Album Review: RACES, Year of the Witch
Los Angeles band RACES is hitting the scene with their first full-length album, Year of the Witch. Formed in 2009, RACES have distinguished themselves through their alternative, orchestral, rolling melodies and awesomely spastic moments of fuzzed-up, garage instrumentals.
This LP is the follow up to their Big Broom EP and limited edition 7” featuring songs “Living Cruel and Rude” and “Big Broom.” I first caught on to this band when I saw them give an absolutely killer performance at School Nights at Bardot. Following in the same many-membered-vein as groups such as Edward Sharpe and the Magnetic Zeroes, this six piece band was cohesive, creative, and sound damn good. Their music was folky but dark, ethereal but dissectible, and sad but melodic and fun. It was a winning combination, and I was hooked. Unfortunately, I only had three songs—“All for You,” “Hope and Gloom,” and “Big Broom”—to rotate on repeat. Now, with the full-length I have 11 gorgeous tracks to lull me into reverie.
The album kicks off with “All for You,” setting the stage for the entire album’s relaxed, swingy tempos. The second track, “Don’t Be Cruel,” introduces the sadness that colors the entire album, and by the following song, “In My Name,” minor chords and harsher, fuzzy sounds, bring that sadness into a delicious anger. “The Knife” starts off innocently enough with lines such as “when you stood on the stage/wearing that little white dress/a thousand silver horses raced through my chest”, then slowly grows into one of the aforementioned spastic moments with a ridiculous, loud, and straight grungy interlude.
The album peaks with “Big Broom.” The song’s great use of balance: heavy bass line’s balance high, dreamy backup vocals; steady rhythms are interrupted by brief, tension-building pauses. Even the form and the content address each other—the song’s sweeping sound mirrors the lyrical story of being swept clean. Let’s just say this song is definitely one of my top picks of 2012 so far. From there, the album winds down with “Lies,” an easy tune with another great moment of sonic spasm, the more hopeful, multi-paced “Song of Birds,” and closing track “Year of the Child,” which shortly and simply rounds out the album.
Year of the Witch keeps to its themes of sadness, loss, but evolves with its hope for rebuilding. Perhaps my only complaint is that the songs don’t seem to evolve in the same way: while the details certainly distinguish the tracks, RACES’ formula of sweeping, grand-gestured songs can get repetitive at times.
Overall, the album is lovely in the saddest kind of way, like the end of (500) Days of Summer or Death Cab for Cutie’s Transatlanticism. If you’re going through a break up right now, listen to Year of the Witch. That said, if you like good music, listen to this album.
Also, catch RACES on tour for the album--check tour dates here. Their next show will be the album release show this Friday at the Echo in LA.
See Yellow Ostrich at the Bootleg Theater Next Week
Yellow Ostrich will take on Los Angeles (fresh off SXSW) next week with their show at the Bootleg Theater. If you haven't heard of Yellow Ostrich, know that they're much more cool cat than big bird; that is, their music is innovative and interesting--expect a unique use of of vocals and strangely catchy rhythms over a bright, indie-garage sound. They'll be playing in support of their brand new album, Strange Land. Released on March 6th, this is the band's sophomore effort, and it certainly has carried the band from a one-man (Alex Schaaf), self-produced (lots of looping) bedroom project to professional, kick-ass, three piece rock outfit. Strange Land is out on Seattle-based label Barsuk (Death Cab for Cutie, Ra Ra Riot, Rilo Kiley, Nada Surf), and you can purchase it here or stream it here. The band has also released a Noisetrade sampler (it's free, but you're encouraged to leave a tip!) with tracks from 2011's The Mistress and the new album.
Though I have yet to see Yellow Ostrich live, I'm super excited to see them based on their records alone (wonder what they'll do with looped vocals...). See them for yourself at the Bootleg Theater next Wednesday (3/21). Details are below.
