Trebuchet, one of Sonoma County’s most wonderful bands, is recording a followup to their self-titled debut album. Hopefully, this one will be filled with just as much reflective storytelling and beautiful vocal harmonies as their first effort. The 10-song full-length record will hopefully be released in the fall, says drummer and recording engineer Paul Haile, who was recording drum tracks in Santa Rosa today with bassist and guitarist Navid Manoochehri. Judging by the drum tracks, it sounds like this album will feature a larger sound, maybe with more punch and, if possible, even more emotion than the previous one.
It’s also supposed to hit 97 degrees today, so maybe the tracks recorded later in the day will be more subdued.
From the first inhale of Trebuchet’s self-titled debut record, I’m hooked. The ukulele like lapping waves of a tropical shore; the surf lead guitar the birds lazily riding the swells. A breath—giving pause, the moment that will make or break the entire album. Sweet voices coalesce in harmonic bliss, one as strong as the next, none overshadowing another. The wave does not crash, it pushes onto the shore, allowing warm salt water to kiss my toes and leave me wanting more.
The six-song, vinyl-only release (it’s also available digitally) was christened with a show at San Francisco’s Bottom of the Hill last night, with friends and family accompanying on stage and in the audience. Whether by blood or by feeling, all four bands playing on the evening’s bill were related, and the feeling in the audience was that of an unexpected family reunion.
Survival Guide opened the show, who I unfortunately arrived too late to see. You Are Plural introduced a new twist to the duo of Wurlitzer and cello: drums. The percussion filled in some spaces, but since most songs were written without drums, it felt forced at times. But the harmonies and interesting time signatures kept the set flowing and piqued interest throughout the set. The New Trust brought a powerful rock sound to the stage next, Josh Staples’ thundering bass lines commanding attention from even the smoking crowd in the atrium.
I was lucky to see Trebuchet’s first-ever performance, at the Arlene Francis Center in Santa Rosa, last year. The band impressed the hell out of everyone that night, in part because three of the four members are known for intense, instrumental post rock in the band Not To Reason Why. This was as far from the expected as possible while still loosely relatable to the same genre.
Last night, Trebuchet sounded polished, like a beautiful piece of obsidian after hundreds of years in a river bed. That igneous black rock born of violent eruptions from the Earth’s core, sharpened and used as arrowheads and spear tips, left alone under running water matures into a polished, beautiful stone. I walk toward the sea, wading in up to my hips. The warmth and gentle swaying covers the impending danger of being too far from shore, too far from home. This is the best kind of escape.
Style: Relaxed, Americana instrumentation, four-part vocal harmonies, extremely musical songs, listenable without being boring, beautiful, interesting without being obscure
Comparisons: Sufjan Stevens, Decemberists, what other Portland bands wish they could sound like
Rating: 4.5/5 (Just because the record is only six songs!)
Trebuchet’s debut record is available at www.trebuchetmusic.com.