RACES emerged from a period of artistic renewal and personal exploration for Wade Ryff, who found himself at a low point in life. Disillusioned with music and grappling with the painful end of a relationship with a self-identified witch, Ryff faced the stagnation of being a 23-year-old in the quiet suburban enclave of Van Nuys. It was during this challenging time that he penned the heartfelt lyrics for “Big Broom” in his parents' bathroom. Ryff describes the song's message as one of embracing the idea that every ending marks a new beginning; although we may lack control over when things are given or taken away, we can always choose our response.
Unbeknownst to him, this sentiment would resonate with a group of musicians from the area who were also seeking a fresh start in their 20s. Breanna Wood, Lucas Ventura, Devon Lee, and Oliver Hild were familiar with one another prior to RACES’ inaugural performance, having played in bands together and navigated romantic relationships among themselves. The culmination of their shared experiences would lead to the creation of Year Of The Witch, an uplifting project born from the uncertainties of life and the hope for renewal.
The band name, RACES, reflects Ryff's perspective: "I relate to the name in the sense that it seems like there is always something to be up against, and a strong desire to overcome whatever it is." Prior to forming the band, Ryff had been quietly developing solo material. In 2009, a friend invited him to open for a show, challenging him to step out of the background as a bassist and showcase his untrained vocals. As a lyricist, Ryff draws inspiration from early 20th-century authors, while also citing musical influences such as Leonard Cohen’s Death of a Ladies Man for its blend of Brill Building elegance and its influence on RACES’ use of backup singers and keyboards, as well as Television for its intricate guitar interplay that permeates Year Of The Witch.
In a swift effort, Ryff and guitarist Herberg reached out to former bandmates and friends, assembling a "dream team" consisting of five musicians they admired: Hild on bass, Herberg on guitar, Wood on keyboards, Lee on vocals and percussion, and Ventura on drums. Although they faced the departure of a backup vocalist who chose to pursue a solo career, the core lineup of RACES has remained consistent since their first performance.
The band's chemistry and dynamic were evident from the start, allowing them to secure shows without the typical hustle associated with booking in Van Nuys, a location that can feel distanced from the vibrant music scene of Los Angeles. Their work ethic is rooted in their surroundings, spending long hours refining their material in a Chatsworth studio, often motivated by the question of what else one might do in the Valley. Initially, RACES did not view themselves as a "serious band" until local boutique label JAXART recognized the quality of their demos and interest from other labels quickly followed. Their eventual partnership with New York’s Frenchkiss Records proved to be an ideal match, given the label's roster of artists like Passion Pit, Dodos, and Antlers, who resonate with RACES' ability to transform the emotional complexities of mid-20s life into relatable pop music.
Musically, RACES features a blend of poignant songs and waltzes, with tracks like “The Knife,” “Walk Through The Fire,” and “All For You” showcasing melodic and lyrical clarity rooted in Ryff’s solo work. However, Ryff expresses a desire to avoid the trope of the "sappy guy with an acoustic guitar," and RACES enrich these songs with dramatic flair and earthy textures. Their sophistication is particularly evident on tracks like “Don’t Be Cruel,” where Herberg’s compositional background enhances Ryff's creative vision, leading Ryff to describe him as "our Brian Jones."
Despite their rapid progress, RACES remains committed to growth and creativity, currently developing new material for their next album. Ryff humorously notes that their upcoming work may stray from themes of romantic relationships. Their aspirations remain grounded, focusing on opportunities such as performing at the Bowery Ballroom in New York and enhancing their musicianship, rather than riding any hype wave. Ultimately, Ryff articulates the band's ethos succinctly: “I’d rather get dropped and start back at the beginning than not have fun with these guys.” This sentiment encapsulates the vibrant spirit of a band that approaches each performance with the excitement of their very first show.
