Raveis Kole (Laurie Raveis (Ray-viss) and Dennis Kole), present a fresh yet timeless singer-songwriter interplay, a chemical reaction that ignites the human spirit by melding Raveis’ caramel smooth, emotive vocals and percussive, groove driven acoustic guitar rhythms with Kole’s fingerstyle and harmonic explorations. Their new album,“Electric Blue Dandelion,” debuted on the AC Top 200 Radio Chart and in three weeks, moved into the Top 100. Drawing from diverse influences ranging from folk, rock, Reggae, Latin and Hip-Hop, to blues and jazz, “Electric Blue Dandelion” weaves a musical tapestry of lyrically focused, rhythmic, harmonic and sensuous textures that coalesce together to form the signature concept that is Raveis Kole.
Raveis Kole’s lyrics paint an emotional landscape for each song that leads the listener to create their own narrative to their music. The title track, “Electric Blue Dandelion”, is a vivid and compelling odyssey through the struggle of loss into the power of release. The sultry vocals of Laurie Raveis are delicate yet commanding – think Chistina Perri meets Deep Purple. Kole’s fingerstyle agility sweeps between complexity and spaciousness. The next piece, “Precipice Forgiveness (Flow is On),” surprises the listener with an exotic sitar style introduction which segues into an acoustic rock, singer-songwriter interlude that gracefully oscillates in mood, culminating in an uplifting outro which celebrates freedom through the journey to forgiveness. Subtle glimpses of Nick Drake, George Harrison, CSN and Joni Mitchell pervade.
“Holding Onto a Rainbow”, the first Raveis/Kole co-write, is a hypnotic, liquid and ethereal song: Mazzy Star and Natalie Merchant with a Pink Floyd vibe, that has the delicate, weightless feel of hovering between wakefulness and a dream. “It Must Be OK (We Starve)” is a polished and sophisticated song that blends the lyrical and stylistic genius of Carole King with the smooth vocals of Sara Bareilles. The song elegantly transitions into a concluding jazz waltz climax.
Switching gears, the unforgettable blues bass line in “Aloha” establishes the foundation for a stripped and raw acoustic presentation reminiscent of a T Bone Burnett production. The haunting lyrics set forth a somber tale of desperation, powerlessness and loss in the struggle against the demonic dance of addiction. “Fearless (All In)” is an acoustic rock anthem with progressive rock overtones contrasting driving rhythms with ethereal textures. Vulnerable and strong vocals remind one of Grace Slick/Jefferson Airplane. The lyric describes a willingness to move bravely in an uncertain world.
“Wicked Game” offers a sensual Latin/Reggae/Rhumba remake of the Chris Isaak classic, intermingling dynamic Reggaeton beats, Latin rhythms and montunos, and seasoned with a dash of polyrhythms. The sound of the Tiple, a type of South American
ukulele, provides a fresh and signature background to Raveis’ powerful and compelling vocal that commands the stage in this exotic mix.
“Street Penguins” surprises with an avant-garde lyric featuring Kole on lead vocals. “Street Penguins” is destined to go viral with its clever, contemporary blend of humor, novelty and social commentary. A step onto the streets of a B-52s, “Rock Lobster” alternative hip hop block party – you will find yourself irresistibly singing along and dancing to the refrain of: “it’s Conga time!”
The final song, “Dawn Breaks Through”, is a beautiful piano pop ballad with shades of acoustic celtic harmonic overtones, a John Legend meets Florence and The Machine piece. The melody pulls you into singing along as it opens up in an epic manner with a multi-layered crescendo of vocal harmony. “Dawn Breaks Through” leaves the listener in a place of uplift and hope: “We are made of Stars!”
“Electric Blue Dandelion,” was recorded in Austin, Texas at 6 String Ranch with producer, Matt Smith and a dynamic group of talented musicians: Drums (James Gwyn), Ovation Magnum Prototype Fretless and customer Warwick 4 string fretted bass and lap steel (Matt Smith), upright bass (Kris Wade), organ/keys (David Webb) combined with Laurie (Vocals, 1935 D18 Martin acoustic, Gibson Firebird Electric, Custom Stratocaster – the “Irishcaster”, Electric Sitar guitar) and Dennis (Takamine Classical, Nashville High Strung, Hammertone Mandotar, National Resonator, Requinto, Tiple, 1935 D18 Martin Acoustic, Gibson 335 Rusty Anderson Model, Baritone Guitar, Fender Stratocaster, Godin New Yorker and Vocals).
The spark of Raveis Kole ignited when Laurie and Dennis first met at a guitar festival in Big Fork, Montana, while sharing an improvised jam session with each other, switching between playing guitar and drums. Immediately, the Raveis Kole interplay was strewn with curiosity, call and response, and connectivity leading to their musical and lyrical collaborations.
Laurie Raveis is a voting member of The Recording Academy and has the privilege of participating in the GRAMMY Awards process. She was 2014 Berklee Online Scholarship winner at the Crown Guitar Festival, and has recently served as a band coach at Bellingham Girls Rock Camp. In 2013 Laurie launched her musical career with the release of her debut EP, 101, which was also produced and recorded by Matt Smith in Austin, TX. 101 offered Laurie’s signature compelling vocals along with vibrant lyrics to serve notice that a new artist was on the horizon, rising.
Dennis Kole has studied with multi-instrumentalist Matt Smith, funk master Dennis McCumber, and jazz improvisationalist Mark Dzuiba, and has an extensive collection of instruments and amplifiers that would even impress Joe Bonamassa.
Raveis Kole is based in Bellingham, WA.
All information and photos are from www.raveiskole.com/
Listen to the interview with Mark Maverick. Click Here