What began in 2011 as a basement-party band in the pits of Boston, MA exists today as the Brooklyn garage-soul group, Evolfo. Characterized by a three-piece horn section and a connection that only old friends can share on stage, Evolfo is reputed for their live show. And yet, even with all the glitter and upbeat energy of their performance, there is darkness — an almost imperceptible stain — in the collective soul of Evolfo. Like Robert Johnson or Faust, their past dealings remain shady at times; the status of their eternal soul is debatable. They write from the other side of a vision quest, armed with unsayable truths they work to define through song. Evolfo’s music is not nostalgic, but one could say that they are not afraid to dig into the past for textures that suit the tales they have to tell.
The 7 boy-men met while attending college in Boston, MA. Several debaucherous months of loud music, late nights, cheap beer, bloody noses, and run-ins with the police made the group inseparable. It was guitarist and singer, Matthew Gibbs, who initially suggested they form a band to go out and play shows. The goal was to cram an army of stylishly garbed people on stage; energy and bombast was number one. This large ensemble outfit was refined after hundreds of shows and what remains is a close-knit group exploring the deep reaches of sonic Earth. In the beginning they called themselves Evolfo Doofeht, which spells “The Food of Love” backwards, but the name has since been mercifully shortened to Evolfo: three simple syllables of mystery.
Fueled by their reputation for performing, Evolfo has completed extensive tours of the US. Their most notable festival appearances include CMJ, SXSW, and Hardly Strictly Bluegrass Festival. Evolfo shows have become gatherings for the seekers of the weird and those who expect more than the average band. Ghosts pour out of a shrieking saxophone while Beelzebub sits smiling on a stack of amplifiers. Shrouded figures bang on the ivory fingers of skeletons. The rhythm section sounds out an ominous rhythm and the brass men navigate sweet passages of longing and euphoria.
Evolfo’s new EP, Last of the Acid Cowboys, is a shift towards a truly collaborative spirit. After relentless years of touring, the time had come for Evolfo to move their efforts from the stage to the studio. Singers, Rafferty Swink and Matthew Gibbs, sewed the songs’ seeds and then brought to the band to grow. The process was about creating something new using the textures allowed by the studio environment. Rather than attempting to rope the live performance onto tape, the goal was to build the energy from the ground up. The arrangements are punchy, distorted, and to-the-point.