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Judge for The Reveling

Brooklyn , NY
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Portrait of The Reveling
Although fiery punk quartet The Reveling now calls the Williamsburg and Greenpoint neighborhoods of Brooklyn home, its debut EP, 3D Radio, transmits a much grittier, working class quality than fellow New Yorkers - or the rest of us, for that matter - might expect. It is music for the masses: a rousing anthem for the hoi polloi that is not without nuance and subtlety, but still sounds best pulsing through our speakers at top volume or in a live setting, cranked out by the band to a crowd of sweaty, eager show goers.

At its core, 3D Radio is a driving, brash take on mid-90's melodic hardcore and punk, melded with the urgency of today's post-hardcore sound. But the songs also touch on elements of roots, soul and good old blue-collar rock 'n' roll ... something with which drummer Jay Weinberg is notably familiar. For over three decades, the 19-year old's father, Max Weinberg, has been playing with arguably the most beloved working class rock hero of all time, Bruce Springsteen. In fact, Jay recently had the opportunity to tour with the E Street Band for an extended period, admirably filling his father's shoes behind the drum kit while the elder was occupied with the premiere of The Tonight Show With Conan O’Brien, where Max is bandleader.

The other three members of The Reveling - front man Sean Morris (vocals, guitar), Dave Kramer (guitar, vocals) and Dennis Murphy (bass, vocals) - may not have grown up with rock royalty, but they've been playing together in various bands for over ten years. It's a bond that shines through in The Reveling's cohesive nature and seemingly effortless songwriting. These four tracks are tight and punchy as hell, propelled by a thumping bass and somersaulting drum lines. Morris's raspy delivery seeps desperation and grit, but the band keeps the mood upbeat with unforgettable melodies and unexpected chord progressions. The pace is quick yet varied, never afraid to slow down the proceedings for an enthusiastic, almost majestic sing-along chorus like in songs such as "The Faces We Know."

While 3D Radio is no doubt easy on the ears, it's certainly not your typical three chord affair either. It's textured and rich in melody, and layered guitars and sweet harmonies punctuated by background "whoa oh ohs" flesh out the band's robust sound. Still, the EP remains rough and raw around the edges, staying true to The Reveling's proletariat roots. There's an unmistakable swing and bounce to it, embracing Americana-tinged spirit of forefathers like Social Distortion while incorporating rock 'n' roll elements from punk contemporaries like The Gaslight Anthem or The Loved Ones. It's a testament to the band's diverse influences and backgrounds, and certainly one that makes The Reveling's future that much more intriguing.
 
 
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