Family of the Year was formed in California in 2009 by brothers Joe and Sebastian Keefe, as well as James Buckey, who were all veterans of the Boston alt-rock music scene in the late 90s. California native Christina Schroeter joined the group not long after, solidifying the indie folk band’s roster and adding her female vocals to give the group its trademark harmonies. A debut album called “Our songbook” appeared almost immediately after their formation, suggesting that material had been percolating for a while, and then, their major label debut was launched three years later. “Loma Vista” was actually my introduction to them (and still the only album by them in my collection) and this meeting came a year after its release, in 2013, because they were slated to play the local summer music festival (remember those?) and they piqued my interest.
Family of the Year’s set was quite amazing and the album got a lot more play after I saw them than it did beforehand. I especially fell in love with the single “Hero”, a track that had been released earlier, albeit as a shorter and not nearly as finely realized version. This song was then used for the trailer and as de facto theme song for Richard Linklater film, “Boyhood”, in 2014 and became a hit of sorts for Family of the Year. I’m not sure if you’ve seen the film but it’s a long one, following the protagonist throughout his formative years. What makes this coming of age flick different from the rest, though, is that it was filmed real-time as the actor (and his co-stars) aged through those same formative years, making the pay off at the end all the more worthwhile. The film also imbued the song with more meaning for me, burnishing the protagonist of the song’s reluctance to stand out, and dancing all emotional and heroic in spite of himself.
“So let me go
I don’t wanna be your hero
I don’t wanna be a big man
Just wanna fight with everyone else”
“Hero” pulls into you tightly with its jangly arpeggiating plucking on the acoustic guitar, the light brushing on the snares, and the way each eases their way out of the ether. Synth washes are just there, like the flickering shadows just beyond the reach of the campfire, and then, just at the song’s apex, comes a touch of electric guitar, but more as support than overpowering force. The rest of the band joins Joe Keefe here, singing as a crowd, cheerful and uplifting. And then, the song ends as it began, quiet and acoustic, leaving a slight but definite smile on your face as the last note fades.
For the rest of the Best tunes of 2012 list, click here.