Family of the Year, White Arrows

Early Show

Family of the Year

White Arrows

Thu, October 4, 2012

Doors: 6:30 pm

Mercury Lounge

New York, NY

$10 advance / $12 day of show

This event is 21 and over

Family of the Year - (Set time: 7:30 PM)
Family of the Year
Channeling Fleetwood Mac's musical stylings with a hint of late-era Beatles, Family of the Year braid catchy melodies, stellar male/female vocals and personal folk tales to create some of the happiest and saddest music you've ever heard. The band's classic musical style has been integrated with a modern fanbase that the band continues to create and release new music for.
Family of the Year self-released their debut EP Where's the Sun on their Washashore imprint in September 2009. The EP showcases a variety of Family's music, and includes "Let's Go Down," "Castoff," "Summer Girl," "What a Surprise," and "Psyche or Like Scope." Where's the Sun is available for digital download at FamilyoftheYear.net for an optional donation. Contributions went directly toward the release of the band's debut full-length album and continue to fund their collective life on the road.
In October, Family was handpicked out of 700 artists by Ben Folds and Keith Lockhart to open for Ben and The Boston Pops at Symphony Hall. Shortly after, the band flew west for California shows with Bell X1 before returning east for the CMJ Music Marathon, marking Family Of The Year's New York debut. SPIN.com selected the band as one 25 Must-Hear Artists from the 2009 CMJ Festival.
In November, Family hit the road with Edward Sharpe and The Magnetic Zeros in support of Family's debut album, Songbook, also available for optional donation.
In January the band announced the release of an exclusive song every month through their e-mail list in 2010 and followed that with the digital release of their sophomore EP Through the Trees on March 9 under their own imprint, Washashore Records. The band retains their signature folk-inspired style while pushing the musical genre exploration for which they're known on the new EP, which also features friend and fan Willy Mason.
Singers Joe Keefe and Meredith Sheldon blend seamless harmonies in the Beach Boys-esque ballad, "Summer Girl," while "Stupidland" and "Let's Go Down" are upbeat, catchy folk tunes. Crossing boundries, Through the Trees features the traditional Family sound, but will also include "The Barn," a synth-heavy rock song, as well as "The Princess and the Pea," which embodies a laid-back yet catchy reggae sound.
Like most American families, FOTY come from all over. Brothers Joe and Sebastian Keefe grew up in Wales before staking their claim as locals on the rustic country island Martha's Vineyard, where they grew up with Meredith Sheldon and Farley Glavin. Christina Schroeter is a misfit of Orange County, CA while across the country southern gentleman James Buckey grew up in Jacksonville, FL.
Musical veterans Joe, Seb, James, and Farley enjoyed local Boston success in their raw rock ensemble Unbusted. Farley and the Keefe brothers switched gears when they created the up-tempo indie-pop band The Billionaires, while James pursued a career in sound engineering. Christina, who spent five years of her childhood trying to weasel out of piano lessons, recently resigned from an entertainment PR firm, where she often rushed clients down red carpets before heading to band practice. Meredith is an accomplished singer and guitarist, and has toured with Ben Taylor as a backup vocalist.
Joe, Seb, and Jamesy met Christina in LA, and Meredith and Farley moved from Martha's Vineyard to complete the ensemble. Even when they're not practicing, you can bet that this tight-knit group are hanging out. Whether it's playing board games at the practice space or mellow nights sitting by the backyard fire pit over a jug of wine, FOTY truly consider each other family.

"I'd never heard anything like them before. They were so eclectic in the music choices, something like a combination of folk indie rock and the Beach Boys. I was fascinated. They were [Ben Folds'] favorite, too."
-Keith Lockhart, Conductor of the Boston Pops Orchestra
"A collective that's equally comfortable harmonizing on '70s-style Hollywood Hills piano rock as it is churning out urgent, high-tech indie pop." --SPIN.com
"They're like the Mamas and the Papas on acid." --Steven Tyler
White Arrows - (Set time: 6:30 PM)
White Arrows
Bardo is a transitional state of being, the phase of existence between death and rebirth. It marks the end of one thing and the beginning of another. It represents an evolution, which is
why the title of White Arrows’ second album, In Bardo, is so appropriate. The Los Angeles indie rock band found themselves in a new plane of being after touring extensively since their inception, finally grounded enough to create a cohesive work that reflected the musicians’ present mindset.

White Arrows, a four-piece who met in Los Angeles, began touring almost as soon as they formed, hitting the road with Cults, White Denim and The Naked and Famous, and
performing at festivals like Coachella and Sasquatch. The transitory, continuous nature of touring meant that their 2012 debut album, Dry Land Is Not A Myth, was created in bouts,
pulled together over the course of almost two years. After Coachella last year, the band finally returned home with no obligations set out before them and allowed the creative process to take them whenever it would.

“My only motivation was to make songs,” Mickey says. “I wanted to get out all the ideas in a way that was productive and creative. There was no sense of what the songs would be – I just wanted to make music. I think there became a cohesive approach as we went along because
we were writing at one particular moment in time. This is all from the same headspace.” Andrew adds, “Our sound just locked into place as we were writing it. After the first few
songs it clicked in and things started moving faster. I wouldn’t say we knew what we were doing going into it, but we found out along the way.”

Certain thematic elements were circling the music, even as Mickey wrote some of the lyrics in a stream of consciousness fashion. He found that death, sex and religion were always present, always around him, and those ideas sunk into the music on In Bardo itself. The songs are darker and deeper than those White Arrows have created previously, threaded together by these omnipresent and sometimes unconscious themes. “Things were happening and I was thinking about the same things over and over again every day and writing about them,” Mickey says. “Those are topics that tend to come up in conversation or you hear people talking about on the street. It was constantly there. I don’t think it was conscious effort to
make an album based on those things but it ended up inherently being thematically very similar on a song to song basis.”

Musically, In Bardo takes a few strides in a new direction for the band. Andrew, who had written prior material on keyboards, picked up the guitar and focused strongly on how to integrate the instrument into White Arrows’ innovative blend of psychedelic rock and electronic indie pop. “Nobody Cares” was the first song to emerge after touring, a number Mickey says most aptly conveys the musical balance White Arrows was seeking. “We Can’t Ever Die,” a boisterous, hook-tinged track that reflects the disc’s title, fully embraces that aesthetic, setting the stage for the rest of the music the band wrote.

After meeting with several producers, White Arrows selected Jimmy Messer and spent the winter recording with him at his Los Angeles studio The Tube. It was the band’s first time
making music in a real studio with a producer, and the musicians found the experience to be ideal. “We loved it,” Andrew adds. “It was a very freeing experience. Jimmy had good perspective on guitar, which was helpful because that’s where we were trying to shift. It was the most harmonious record-making process I’ve had with any band so far.”

For White Arrows, In Bardo is the transition. It marks the end of one thing and the beginning of another. The songs, from moody album opener “I Want A Taste” to surging standout
number “Leave It Alone” to the evocative two-part closer, represent the musicians’ current mindset and inspirations, pulled cohesively together by their succinct process of creation. It is, as Mickey says, the band’s real introduction into the world.
Venue Information:
Mercury Lounge
217 E Houston St.
New York, NY, 10002
http://mercuryloungenyc.com