Biography
Violet Burning, also recognized as the Violets, fuse uncommon and varied traits into one of alternative rock’s most spiritually charged and idealistic acts. Fronted by singer, guitarist, and songwriter Michael Pritzl, the endeavor has produced 21 albums, EPs, and live recordings since launching in 1989 while developing a devoted following. Standouts encompass the 1992 release Strength, the 1998 expansive Demonstrates Plastic and Elastic, and the 2011 ambitious three-part concept album The Story of Our Lives: Liebe Ûber Alles, Black as Death and The Fantastic Machine.
Originating in Orange County, California, Violet Burning initially delivered post-punk guitar rock marked by abundant noise and forceful rhythms that echoed the musicians’ ’80s touchstones the Cure, U2, and Echo & the Bunnymen. Soon after assembling and hitting the stage, the ensemble cut and issued their first effort, Chosen, via New Breed Records. As a seasoned worship leader, Pritzl guided the group in opening concerts with ceremonial candle lightings and the ignition of vast quantities of incense, establishing a contemplative atmosphere that complemented their fervent, faith-centered songs. Violet Burning gigs in nearby Hollywood turned into small-scale occasions even though the act remained largely unrecognized within L.A. music scenes. This shifted in 1992 once the band’s next record, Strength, appeared. Relying once more on commanding live shows and organic buzz, Strength achieved underground success through refined production and sharpened songcraft, drawing national and international notice for the first time.
Domo Records supplied broader reach for the third outing, a self-titled set that raised the ensemble’s musical and sonic bar again. Throughout the late ’90s Violet Burning shared bills with acts such as Cracker and the Nixons across the States while amassing a notable European and Christian audience. Slots on MTV Europe and prominent festivals turned routine as the group carried their message globally. The 1998 well-received Demonstrates Plastic and Elastic signaled a turn toward expansive yet melodic compositions and arrangements frequently compared to Radiohead and the Smashing Pumpkins.
Approaching the close of the decade, Pritzl steered the music toward a more explicit spiritual focus. Both 2000 projects, I’m a Stranger in This Place and Faith and Devotions of a Satellite Heart, delved into his interest in worship through song with greater lyrical directness. Even so, Pritzl declined to brand the band strictly Christian, which strengthened trust among listeners who prized Violet Burning’s sincere and authentic stance. The outfit refined its potent guitar-led alternative rock approach on later works including This Is the Moment (2003) and Drop-dead (2006), before unveiling their most ambitious statement yet in 2011 with the triple-concept LP The Story of Our Lives: Liebe Ûber Alles, Black as Death and The Fantastic Machine.
Originating in Orange County, California, Violet Burning initially delivered post-punk guitar rock marked by abundant noise and forceful rhythms that echoed the musicians’ ’80s touchstones the Cure, U2, and Echo & the Bunnymen. Soon after assembling and hitting the stage, the ensemble cut and issued their first effort, Chosen, via New Breed Records. As a seasoned worship leader, Pritzl guided the group in opening concerts with ceremonial candle lightings and the ignition of vast quantities of incense, establishing a contemplative atmosphere that complemented their fervent, faith-centered songs. Violet Burning gigs in nearby Hollywood turned into small-scale occasions even though the act remained largely unrecognized within L.A. music scenes. This shifted in 1992 once the band’s next record, Strength, appeared. Relying once more on commanding live shows and organic buzz, Strength achieved underground success through refined production and sharpened songcraft, drawing national and international notice for the first time.
Domo Records supplied broader reach for the third outing, a self-titled set that raised the ensemble’s musical and sonic bar again. Throughout the late ’90s Violet Burning shared bills with acts such as Cracker and the Nixons across the States while amassing a notable European and Christian audience. Slots on MTV Europe and prominent festivals turned routine as the group carried their message globally. The 1998 well-received Demonstrates Plastic and Elastic signaled a turn toward expansive yet melodic compositions and arrangements frequently compared to Radiohead and the Smashing Pumpkins.
Approaching the close of the decade, Pritzl steered the music toward a more explicit spiritual focus. Both 2000 projects, I’m a Stranger in This Place and Faith and Devotions of a Satellite Heart, delved into his interest in worship through song with greater lyrical directness. Even so, Pritzl declined to brand the band strictly Christian, which strengthened trust among listeners who prized Violet Burning’s sincere and authentic stance. The outfit refined its potent guitar-led alternative rock approach on later works including This Is the Moment (2003) and Drop-dead (2006), before unveiling their most ambitious statement yet in 2011 with the triple-concept LP The Story of Our Lives: Liebe Ûber Alles, Black as Death and The Fantastic Machine.
Albums