jesse, the lead singer and principal writer for the band, writes very personal music where you can feel him struggling. I was reading an interview with Bono recently where he said all of the music he loved was about people who were running towards God or away from God. Somehow in Jesse's songwriting I can hear him doing both at the same time. The songs are full of anger and frustration. Just someone who is trying to figure it out. It's interesting for me to like it this much because it's a band that's really noisy. There's a lot of screaming in it. But I really like it. There's a lot of energy, and I love these guys live.

- Joe Kirk - Paste Magazine's "Paste Culture Club" podcast

"Colour Revolt's EP the right mix of influence and originality"

by Brian Williams

Colour Revolt EP
Colour Revolt
Esperanza Plantation

Colour Revolt is, by local standards, an old band. They have been around for eight years, and have changed their name twice (from Foxxe to Fletcher, and finally to Colour Revolt). During these eight years, they have undergone several lineup changes, including the recent addition of guitarist Sean Kirkpatrick from the band City Lights. Remarkably, Colour Revolt has shown constant progress since their 1997 inception, becoming more cohesive and mature with each passing year.

Their debut album Friends Don't Speak, released when they were Fletcher, earned them local attention and helped them build their fan base. Nonetheless, their self-titled EP, released in December 2005 on Jackson-based indie label Esperanza Plantation, represents a dramatic improvement upon Friends Don't Speak. The Colour Revolt EP has much more depth than Friends Don't Speak. Kirkpatrick's additional guitar and vocals represent a welcome addition to the band, and allow for a fuller, more versatile sound. The EP exhibits a musical complexity that was lacking on Friends Don't Speak, and consequently far better bears repeat listens.

Many EP's are nothing more than hastily thrown together sets of second-rate songs, existing as mere space-fillers between full-length albums.

Such is not the case with the Colour Revolt EP. As a whole, the EP is quite coherent; although each song represents a change of pace from the song before it, a unifying musical thread seems to tie them together.

I originally pinned "Mattresses Underwater" as the standout track on the EP, but have with subsequent listens become increasingly impressed by the rest of the songs, which each hold their own appeal. "Blood in Your Mouth," for example, juxtaposes harmonica and an initial folksy feel with a building intensity, impassioned lead vocals, and a hummable vocal backdrop. On the other hand, the final track "Circus," a live favorite, is the most straightforward rocker on the EP, but features an intensely catchy chorus.

Colour Revolt's influences seem to present themselves throughout the EP. I can swear that I hear a bit of the Arcade Fire on "A New Family," At the Drive-In on "Our Homes are Graves," and Modest Mouse on "Mattresses Underwater." Their influences, however, are merely influences. Colour Revolt's music is simultaneously derivative and original, and each of the songs is distinctly its own.

Many bands are plagued by records that are unable to do their live sound justice. Fortunately, Colour Revolt's EP upholds, and perhaps builds upon the high standard they have set for themselves with their live shows.

The EP was excellently mixed by Clay Jones, who engineered Modest Mouse's "Good News for People Who Love Bad News." As a whole, the album retains the intensity that distinguishes their live show, but is clean enough to exhibit nuances that can easily be missed live.

The "Colour Revolt" EP represents a welcome continuation of Colour Revolt's upward trajectory. Even the album artwork, perhaps resembling an earth-toned take on Joy Division's classic cover to "Unknown Pleasures," has a value of its own. Although the album contains only six tracks, those six could root an excellent full-length release and are well-worth a listen.

- The Burger (Hattiesburg, MS)

"A vivid picture of raw energy"

Colour Revolt: A vivid picture of raw energy

By Carey Miller

In 2003, a youthful Jackson-based band released Friends Don't Speak, a competent, focused effort that fell squarely into the post-grunge, post-hardcore genre of rock referred to as "screamo."

