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DeWolff formed in the Netherlands' Deep South of Geleen - which is the site of one of the oldest prehistoric farms in the country and sandwiched between Belgium and Germany. They were barely teenagers in 2007, when the band was born on a diet of Jimi Hendrix, The Doors and Led Zeppelin by brothers' Pablo (singer/guitarist) and Luka van de Poel (Drums) who were 13 and 15 at the time and Hammond organist Robin Piso, who was 17. Named after Harvey Keitel's character, Winston Wolfe, in Pulp Fiction, their blend of expansive neo-psychedelia saw them get their first record contract a year later.

In September 2008 they released their first record, the 'DeWolff' EP, followed by their debut album 'Strange Fruits and Undiscovered Planets' in 2009 which reached #50 in the Dutch charts and announced them to the wider stage.

Talking about it now Pablo remembers, "When we started out 10 years ago there were no cool rock bands in the Netherlands, none that got any attention. So, after a time, we started to notice more young rock bands who were just making music, doing something genuine. Some of those bands got very successful and that's something new here, well at least since the 70s era."

Whilst still in their teens they played the prestigious Paradiso in Amsterdam and toured relentlessly throughout Europe. They played to 10,000 on the mainstage at PinkPop earmarking them as a formidable live act.  They refuse to put restrictions on themselves and over-flowing with ideas, released further albums which all charted high in their homeland; the rich psychedelic 'Orchards/Lupine' (2011) reached #11, they tackled rock opera on 'DeWolff IV' (2012) hit #18, on 'Grand Southern Electric' (2014), they embraced the sounds of US Southern Rock and the influences of Leon Russell, The Allman Brothers Band and Little Feat, which became their highest charting album at #6 and on 'Roux-Ga-Roux' (2016) they combined all these influences, reaching #7. The band also released the photo/lyric book and compilation 'Letter God: A Few Words on Psychedelia' (2011) and the double live album 'Live & Outta Sight' which also broke into the Dutch top 20.

Although prolific in the studio, the band thrive on the live stage and have spent most of their adult life on the road. As well as selling out 3,500 capacity venues as a headliner in their home land they have toured Europe several times over, and have travelled as far as Australia, they've played to 30,000 at Lowlands Festival, 15,000 at Sziget, as well as Reeperbahn, Rockpalast, Rock Oz Arenas and many more.

They have supported The Black Keys, Blues Pills, Deep Purple, and Ten Years After and even had Deep Purple/Rainbows' Roger Glover impressed "I saw him standing on the side of the stage," says Pablo. "I was super nervous, like fuck! This is the guy who played on Deep Purple' Made in Japan' and I have to try and be 10% of that. He really liked it and said, 'I love your band man, it sounds awesome.'"

In 2014 the band moved to Utrecht, where they also opened up their own analogue Electrosaurus Southern Sound Studio, which is tucked away in a wharf on the scenic Utrecht Old Canal, the bunker is full of recording equipment, decorated with antique lampshades, Persian rugs and stuffed animals. This is where they produced 'Thrust' between June and August 2017 and previous record 'Roux-Ga-Roux'.

Talking about the recording process of 'Thrust' Pablo says; "With a producer, we never really got the sound we wanted. You have an extra opinion of someone that you should be able to trust, but we're perfectionists, so if we want a certain sound or want a certain thing to be played in a certain way, it has to be how we want it to be, it has to be good. At times, when we've worked with someone else it just felt a bit limiting. The first time we'd play something it would be like 'yeh that's good', I'd be like 'no, I can do better.' Then you end up with a record of songs that are good enough but not good enough. Everything on the new record I'm super 100% happy about."

"We did a lot of takes, there were times when we would be super grumpy. It took a lot of time because we work on tape, it drove us nuts .every little thing had to be perfect."

Now in their mid-twenties, they've opened themselves up completely to be creatively free, Pablo explains "We didn't really start writing this record with a concept in mind, we just started writing and saw where it took us. For this record we have no kind of musical inspiration in the form of a band. On the previous record we have just discovered Little Feat and a lot of new music. On this record we just went to the studio and started playing and we got inspired by what each one of us was doing and wrote songs around that. On 'Big Talk', I plugged my guitar into a Moog Synthesizer and there was no sound coming out of it so when I released a key on the synthesizer, the sound suddenly appeared and then we got the super heavy idea for that riff."

Ten years of being a band and wanting to produce your greatest record to date has made 'Thrust', a full representation of the DeWolff live experience incorporated with the in the studio experimentation, which created an intense environment. "A lot of people would come up to us after seeing us live they would say I love your records but when you play live, there is a bit extra. The previous records are like 70%, but live its 100%. With this record we were really aware of that, so we were really striving to make an album that not necessarily sounds like a live album but had the same energy as we have live and I think that really worked."

The time was right for them to make their most ambitious and contemporary album to date. It's represents the sound of rock 'n' roll in 2018; equal doses of anger, frustration, emotion and at times disillusion with the state of the world today and all delivered in a hooky and gloriously epic fashion. "We wanted an album that sounded heavy and modern, unlike our previous albums that all sound "vintage" and that could've been made in the 70's," says Pablo. "Every song we wanted an epic chorus that was instantly recognizable. In the past we made some songs where the riff was the chorus. Not for this album: we wanted strong choruses in every song. You know, the kind of stuff that MAKES a song. That was one hell of a task."

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