Petaluma folk-rock quartet Trebuchet are finally out of the studio and ready to start unveiling their new sophomore album, Volte-Face, due out early next year. First up, Trebuchet premieres the album’s lead single, “A Confession,” which finds vocalist and songwriter Eliott Whitehurst delving deep into family memories and bringing back with him a questioning spirit.
Bolstered by harmonies from drummer Paul Haile, keyboardist Lauren Haile and bassist Navid Manoochehri, Whitehurst’s newfound lyrical longing is brought to life with slow-building acoustics expanding into a mellifluous choir. If “A Confession” is any indicator, Volte-Face looks to be a mature and introspective reckoning of an album.
Listen to the new single below, and see Trebuchet play a release show on Sunday, Dec 11, at Bottom of the Hill in San Francisco. That show also features new Bay Area band Mare Island, featuring members of Loma Prieta and The New Trust, and all proceeds will go to a benefit fundraiser for the victims of the recent Oakland warehouse fire. Next week, on Dec 18, Trebuchet plays their annual “A Very Trebuchet Christmas” concert in Petaluma, featuring them and several other North Bay acts performing Christmas covers and more.
Petaluma folk quartet Trebuchet have a new collection of harmonious music for you, just in time for the holidays. Rivers Out of Streams is a collaborative effort between the band and and the Santa Rosa Young People’s Chamber Orchestra. Filled with string arrangements and melodic wonder, this new release expands the group’s already lush acoustics into a swell of symphonic joy.
You can order Rivers Out of Streams on the band’s site here. It comes as a 10″ vinyl and includes unlimited streaming of the record online, which is good because you’ll want to listen to this one again and again.
The three-day extravaganza known as Bottlerock began today in Napa, the city known more for restaurants and winetasting than music. To wit, the festival, now in its second year and under new ownership, has focused more on music this year—in addition to bringing internationally famous acts like the Cure and Outkast to Napa, there will also be over two dozen local bands playing at the festival, meaning that over one-third of the bands playing will be from the Bay Area.
This isn’t a new idea—local acts were featured at last year’s festival—but there are more of them this year, and it’s more than just an afterthought. Latitude 38, the company behind this year’s Bottlerock festival, says including local bands was the plan from the start.
“A lot of people didn’t know there were a lot of bands in Napa,” says Latitude 38 CEO Dave Graham. He says they’ve made a new tradition of kicking off the festival with a local band on the main stage. This year, it’s the Napa–based group Grass Child.
On Saturday, the first band to strum a chord, pluck a note, or bang a drum will be local favorites Trebuchet, the indie-folk quartet known for its original songs with glorious harmonies and wide-ranging instrumentation. They’ll be playing on the City Winery Lounge stage at Noon, greeting attendees just inside the main entrance with their explosive tunes and catchy melodies.
The opening slot at a festival is a blessing and a curse. “We don’t have any headliners to contend with,” says Eliott Whitehurst, the band’s mandolinist, guitarist and lyricist. “But at the same time, it’ll be a challenge because we’ve never been in that situation where it’s like, ‘Oh, look there’s all these people,’ and they continue to walk by.”
Whitehurst, who lives in Napa, says he is excited for this year’s festival—not in the least because he’ll be playing in it, but also because the concerns of last year are being mitigated. “Last year, we actually got out of town,” he says. “People in Napa were of one of two minds: either this is going to be awesome… or oh my god, we do not have the infrastructure to handle what is going to be thrown at this city.” With a festival expecting 30,000 people per day for an entire weekend, in a city of 78,340, that’s to be expected. Though he’s sure there will still be challenges, Whitehurst says, “I’m not as afraid of it this year as I was last year.”
Local acts playing in the festival come from as far away as San Francisco, and Whitehurst says about 150 bands sent entries to Thea Whitsil, who also organizes the annual Napa Porchfest, to fill 32 spots. Instead of having an “in” or being owed a favor, as is the case when so many bands are booked for a festival like this, Trebuchet and the other local acts were picked on merit. “That’s why we’re so stoked on it,” says Whitehurst, who knows the industry well, coming from a musical family.
The group made a one-shot montage video as an homage to the big names at Bottlerock, rearranging pieces of about a dozen songs into their own style. It was a hit—garnering over 1,200 Youtube views in just over two weeks. “It didn’t take us too long,” says Whitehurst. “We practiced for a day and maybe did 10 shots of us doing it live.” The festival is filled with nostalgia for those who grew up with the soundtrack of the ‘90s. Whitehurst is no exception. “I can’t deny how fun it will be,” he says. Outkast and Weezer will be great, and, because they’re a sure-fire way to heat things up, he’s also stoked to see Blues Traveler.
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.