Now, the four members of Fletcher - Jesse Coppenbarger, Jimmy Cajoleas, Len Clark and Drew Mellon - plus new guy Sean Kirkpatrick, have relocated to Oxford and renamed themselves Colour Revolt. The band has come out with an eponymous six-song EP.

As Colour Revolt, the band reinvented itself with a tantalizingly original sound, some gorgeous instrumentation and a newfound maturity. It is a Fletcher of a different colour, if you will.

Colour Revolt kept the best of Fletcher - Coppenbarger's unique vocal stylings and intricate guitar interplay - and added a more melodic and sophisticated sound.

Coppenbarger's vocals are the kind that on first listen make you want to buy him a gift certificate for voice lessons, but on further inspection you begin to appreciate how his penchant for going from a half-choked whisper to a throat-tearing bellow complements the music.

As for the music, influences are apparent in Colour Revolt's sound but never reduce it to a mere facsimile. The spirit of hard-rocking Radiohead looms, as does the soft/loud dynamics of prime Nirvana.

Lyrically, their songs contain vividly gothic and melancholic images, all rooted by a hopeful undertone of spirituality. God, heaven or religion is mentioned in nearly every song, but not in a pervasive manner.

A band this fresh deserves more than an EP. At six songs, it leaves the listener hungering for a full length. - Clarion-Ledger

"Amp Camp review"

olour Revolt thinks and sounds big. How can a band who cites Radiohead and Bob Dylan as their influences not be? Epic grandeur fuels the songs on Colour Revolt’s self-titled EP, and rousing noise-addled distorted guitar rock serves as the backbone of many of the Oxford, Mississippi fivesome’s compositions. Wearing their Mississippian roots proudly, they incorporate hints of both fragile folk music and Southern Gothic culture into their impassioned post-grunge songs. The result is a dynamic interplay of the broken and the explosive.

The lonesome wail of the harmonica on the first track “Blood in Your Mouth” eventually gives way to a cacophony of crunchy guitars while the initially mellow but gravelly vocals transform from hurt to angry in a matter of seconds. It’s an EP comprised of angst-ridden numbers with morbid titles such as “Mattresses Underwater” and “Our Homes Are Graves.” The final track, “Circus,” is where Colour Revolt finally unleashes a lethal dose of rock, with reverbed guitar swirls embalming the increasingly agitated vocals, before ending abruptly. For fans looking for a top volume, ear bleed experience, the Colour Revolt EP should satisfy your desires.

- Fernando Royale - Amp Camp

"Colour Revolt: Colour Revolt EP (Esperanza Plantation, 2006)"

Back in 2003, a CD named Friends Don’t Speak by a gutsy and loud math-rock band named Fletcher came to our attention. We reviewed it even though it stood out in our decidedly dreampop-shoegaze oriented site because the quality of the CD was exceptional. Fletcher impressed us with their equally complex and emotional songs, even though the CD was totally different than the music that is usually spun in our collections. Just as the band showed promise on Friends Don’t Speak, though, they quietly slipped from our radar, since we have not been able to see the band live and have heard of no new recordings.

Fast forward to early 2006, and the five-piece band has just released a new EP. However, this time around, the five-piece band has renamed themselves, taking the name Colour Revolt (complete with British-Canadian spelling), signalling a new chapter for the band. The band retains the aggression, complexity, and emotion of Friends Don’t Speak on their self-titled 6 song EP, but the structure of the songs is reworked into something more ethereal, melody-based, and even more compelling than the songs on their previous release. Lead signer Jesse Coppenbarger still screams his lyrics in a frantic hoarse voice, only now he builds to these screaming moments with gruff and unpolished singing. The band’s multiple guitar assault that sees duelling players challenge each other to ever intertwining guitar lines is fascinating, while Colour Revolt’s songwriting, both musically and lyrically, shines on this EP. With a sound that resembles Pedro The Lion meeting Radiohead in a back alley of a southern biker club and lyrics about loss, confusion, death, and depression, Colour Revolt grabs the listener by the neck and doesn’t let go until the last note is squeezed out of Coppenbarger’s throat.

