Under favorable conditions, an EP can be considered a band’s prologue of sorts. In November of 2011, one such exordium was made available for examination. “Big Broom” was the initial body of work from Van Nuys sextet, RACES. Lending an ear to the story recounted by a band that essentially, was hurriedly assembled as an opening act by guitarist and lead vocalist Wade Ryff, turns out to be a solid investment. On March 27th, with the release of an LP entitled, Year of the Witch, dangling threads will be knotted, and the story complete. The choral spirits of Fleet Foxes and Other Lives are effectively interwoven with a strong bass presence, and Ryff’s vocal urgency incites speculation about what Dylan may have sounded like had he been born in late 80’s southern California. Ryff, Garth Herberg (guitar), Devon Lee (percussion/vox), Breanna Wood (piano/vox), Oliver Hild (bass/synth), and Lucas Ventura (drums/percussion) have brought to life a period piece about life as a twentysomething that manages not to be trite. Hardships, disappointment, and disillusionment peculiar to youth and inexperience are here. But, perhaps the biggest staple binding the work together are the moments of undeniable positivity. The songs contained within RACES’ Year of the Witch are chapters that evoke a sharp, real sense of the moments they depict. Its poignancy guarantees it a prominent position on a virtual bookshelf; a position familiar to those with questions, and those who have their answers. Read on for an interview with RACES.
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RACES – “Big Broom”
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Serial Optimist: Prior to the formation of band, how were you all acquainted? How difficult was the selection process as the band came together so quickly?
Wade Ryff : Not everyone knew each other prior to the band and we were all acquainted separately. I had played bass for Bree’s old band. Garth, Lukas and I had played music together in bands for years. Garth and Oliver were actually in their first high school band together. Devon was a friend whose voice I was always in love with. I would see her sing at karaoke and she was incredible. Barrie, one of the original members that is no longer in the band, I had met at a record store. There wasn’t really a selection process. Garth and me had talked about who would be awesome to have play for a one-off show and it stuck.
SO: What solidified RACES? What was the level of confidence concerning this band gelling and going forward as a cohesive unit?
Oliver Hild: It was sort of a non-issue because we weren’t really trying for anything. It was a slow build towards taking the band seriously. Everyone was a sort of refugee from other band situations and RACES started as just a fun outlet for all of us. It sort of like the band was going to Yoga classes, but we were not necessarily trying to become Shamans.
SO: It’s rumored, and sometimes documented, that the inspiration for the “Big Broom” EP was inspired in part, by a breakup. Assuming there’s some truth to it, what was so unique about the situation that led to these powerful initial recordings?
Wade: I wouldn’t say that a break up was the inspiration for the whole record, but most of the songs were written during a period in time where feelings tied to a relationship were finding their way into a lot of the subject matter. I realized that there was an abundance of ideas stemming from the characters and experiences of that point in time so whenever I was stuck on lyrics I would go back there. Now, I think it’s safe to say the well is tapped out. I don’t want to always write songs about hoes and tricks.
SO: Was the expansion of “Big Broom” into the full-length Year of the Witch LP something that reflects the input and experiences of every member of RACES? Did everyone have stories and moments that contribute essentially to the theme of the album?
Wade: I think everyone in the band can relate to the themes of the album.
Garth Herberg: I agree…that’s why we care to play it.
SO: How does the video incarnation of “Big Broom” represent a “clean sweep”?
Wade: There was a lot of cleaning to do.
SO: Tracks like “The Knife” and “Living Cruel and Rude” are solid testaments to the band’s ability to showcase their cohesion instrumentally on one track, and to embody something soulful and melodic on the next. How valuable is it to be able to incorporate that sort of diversity in songwriting?
Wade: Thanks. When you put it like that it seems like it would be extremely valuable.
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SO: As the Colorado leg of your tour with El Ten Eleven begins, I saw a wealth of Colorado shows, including one in Boulder, and was compelled to purchase a ticket. What insight can you give us about working with your El Ten Eleven tour mates? How are audiences responding to your sound?
Wade: The whole El Ten Eleven crew is wonderful. We have a blast every night and all really get along. I really admire and respect their attitude and approach toward being a working band. The audiences were great.
SO: When you’re not making music or on tour what are the band as individuals doing to regain some perspective out and about? Are you out on the town exploring and connecting with the locals after a show, or is a little recuperation in order?
Lukas Ventura: When arriving back from tour I seek to psychologically punish myself for not yet succeeding at making a financial success out of my music by working a humiliating day job that pays minimum wage, where I am berated by a shift leader that is seven years younger than me and has no hope of ever acquiring a job that pays more than $10/hr.
She knows it too, and she knows my life will always be more interesting than hers, so I constantly am forced to clean floors and hardware with caustic chemicals. She yells at me and makes me feel like dogshit. I forgot to mention that I have to wake up around 4-5am for this job. I lose sleep until I am sick, because I stay up late playing music. By the time we get on tour, I am playing my drums as if someone had a gun pointed to my head because I am so desperate to escape the hell of my existence at home.
SO: Where is RACES running? What new paths lie ahead?
Wade: Your guess is as good as ours.
SO: Year of the Witch seems to represent a series of moments, situations, and the reactions they provoke. How crucial is it to perpetually examine the nuances of life and witness RACES continue to be an evocative and creative font?
Wade: I almost feel like it’s our duty as human beings to try and return to the source and give back in some way to those moments and situations in our lives that have such an impact on us. It seems that a lot of people resist that solitude that is required to turn our attention within ourselves and really acknowledge our suffering, our memories, our desires, experiences etc.
That’s the wonderful thing about a favorite film, or a favorite song or a favorite book…it serves as a sort of road map to a feeling that lives inside of all of us that maybe we were unsure how to reach or how to turn into something that other people can experience with us. Hopefully someone can find that comfort in one of our songs.
SO: We find comfort, and highly suspect many others will as well. Thanks for talking with us!
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SO Note: Check out RACES and purchase music here, on Facebook here, and follow them @racestheband.