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Dead Day Revolution / Press

“Fast rising princes of punk-influenced rock ‘n roll talk us through their past, present and future…”

“There’s only rule in rock and roll,” Mike Sandoz, vocalist and guitarist of Dead Day Revolution, tells me. “And that’s to say what you want and mean it.”

“Full length interview with Mike Sandoz of Dead Day Revolution”

"So I'm sitting under my Bose noise cancelling headphones, and cue up Down the Road. It starts with this distorted guitar sample that burned right into the middle of my skull. Call it some weird 3D sound effect, but whatever the engineer did, they got me right in my brain. It was like a good electrocution, made me shiver a bit, and really got my attention. Dead Day Revolution brings a modern touch to rockabilly, and definitely worth your time--guaranteed they'll end up on your playlist." -Greg McNair, editor, Regional Musician

Greg McNair - Regional Musician

“'Children of the Night' has hit potential as well, since it is repetitive but by no means boring. If you're looking for music similar to what's been offered by Green Day, Billy Idol, PIL or Smashing Pumpkins, you should give a listen to Dead Day Revolution too. Their music will not only fit your personal playlist, but college radio stations as well.”

Katarzyna NINa Górnisiewicz CEO - Fabryka Music Magazine - Children of the Night (Song Review) (3)

“Whoever has an idea and is driven towards making changes will feel impatient, wanting to make them happen. Thus, these musicians make a call to action instead of expressing their views through passive criticism. It should be also mentioned that both drummer and bass player perfectly cooperate throughout the entire song, very well mixed and produced by Larry Goetz. This track is short enough for a radio exposure (3:24) but extensive in its detail as well. The composition utilizes a method of balancing moods through slowing down the rhythm in the other half. Without it, the song might have sounded overwhelming to a listener's ears due to its fast tempo. "Children of the Night" has hit potential as well, since it is repetitive but by no means boring.”

Katarzyna NINa Górnisiewicz CEO - Fabryka Music Magazine - Dead Day Revolution - Children of the Night (Song Review) (2)

“These musicians make a call to action instead of expressing their views through passive criticism.” ~ This viral and actively social collective of musicians has been working on a debut album for the last two years. Here is it’s foretaste. "Children of the Night" is a title well known in both literature and music. The original song, by Dead Day Revolution sounds truly passionate. It is performed with a rebellious drive, quite typical in Punk-Rock music. How else would this style of musicians express their opinions if not making it loud and noisy? Yet the vibe remains positive. The track starts with noisy guitars that basically take the lead. The riffs are then joined by solid, memorable vocals. Mike purposely vibrates his voice like John Lydon (Sex Pistols) to create an impression of impatience in this already high-energy song. Impatience is a key characteristic of getting ready for an action.”

Katarzyna NINa Górnisiewicz CEO - Fabryka Music Magazine - Dead Day Revolution - Children of the Night (Song Review) (1)

““Thin Lizzy reincarnated in the spirit of the Ramones” This surprisingly proto-feminist track is catchy and succinct. It’s almost more of a chant as played to a very very carnal beat. The bass, which comes in right away, adds an unexpectedly melancholy undertow to a song that’s otherwise as short and sweet (if not exactly as fast) as a Ramones song, only this one’s about usurped teen-girl innocence. “In the new eyes of the world/you are seen as nothing but desire.” The Ramones captured something more societal, but the Dead capture something more personal. It also has the chugging tempo and retro-punk attitude of the Clash, and an intuitive gift for what makes for a catchy riff. Mike Sandoz here sounds more like Thin Lizzy’s Phil Lynott, flirting on the indecipherable (though not—the lyrics are easily discernible), and alternating between a taut sensuality and a laconic drone with every syllable. Impressively produced and realized.”