Who: Yellow Ostrich (11pm) with MMoth (9pm) and BlackS& (10pm)
When: Wednesday, March 21st--doors open at 8, show starts at 9
Where: The Bootleg Theater, Los Angeles, CA (Event link)
Age: 21+
Album Review: Real Estate - Days
It’s fall—the leaves are changing, the weather is sucking, and Real Estate’s latest LP, Days, is in your car’s CD player, or at least it should be. The five-piece hailing from New Jersey made a name for itself in 2009, when it released its self-titled debut, coining itself in the surf rock genre with track titles like, “Beach Comber,” “Pool Swimmers,” and “Lets Rock the Beach.” This time around, the quintet eased up on the sun-bleached guitar riffs and created a sound much darker and mature.
This may not sound evident on opening track, “Easy,” a 60s-pop revival tune with poppy, cheery guitar licks, Beach Boys-like harmonies, and tree-hugging lyrics such as, “Around the fields we run, with love for everyone,” or the album’s first single, “It’s Real,” a straightforward indie pop song featuring sunny surf guitar riffs and a happy-go-lucky “Woah, oh, oh, oh” driven chorus, but trust me, its there.
With the exception of those songs, this record steers down the road of folk and alt-country, telling stories of suburban life and giving meaning to the mundane. Each track follows the same basic structure—long instrumental intro, wistful vocals crooned by singer/guitarist Martin Courtney, instrumental break and outro. The music on this album does just as much talking as the lyrics do, if not more. The scrupulous precision is evident in every note. The music is tight and dead-on; however, this meticulousness may also be Days’ largest fault.
Although each tune on this album is beautiful on its own, the structure becomes monotonous as the record progresses, squashing the songs into musical mush. And it doesn’t help that Real Estate’s sound is less than original, showing an aural resemblance to Built to Spill, Band of Horses, and Death Cab for Cutie circa There’s Something About Airplanes, among others. This is most apparent in “All the Same,” the aptly titled closing track that features repetitive lyrics and an unnecessary five-minute-long instrumental outro.
Despite its tedium, Days is the ideal fall record. Courtney’s soothing voice and rhythmic chord strums paired with lead guitarist Matt Mondanile’s shimmering, jangly riffs, create a warmth needed on those cool, fall evenings or brisk autumn car drives. And as your feet crunch through fallen leaves, listen to “Green Aisles,” as Courtney sings, “Under dormant trees, under bright lit skies/Mountains of maple leaves, standing side by side,” breathe in that frigid air, and discover the beauty of simplicity.A Weekend at Treasure Island Music Festival
This past weekend the San Francisco Bay Area played host to the 5th annual Treasure Island Music Festival. When arriving at the two-day festival we were greeted with great weather to go along with the festival atmosphere. The producers - Noise Pop in partnership with Another Planet Entertainment – did a great job adding fun elements to the fest to compliment a great line-up. This included a Ferris wheel, giant pirate ship, dancing space creatures, illuminated jellyfish and a silent disco that ran from start to finish each day.
With such a solid festival bill, I did not expect it to be at such an intimate venue. Walking between the two stages took only a couple of minutes and with no overlapping sets it was possible to easily catch every artist at the festival. A highlight for me was view of the San Francisco skyline that served as a backdrop to Tunnel Stage.
Saturday hosted predominantly electronic and hip-hop artists. There was not a short supply of dance parties as the day featured artists Yacht, The Naked and Famous, Dizzee Rascal, Chromeo, Cut Copy and Empire of the Sun.
The second day of the festival was the indie and rock portion led by Death Cab for Cutie, The Hold Steady and Beach House.
Overall, the weekend turnout at the festival was extremely strong and it appeared that they were near selling out Saturday night. I expect this festival to be around for many more years, I’m just hoping that they can keep it on Treasure Island as the demand grows.
Treasure Island Music Festival to Celebrate Five Years - October 15th & 16th
The Noise Pop and Another Planet Entertainment produced Treasure Island Music Festival will be turning five this time around (10/15 – 10/16). The two-day fest features some of today’s best electronic, hip-hop and indie artists. Having become a staple in the San Francisco music festival scene, this year they are able to boast one of their strongest lineups to date.