A mournful harmonica opens up the aptly titled “Blood In Your Mouth”. Coppenbarger dryly sings “Wait, until you’re ready”, as the various elements (pounding drums, slinking bass lines, and those duelling guitars) build throughout the slightly atmospheric track. One aspect of Colour Revolt’s new found sound is their ability to combine an atmospheric sound (achieved through clever songwriting and chord structures, as well as delicately played guitars) with a raw aggression, and “Blood In Your Mouth” is no exception to this approach. With haunting background vocals, guitars building and vocals reaching their point of no return “Blood In Your Mouth” explodes into a crude (but dense) rock jam. The dark song ends with those haunting background vocals, only after the band assaults the listener for a full 5 and ¾ minutes. An excellent song and a wonderful way to open up Colour Revolt. “Mattresses Underwater” appropriately begins as a softer, more laid-back jam, featuring watery guitar leads, gentle drumming, and Coppenbarger’s passionate but understated singing. The song builds, comparable to a song from Joe Christmas’ North to the Future, except that where Zach Gresham would have sung his lyrics under the increasing distortion emanating from the guitars, Coppenbarger’s singing morphs into a wail over the instrumentation. “Mattresses Underwater” hurtles itself to an obliteration of feedback-laden guitars and perfectly screamed vocals. “A New Family” combines the Radiohead mood of sullen guitars and keyboards (and even falsetto background vocals) with Colour Revolt’s math-rock tendencies. The track sails along to a subtle climax, and further proves Colour Revolt’s talent for knocking out strong songs with interesting arrangements. Strange found samples herald the beginning of “Our Homes Are Graves”, and the sounds give way to seesawing distorted guitars (almost in the My Bloody Valentine tradition). Through technical drumming and Coppenbarger’s raspy singing, though, the song proves that it’s no shoegazing tribute. Rather, the song teeters between the worlds of almost gentle atmospherics and aggressive screamed rock. The too-short song ends with Coppenbarger screaming “We’ve heard the things that God said, we’ve got the marks on our head, our houses turned into graves, some people better left for dead”. Immediately, the opening strains of harmonica, acoustic and lingering electric guitar open the fantastic “Change Your Face or Change Your Name”. The song begins as a smooth homage to southern-tinged atmospheric rock: a gentle rhythm section provides a groove for Coppenbarger to croon over. The band slowly incorporates unnerving and out of tune chords and strange sounds into the song, subtly but powerfully building towards a spine-tingling climax where the lines, “I don’t know where it is I’m gonna go, is it heaven? If it is, come get now…” are screamed with the utmost conviction. The song gloriously becomes an almost space-rock study in unwieldy rock, tied together by the smooth rhythm section. “Change Your Face or Change Your Name” is the finest moment on an already excellent EP, meaning that this song is exceptional. Finally, the odd “Circus” provides the dénouement for Colour Revolt. Closer to a Fletcher song than a Colour Revolt song, “Circus” finds screamed vocals and uncontrollable guitars sawing at the listener’s ears. The song doesn’t really fit in with the rest of Colour Revolt, but you gotta love a band that isn’t afraid to write and record such a dirty and aggressive song.

In the end, Colour Revolt is more than another interesting release from this band of young musicians. The EP just reeks of the poise and intelligence of hardened music veterans, while retaining that hard-to-find spirit of gutsy, unrefined, rock and roll attitude. Colour Revolt is a fresh kick in the face in this age of stoic-faced shoegazers, cold electronic artists, and indifferent 80’s revival bands, and shows that powerful rock and roll can be played with equal amounts of sophistication and raw power. My only complaint (besides the inclusion of the respectable but out-matched “Circus”) is that the EP was just way too short: a compliment in itself. Excellent work!

