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New interview with Brett

June 23 2016

When I had the pleasure of working on a Profiles in Tone interview with metal legend Alex Webster, he sent me a few examples of his favorite bass tones in metal. If I can trust anyone’s ear for metal bass, it’s Alex’s. One clip that particularly caught my ear was a video of a band doing a playthrough of their song “Spastic”. That band was Revocation and that bassist was Brett Bamberger.

Beyond tone, Bamberger has plenty of “T”‘s in his arsenal: time, technique, and taste. They all form to create the backbone of the Revocation’s upcoming album, Great Is Our Sin, due July 22nd. The album is full of crushing riffage from guitarists David Davidson and Dan Gargiulo and the pounding drums of Ash Pearson, but even with each member bringing their all to the table, the bass is not simply relegated to the bottom of the mix. Bamberger’s distinct voice on the instrument lends extra character to the music without losing the emphasis on supporting the song.

The bassist has had plenty of time to develop that voice. Prior to joining Revocation in 2012, he was in Postman Syndrome and East of the Wall, two signed and touring bands that provided opportunities to build creative, melodic bass lines that intertwined through the guitars and drums like an ever-growing vine. In fact, Bamberger has been in and is currently working in several groups, including Publicist UK and River Black. All of the groups function differently: two groups must work remotely from across the globe while the third has traditional band practices. It comes as no sweat to Bamberger, though, as each situation provides different opportunities.

We caught up with Bamberger to get the low down on his journey in tone, the writing and recording process, working remotely, and Great is Our Sin.

How did you get into music and bass?

When I was 13 my sister was pushing for my mother to get me a bass guitar. It happened and I started doing Nirvana covers. I also started writing original music with this group of guys right away. Then I started playing in a band called the Postman Syndrome and we got a deal, so it was like, “Cool, I can do this now.” That was that.


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