Los Angeles – In the contemporary underground rock scene of Los Angeles, specializing in retro-influenced garage rock like the Mystic Braves do can be a double edged sword: On one hand, there are literally hundreds of thousands of music fans that are completely in love with the sound, a dozen or so community-minded venues which cater heavily to it, a handful of labels like Burger and In The Red that are garage-rock aficionados, and several college radio stations which pack their sets with paisley-indebted rock ‘n roll. On the other hand, there are literally hundreds of bands that operate within this vein of indie rock, making it incredibly difficult for artists to stand out amongst the crowd.
The key to making a mark and finding an audience in an altogether oversaturated scene is to find something your band is great at, and simply become the best at it. For example, the Allah-Las have perfected the retro-surf sound, the Dum Dum Girls have that greaser-chic motif down pat, Ty Segall went all metallic with Fuzz, and The Growlers just try to be the weirdest dudes at the party.
Mystic Braves have always occupied a middling profile among those more well-known LA-based bands, never really offering something special that sets them apart. Days of Yesteryear does not see the band making any bold stylistic declaration to separate from the pack, but it does place them at the top of bands faithfully recreating the sounds of the 60’s. While there is not much sonic variety to be found over the course of its 44 minute run time, there are several shifts in tempo and mood that make the album an extremely easy listen that begs for repeat spins. In many ways, Julian Ducatenzeiler, Tony Malacara, Cameron Gartung, Shane Stotsenberg and Ignacio Gonzalez have created what could have been one of 1967’s greatest albums.
Mystic Braves kick things off with “To Myself,” a mournful tune that is cleverly disguised behind bending guitar riffs, jangling rhythms, and a wailing Hammond. The song’s theme only becomes revealed when Ducatenzeile croons the easy-to-understand refrain of: “For I want you for my own / I want you to myself!” The lyricism throughout the album has a simple construction with few metaphors or complicated themes, harkening back to the rock ‘n roll of Yesteryear.
“As You Wonder (Why)” offers the first curveball of the album, beginning with a spritely flute solo that interjects itself into the mix. The vocal phrasing, return of the flute, and light finger-picking of “Spanish Rain” sees Mystic Braves hitting peak-baroque, putting the listener at ease until around 1:30 into the track. At this point the band transitions into a semi-distorted psych breakdown. Despite the mid-song tempo change, many elements of the first half remain, tying the disparate song pieces together.
The title of the album could not be more apropos, because Days of Yesteryear contains some of the most direct, uncut reinterpretations of Nuggets-era garage pop songs of the last decade. There are the requisite swirling keyboard lines that complement rich, multi-part vocal harmonies, and the album cover features the quintet looking sharp, dressed to the nines in their finest leisure suits and sporting mod haircuts.
All in all, Mystic Braves have created an album that certainly has not broken any creative barriers, instead choosing to reinterpret the retro sounds they love.
Photo of Mystic Braves by Harrison Roberts
Matt Matasci
Latest posts by Matt Matasci (see all)
- The Shelters Perfects Rock and Roll at Bardot - June 30, 2016
- Featured Artist: The Shelters - June 8, 2016
- Andrew Bird Charms Los Angeles with Fiona Apple - May 18, 2016