- Brent Diaz - Somewhere Cold

"Mississippi's Colour Revolt Creates Jagged, Indie-Rock Epics"

Colour Revolt caught me way off guard. It was the out-of-town opener at the Caledonia on a Friday night back in February, and I wasn’t expecting much. I’ve seen more than my share of forgettable touring bands grace Athens stages, and I didn’t have high hopes for this one. But from the opening notes, I was sucked in; the three guitars blended perfectly, veering from walls of dense melody to staccato interplay, from bursts of controlled noise to delicate finger-picked passages. All the while, the rhythm section complicated matters in the best way, accenting the right moments and driving the songs in unexpected directions. It seemed like these guys had been playing together for years - not because of any sort of flashy technical brilliance, but because as performers, they just seemed to swing, the songs lurching and growling in their collective grasp.
I was right: they have been playing together for years. Jimmy Cajoleas (guitar), Len Clark (drums, vocals), Jesse Coppenbarger (vocals, guitar, harmonica, piano) and Drew Mellon (bass, synth) grew up together in Jackson, MS. Cajoleas explains that they first started playing music together in early high school, rushing home from driver’s ed class to play Foo Fighters covers. “When we started, there wasn’t that much music going on in Jackson,” he says. “But the same 40 kids would come to shows every other weekend.” They all moved to Oxford, MS for college at Ole Miss and added Sean Kirkpatrick (guitar, vocals, piano) to their ranks, and eventually evolved from the younger, harder sound of their first band Fletcher into the more mature, sophisticated Colour Revolt.
Oxford isn’t the first town that comes to mind when you think about indie rock, but the band has thrived in the more under-the-radar scene. “Oxford’s great because there aren’t a whole lot of bands,” says Cajoleas, “but what’s there is good. For whatever reason, when people come out to a show, they all really like it.” Being from Oxford also gave the band the good fortune of getting heard by Clay Jones, an Oxford-based recording engineer who has mixed records for Elvis Costello and Modest Mouse. Jones lent his mixing talents to the band’s fantastic debut, a self-titled EP out on the Esperanza Plantation label.
The songs on the EP are like short stories, three- to six-minute mini-epics that go from a whisper to a scream and back again, packed tightly with honesty and emotion. At the heart of the record is Coppenbarger’s voice; at one moment he’s singing in a cracked, Will Oldham-esque croon, barely choking the words out, the next he’s unhinged, screaming, practically possessed. At all times, he sounds older than his years, weathered and wise. It’s the kind of voice that can become an indie-rock legend in and of itself, like that of Isaac Brock or Daniel Smith. It helps that the words he’s singing are so brutal; with lines like “We say you bury me, I’ll bury you / dogs might come and bury us too,” you’d be hard pressed not to sound haunted.
Coppenbarger doesn't overshadow the band, though; rather, he seems to be responding to the clever, ever-shifting arrangements surrounding him, as well as the classic, falsetto backing vocals supplied by Kirkpatrick and Clark. The music bears a debt to the darker, dissonant side of Modest Mouse and the anthemic power of The Constantines, but with a hint of Southern gothic. The band spends lots of time arranging songs, playing out different permutations, creating the right kind of drama, and never discounting the power of a good mistake. “Today we were working on a new song,” says Cajoleas, “and we were working on the chorus. Someone played the wrong part and the song stopped, and we realized that that was what we wanted - a space.”
Colour Revolt’s summer plans involve lots of touring; first with Atlanta’s Manchester Orchestra, and then with Brand New (on Interscope Records), a gig the guys lucked into thanks to booking agent Andrew Ellis. They’ll open for the band for five weeks on a coast-to-coast summer tour, many dates of which have already sold out. It’s a bit of an odd pairing, as Brand New comes from more of an emo-punk scene, but Colour Revolt is excited about playing in front of audiences that might not be immediately receptive to its sound. But don’t expect the band to get complacent after so many shows. “There’s one song we wrote the bulk of eight months ago,” says Cajoleas, “and it’s still changing. I think we might have finally gotten it down a couple of days ago, though.”
Sam Gunn - Flagpole (Athens, GA)