Devon Jackson (Rolling Stone, Village Voice, Entertainment Weekly) - Freelance Music Journalist

“A seductive mini-epic that taps into rock’s limbic potency. After a very moody acoustic opening that hints at a ballad or something spooky, along the lines of Godsmack’s “Voodoo,” “Bury Me” soon segues into something more potent and heavy-hitting. The groove shifts from slow and noirishly Western into one more rhythmic and swaying. And then picks up in pace and intensity from there. Mike Sandoz displays impressive range here, too, going from a snaky grunge into one biting and assertive. And the lyrics are as terse as they are to the point: “You’ve got your cigarettes/You’ve got your self-esteem.” Perfect. The riff builds strong and steady and sure. It’s very Lynyrd Skynyrd at times, and then hints at something that Bon Jovi might’ve wished they’d mined had they gone in a darker, more interesting direction than any of the ones they actually pursued. The riff here never veers into the derivative or the clichéd. There’s a real intelligence, a high musical rock”

Devon Jackson (Rolling Stone, Village Voice, Entertainment Weekly) - Freelance Music Journalist

“Playing every instrument at a breakneck speed, with everyone trying to keep up with everyone else—as if no one quite set down ahead of time just how fast they’d really play—“Vampyre Blues” is fun and retro and sloppy and all over the place. In a word: fun. Opening with a riff that recalls some of the faster Black Crowes songs, then with a weirdly foregrounded piano that’s pounded away in the style of Jerry Lee Lewis, the Revolution aim for a most punk aesthetic. And for a free-for-all atmosphere. Despite its Southern stylings, it feels very L.A.—which is where the band hails from. Mike Sandoz sings in a kind of breaking falsetto that sounds more trained and intentional than naturally falsetto, which complements the goofy appeal of these teen-spirit lyrics (“You look at me with your disgrace/Because it’s me you want to taste!”). Producer Larry Goetz keeps things gritty but not too, and it’s polished enough that the band doesn’t sound as if they were born in a gar”

Devon Jackson (Rolling Stone, Village Voice, Entertainment Weekly) - Freelance Music Journalist

"Mike Sandoz of Dead Day Revolution had never sung a Beatles song before. His contemporary rendition of “Day Tripper” was amazing."

“Dead Day Revolution rocked the foundations of Joe’s Great American Bar & Grill, on Feb. 28.... Please see full article.”

“For our next Reverbnation spotlight, we chat to Dead Day Revolution vocalist and guitarist, Mike Sandoz about his band, and the inspirations behind his songs. Please see full article.”

“You gotta love a band with the word Revolution in it. It just slaps you in the face like a can of Rock Juice first thing in the morning. The music of Dead Day Revolution will have the same effect on you. It rocks, its fresh, and with only two explosive tracks so far they certainly got our attention. Certainly the categories of Label and Management will be filled in and the word "None" will no longer be part of their vocabularly and it will soon change to the band that has everything. ”

"Watch for Dead Day Revolution's album this fall. In the meantime learn more about this rock band hailing out of Los Angeles, and VOTE for them in the Ernie Ball Battle of the Bands to play Warped Tour!!" - *read interview in publication.

“Unabashed marriage of rock and punk revelry at its purest. Whereas the crunchy chords of the Stone Temple Pilots (or Alice in Chains) always hinted—not so subtly—at something sinister flowing (slowly) through the veins of its band members, Dead Day here go from crunchy to airy to jumpy in short order. No drugged-out rock monsters these boys. They have too much energy. And they’re having too much fun...(STP never seemed to have much fun. Nor Alice in Chains. Sadly, the same can be said of too many great bands.) Harkening back in some say to the post-Glam rock of Mother Love Bone and the pre-grunge sound of Green River—but without that Northwestern darkness—DDR deals more in the fantasy of darkness, in vampires and the undead, in the worlds of Stephen King and TrueBlood, as opposed to the true crime soil of Ann Rule or the harsher worldviews of NIN or Tool...These guys enjoy rock n’ roll. Their zest for release is always clear and always . . . well, it’s joyous. It’s what”

Devon Jackson (Rolling Stone, Village Voice, Entertainment Weekly) - Professional Song Review by Devon Jackson
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