Some horses were always meant to run wild. 

Phil Leavitt and Joie Calio, the multi-instrumentalists behind 7Horse's self-described "postpunk dystopian blues," have been exploring unfenced territory together for 30 years. Kickstarting their partnership as members of dada—the platinum-selling alt-rockers behind '90s hits like "Dizz Knee Land" — they now pack a different punch with 7Horse, blurring the lines between '70s-sized rock & roll, Vegas showbiz glitz, and bluesy grit. It's a sound rooted in groove and Gretsch guitars, rhythm and riffs, desert-rock crunch and cinematic sweep. A sound that nods to the best parts of the past while still pushing forward. 

7Horse's fifth album, The Last Resort, offers a snapshot of a boundary-breaking band in evolution. Since launching the band in 2011, Leavitt and Calio have saluted the glory days of American rock & roll both onstage and in the studio. Here, they make room for international flourishes, too. There's the bilingual bounce of "Non Sono Un Ragazzo," which finds drummer/frontman Leavitt recounting the band's introduction to film legend Martin Scorsese (who memorably used 7Horse's career-launching track "Meth Lab Zoso Sticker" in The Wolf of Wall Street) in both English and Italian. There's the Latin beat of "Hey Vámonos!," where flamenco guitars, polyphonic rhythm, and four-on-the-floor stomp all swirl together. At its core, though, The Last Resort charts its own musical geography.

"We love the wide-open expanses in our sound," says Calio, nodding to the atmosphe ric, lonely-highway ambiance that drifts throughout The Last Resort like desert dust. "It's panoramic.

Our influences are from the 20th century—blues, '60s and '70s rock & roll — and we turn that sound on its head. Right out of the box, we had a sound that was our own, but The Last Resort is the destination we've been headed toward the whole time."