Colour Revolt EP (December 2005)
Label: Esperanza Plantation

1. Blood in Your Mouth
2. Mattresses Underwater
3. A New Family
4. Our Homes Are Graves
5. Change Your Face or Change Your Name
6. Circus


Feeling a bit camera shy


Colour Revolt’s name is derived from Edwin Abbott’s 19th century social commentary, Flatland, an exploration of life in two dimensions. But Colour Revolt is far from two-dimensional, eschewing Fletcher’s familiar sonic assault of unorthodox song structures and time signatures for a more melancholic though equally guitar-driven aesthetic of the post-grunge Southern gothic.

The band’s thematic impulse reflects the literary heritage of their native Oxford, Miss., channeling the jagged emotionality and moral ambiguity of the locale’s forefathers, William Faulkner and Barry Hannah. Another facet of the small university town is music, serving as the home to the neo-blues pioneering of Fat Possum Records and in-demand Sweet Tea Recording studio.

But it was outside any proper studio that the songs on the Colour Revolt EP took form. Scheduled to record in a friend’s basement in Jackson, Miss. in late August 2005, Hurricane Katrina struck the same weekend, pushing storm evacuees into the recording space. With nowhere to record in a city lacking electricity, the band set up shop with a ProTools rig in the living room of the owner of Esperanza Plantation, a small local record label, also home to the band. Forced into a DIY approach, the band used a pair of pantyhose as a windscreen and built a vocal booth out of spare cardboard boxes and leftover brooms.

After several weekends of tracking in between the bands full-time gig as college students, several of the songs caught the attention of Clay Jones, a Sweet Tea engineer who has mixed Elvis Costello and Modest Mouse albums. Jones lent post-production help and mixed the entirety of the EP. Esperanza Plantation provided a small-scale release for the EP in December 2005.

Produced by former bass player Steven Bevilaqua, the Colour Revolt EP reflects a young band that thinks old. The songs emanate a spiritual and existential urgency, which is only accentuated by singer Jesse Coppenbarger’s vocal thrust, ranging from fragile whispers to guttural screams back to pointy falsetto. The band’s three-guitar approach provides an offsetting soundscape, where intricate guitar interplay meets understated harmonies.

In August 2006, the Colour Revolt EP will be re-released by Tiny Evil (Nine Black Alps, Jimmy Eat World), an imprint of Interscope Records.


“Mississippi’s Colour Revolt creates jagged, indie-rock epics...The music bears a debt to the darker, dissonant side of Modest Mouse and the anthemic power of The Constantines, but with a hint of Southern gothic.”
- Flagpole (Athens, GA)

“Epic grandeur fuels the songs on Colour Revolt’s self-titled EP, and rousing noise-addled distorted guitar rock serves as the backbone of many of the Oxford, Mississippi fivesome’s compositions. Wearing their Mississippian roots proudly, they incorporate hints of both fragile folk music and Southern gothic culture into their impassioned post-grunge songs. The result is a dynamic interplay of the broken and the explosive.”
- AmpCamp

"Oxford, Miss.-based Colour Revolt, was a refreshing change from the retro-fashionable posturing of so many top rock bands today. The order of the night was intricate guitar arrangements, tight tempo changes, and no-nonsense, gut-wrenching emotion."
- (Memphis) Commercial Appeal

"This quintet...has settled on a sound somewhere between Nirvana and My Bloody Valentine, replete with all the mood and all the content. If post-grunge rock ever had a shot at sounding authentic, Colour Revolt is it. They have essentially shucked their timid independent leanings of the days of Fletcher for a more expressive aesthetic. "
- (Jackson, MS) Clarion-Ledger


RIYL: Built to Spill, Arcade Fire, Modest Mouse