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7Horse

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7Horse began as a hypothetical: What if, longtime band mates Joie Calio and Phil Leavitt thought, we bury our musical past and see if we can discover rock ’n’ roll’s Ground Zero?

That question having been explored in bold fashion on their 2011 debut “Let the 7Horse Run,” the blues duo returns with an even deeper sense of purpose on the follow-up, “Songs for a Voodoo Wedding” (due June 10). The larger question: What if the mission were not to locate rock ’n’ roll’s chewy center, but to find and channel their own personal identities?

“I’m a grown man with wants and needs and temptations and faults, and I’m not gonna be afraid to write about any of it,” says Leavitt, the singer/drummer whose sometimes-bawdy, always-honest narratives are filtered through an array of vintage microphones. “Everybody now wants to tell you how sensitive they are. Enough of that. Where’s the attitude? Where’s the swagger? If we can be a two-man Rolling Stones, I say we go for it.”

Adds Calio, who spent much of his career as a bassist before refining the finger-picking and slide skills asked of a blues guitarist: “I feel like on a base level this is what I’m all about as a human being. I feel like we’ve found a renewable source of energy.”

It’s all the more remarkable considering 7Horse started as a trial balloon, with Calio and Leavitt exchanging riffs, lyrics and song sketches via iPhone from their homes in Seattle and Los Angeles, respectively.

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