Cries of Redemption
Cries of Redemption reflects on legacy, artistic evolution, and emotional depth in this candid interview, discussing the return of Billy “Sriracha” Babcock, the organic power of “Torn,” and future ambitions.
1. First of all, congratulations on being inducted into the TJPL News Class of 2026. What does this historic recognition mean to you personally and for Cries of Redemption as a project?
It is an amazing moment in my musical journey and one can say it is never too late. By that, I mean COR is 19 years old, but my rock and roll roots go much farther back into the Atlanta, GA and Hilton Head, SC music scene.
To be 100% honest, I am on a “legacy building” mission. I only took COR public to document and secure its posterity. The warm reception by critics and Indie Media was both surprising and humbling.
Also, while receiving such an honor is an incredible milestone in COR’s history I acutely aware Georgia is a place packed with some of the most talented musicians in the country. The honor in any way makes me better or even puts me par with some of the acts that are busy touring and doing something I did and stopped long ago – chasing the dream one gig at a time.
I started COR primarily (and pretty much exclusively) as a recording project for that reason. I did not want a band, I no longer wished to play live and I wanted to focus on the output being the very best I could do on my own or afford professionals to help me.
So, the TJPL News induction into the class of 2026 is an honor but I stay grounded knowing I am only one artist that happens to live in a land of giants that are equally or far more deserving than I am.
2. “Torn” marks the return of Billy “Sriracha” Babcock. How did it feel to reunite, and what did he bring to the track that defines this new chapter for COR?
Between 2014 and 2015, Babcock was fully invested in COR. We actually recorded an entire LP with quite a stellar line up. I continuously refer to them as the Kompoz’s “dream team”. Which one of those artists brought tremendous musicianship to the table.
Unfortunately, the one time I had the best team on standby to help me with whatever vision I had, I feel I let the down. If you listen to the the 2015 self titled EP available on Bandcamp you can hear those were far from the best songs I’ve written. Everyone did their best but I feel I failed them and myself.
Fast forward 11 years, having Billy back at a time when I have a clearer vision, and the tools to help me articulate it to him (since I am musically illiterate) was refreshing. Only a short 11 years ago, If I wanted something from Billy who is a highly trained professional. I mean, the guys has a BA and MA from Berklee and published a thesis on “The Physics of Sound”. This is who we are dealing with. This time, instead of humming, using MIDI or trying to articulate my vision, by using all the technology available, I was able to relay my ideas in the form of a complete sketch that only needed his mastery to bring it to reality.
Also, I have the utmost respect for the guy. He is by far one of the most respected members of Kompoz and when you hear his playing or engineering skills, it becomes apparent why. So, having him back whether for a song, a season or lifetime is a joy. He is a busy guy with a busy life and he also has Icarus Machine on top of it all to worry about. But anytime he is available, he is welcome to jump in and I made sure that TJPL News inducted him as a member and not only a collaborator since he, myself and COR have a history going back 13 years.
3. The single is described as a fully “organic” rock statement. Why was it important for you to strip things back to pure guitar, bass, drums, and vocals at this stage?
The very first EP and few COR songs were old school guitar, bass, drums and vocals. As time went on and the cost of session players became prohibitive, I branched into more highly produced and cinematic songs that were in my mind all along and I could do on my own and only rely on vocalists to help me bring my vision to reality.
I don’t feel I have to prove anything to anyone. Anyone who knows me or takes the time to do some “meaningful” search (not Instagram or Tik Tok please) will quickly notice I have worked with some of the most respected underground musicians out there. From Carnegie Hall engineers to Juilliard, Berklee, Savannah Arts Academy (SAA), Savannah College of Arts and Design (SCAD) to Grammy winners, I’ve had the opportunity of working with this caliber of talents either in person or at Kompoz.
But I’ve been around longer that some of the people writing the critics have been alive. So Torn was kind of a message and reminder that: “Hey! If push comes to shove and COR had to revert into a full blown gigging band stripped down to guitar, bass, drums and vocals, we’d only not shy away but we’d bring some big guns to party as evidenced by Billy Babcock’s (sriracha) performance.
I have no intention of taking the project back in that direction but wanted to make a statement that I comfortably could if so chose. It is not my objective right now, though.
4. With multiple vocalists featured across your recent releases, how do you approach collaboration while maintaining a cohesive identity for Cries of Redemption?
Ironically, I see the identity of Cries of Redemption being preserved by not relying on any one particular voice but a consistent emotion that may require different voices to get the point across.
Having multiple vocalists serves the purpose of materializing my vision while also preventing “the voice” from becoming a trademark of the project that would cause people to feel it wasn’t COR if a different vocalist was involved.
I am a huge Crywolf fan and I kind of subscribe to his songwriting approach. His music is constant but his cycle through vocalists always picks the perfect one for the emotion he wishes to convey.
5. “Torn” explores the duality of the human spirit. Can you tell us more about the themes behind the song and how they reflect your current artistic mindset?
The song is built on the realization that “the darkness inside ourselves” is not inherently negative. For some, this inner darkness can become a “happy place” that leads to affirmation and self-acceptance.
6. With global rotation across 80 stations in 12 countries and growing international recognition, what’s next for Cries of Redemption—both creatively and in terms of reaching new audiences?
Currently, I am in the middle of the most chaotic moment in all of COR’s history. I just moved to a new place in the US which I had not yet seen until I arrived and left Colombia while also moving to a new place I won’t see until I go back.
Therefore, I have my hands tied behind my back because I do not a place set up to start recording and producing yet.
Once my studios are up and I can get some ideas I was working on, it is my intention to reach out to some heavy hitters in Savannah and go to a brick and mortar studio for the guitar, bass, drums and vocals and record those stems to the highest level of quality and then have Babcock mix and master them while adding his lethal leads.
I am both in a legacy building mode right now but also want to ensure all of the material, including the stems are 100% professionally recorded, just in case.
Once everything is under control, my goal is to visit some old acquaintances from my live performance heyday and assemble a strong team backed by vocalists from Savannah Arts Academy (SAA) and/or Savannah of Arts and Design and release some material with local heavy hitters.
Many people don’t know this but Savannah through Savannah Arts Academy is an incubator for Juilliard, Berklee and Broadway. The sheer number of talented people in this town is unbelievable. In fact, Mallory Carter, the first vocalist for COR was a SAA graduate. It is also on my bucket list to link up with her and do a reunion recording and possibly fully release COR’s first EP, which only ten copies were ever pressed on CD. I don’t even have a copy. Only the master and stems.
There are great things around the corner for the friends Silva hasn’t yet met.