The lineup features Cut Copy, Empire of the Sun, Chromeo, Dizzee Rascal, Battles and Flying Lotus to lead the predominately Electronic and Hip Hop half of the festival on Saturday (10/15). On Sunday (10/16), the indie/rock portion will be featuring Death Cab for Cutie, Friendly Fires, The Hold Steady, Beach House and Explosions in the Sky. To see the full festival lineup be sure to visit Full Lineup.
The festival takes place on Treasure Island, which is located in the San Francisco Bay and can be reached by a shuttle that will run continuously starting on Saturday 10/15 at 11am from AT&T Park Lot A. For other transportation options please visit Transportation Options.
Weekend Playlist - May 6, 2011
Start your weekend off right with music from artist featured this week on BestNewBands.com
“You Oughta Know” - Das Racist
“Coming or Going” - White Arrows
Lauren Novik highlighted the upcoming tenth anniversary of Sasquatch! Music Festival, which is held annually at The Gorge in WA.
An Horse: They're Just Happy To Be Here
If I were to tell Kate Cooper or Damon Cox that I think they're the “next big thing,” they would shake their heads and change the subject. It's a part of their charm, but they also would rather genuinely not know. So far, the duo from Brisbane, Australia known as An Horse have toured with Death Cab for Cutie, Kaki King, The Appleseed Cast, Wintersleep, Tegan & Sara (Quin, who are credited for helping break the band in America), and Manchester Orchestra, who they will be supporting on tour this year.
Spring Into Summer With Sasquatch!
Well we’ve officially sprung into Spring and at the end of this month, Sasquatch Festival! What better way to kick off Summer fest season that with the likes of Iron & Wine, (New!) Death Cab For Cutie, (New!) Foo Fighters, and a several other of my close personal faves!
Concert Review: The Ladies Love Lady Danville
Another night, another amazing concert. Let me just start by saying, I never cease to be blown away by the amount of talent abounding in the fine city of Los Angeles. That said, I found myself once again at the always cozy Troubadour this past Saturday night to see Voxhaul Broadcast, Family of the Year, and Lady Danville. I arrived just in time to see Voxhaul Broadcast setting up, and for being about 8:30, the venue was pretty full, especially considering Lady Danville didn't come on until 10:30ish (especially now that I know what a really empty venue feels like).
(To read more Lady Danville articles, click here! And for more Voxhaul Broadcast, go here.)
Upon entering, I quickly noticed a trend in men's fashion: those little hats that are like fedoras but not…where the brim stays flipped up the whole way around...the Jason Mraz-y looking hats. (Ah, with a little help from Google, I have figured it out: a Castor Fedora.) Anyways, there were hoards of dudes walking around, all looking curiously similar--white, medium weight, the little hat, a plaid shirt or v-neck, maybe a little facial hair, consistently smiley and bright-eyed. It was like a new breed of hipster: the metro-hipster; the bathed, clean-fingernailed, somewhat-shaven hipster; the strangely approachable hipster. Just, everywhere…
But I digress...
BNBTV Spotlight: The Stagger and Sway, "Sam Bond's Garage"
BestNewBands.com
Take a pinch of Death Cab for Cutie’s honest but evocative lyrical style. Add a dash of Ben Lee-sounding vocals. Combine with a vintage Tom Petty feel, and mix with a hint of folk-country twang. Sprinkle with a warm sense of community. Your tasty result? Eugene, Oregon’s The Stagger and Sway. With this video, “Sam Bond’s Garage,” listeners get a chance to feel what it’s like to be a Eugene resident as the band talks about their favorite local bar, brought to life with lines like “empty pint jar and a bar stool spinnin’.” Find out more about the story behind “Sam Bond’s Garage” by checking out our BackStory featuring this song.
Claire Gallgher: Alrighty, who’s who? What are your names, what instruments do you play, etc?
Mike Last: Acoustic guitar, vocals
Jerry "Groove" Abelin: upright bass, vocals
Ken Howe: Drums
Brian Patrick: electric guitar, lap steel