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With indie-anthems as expansive and energetic as the California coast that spat them out, The Young Wild marry craft and abandon, making music as monument to youth, escape, and rock & roll.
Before they were a band, The Young Wild were college students in San Diego—playing music always, just not necessarily with each other—until frontman Bryan B William and bassist/chemistry major Gareth Moore began sharing the stage in a classic rock, cover band. Meanwhile Brandon Zedaker was growing exhausted with his study of jazz drums. He knew his future bandmates as the guys who played really, really loud in the band room after jazz ensemble—William was the dude who kept stealing his cymbals. It wouldn’t be long before Zedaker found himself as the drummer pummeling the skins alongside William.
After graduation William assumed the role of frontman, and the band refined their sound, edging away from classic rock covers and adopting the cool chime of synth-pop and 80’s rock, cut with William’s allegiance to soul, Motown, and precision grooves. In July, The Young Wild introduced themselves in a surge of output: a single, a music video, a tour, a brand. After time spent playing out and reining their sound in, the band felt the pull to record, but, as William puts it, “We could only afford four or five songs at a time.” So they settled on recording an EP and the resulting material, For Now Not Forever, caught the ears of Fairfax Recordings.
Now, The Young Wild enter Fairfax Recordings with an ambitious grip of material and an excitement drawn, in part, from the sound and history of the studio itself. Perhaps more, the band is energized by producer Kevin Augunas’ ability to enhance their music while preserving the sound they’ve worked hard to craft. “Often, bands go into a studio and come out a completely different sounding group,” says Zedaker, “but Kevin can really hear where we’re coming from.” William adds, “There’s a whole range of resources and ways to color the songs with the studio and the minds of the people there.”
William writes the majority of the material; Zedaker, with his drumming and production chops, excels at shaping the studio work and understanding the mechanics behind a sonic experience. Finally, Moore exists as rare combination of bassist and hype-man, taking the songs from the studio and relating them to an audience in the performance setting.
“There’s a landscape that these songs stand on,” says William about the material for the upcoming album, “like, downtown Los Angeles on a Thursday at two AM is very specific landscape. People are making mistakes, people are self-medicating, people are rehashing old drama. However you do it, do you face the feeling or run from it? Sometimes you gotta be wide open to what’s out there - and hope that by the end of it that the misadventures and the moments that challenge us the most are worth going through to get to the other side.”