JESSE COPPENBARGER(vocals, guitar, keyboard) and SEAN KIRKPATRICK (vocals, guitar, keyboard) tell the stories behind each song on COLOUR REVOLT’s The Cradle.
Coppenbarger:This was written the day [guitarist Jimmy Cajoleas and bassist Patrick Addison] quit Colour Revolt [last summer]. It hurt and felt like I’d lost access to my own life. I could see it was there, but was denied access. I sat down at the piano, played three chords and wrote down the words. I wanted to talk to him and the people who listened to the music we’d made up until that point. I wanted to make it clear that things had changed, but we’re able to stand and continue.
Kirkpatrick:“Our Names” was born out of necessity. After realizing that we had lost our bandmates and label, I was frustrated. A song needed to come out of this somehow. The song sort of breaks down the past events into a mythic and epic fable. It helped answer some of the many questions I had in my head. Why do I still play music? Why does it seem that nothing is going our way? Could something good come out of this? The title says everything. Our names should represent something greater than the sum of our parts. We had built a band that actually means something to more people than just myself. And we still have more to say.
Coppenbarger:The line, “I once saw a woman kneel in the Great American Hall, in a whisper to her daughter, ‘Baby, you are my miracle,’” is what this song’s all about. The daughter, though in the shadow of her mother, is still a miracle and her mother’s daughter. I wrote this song to try and compete with all the hardcore bands we used to play with. They were so much heavier than what we used to be, and I wanted to be able to write a song I could play on an acoustic but also smash through in a live set.
Coppenbarger:Boredom leads you to do things that have irreversible damage on your life. This song went through a good many changes and will probably continue to. Originally, it was acoustic based, like all of our songs, with another really distorted acoustic and floor tom. When we were in the studio, the second verse basically became what the whole song is about. Everyone found these areas and notes that were unoccupied and made it their home.
Everything Is The Same
Coppenbarger:I wrote this years ago about two of my friends. It’s basically about how they always know when I’m lying, but it turned into this thing that reminded me of the old Colour Revolt and how we all felt then. Now it’s kind of a goodbye and good riddance to that life and those feelings.
She Don’t Talk
Coppenbarger:This song is basically about bad communication. We wrote it and always felt like the end needed more of a lead vocal over the harmonies. We finished recording it and kept listening for something hidden in there, and we felt like we needed someone speaking but not me. The engineer’s wife is Danish, so I found this Elizabeth Barrett Browning poem for her to read. That poem is written in English in the liner notes.
Coppenbarger:There are past loves I wish I could take and put in a blender and make a delicious smoothie of a perfect girlfriend. I feel like our producer had a better grasp of where this song could go than any of us did. For me, it was always too simple for its own good, but it really left him room to make it something bigger and also add that sweet bass line that follows the synth.
Coppenbarger:This is about a bad night with a good girl (or vice versa). Once, I found myself on some anonymous bedroom floor. I was on Xanax with a girl and her friend, begging me to kiss her. She was begging for me to kiss her. I couldn’t understand why, until I found out weeks later, I had kissed her the night before while I was on Xanax. Don’t do Xanax. You don’t remember kissing hot girls.
Brought To Life
Coppenbarger:I had been reading a lot of [poet] Dylan Thomas then. I wanted to write a song with his kind of language about the death of love. I still need to give that book back…
Coppenbarger:People make wrong choices for the right reasons. Sometimes people do the opposite. Who can blame them? As Dead Prez say, “You do what you’ve got to do, if that don’t work then kick the facts.” I try to follow that advice in songwriting. This song has a lot of guitars. I usually try to stay away from doing that, but this song felt like it needed texture and at the end, if you have headphones on, you can find a river filled with currents of guitars. alt