Every now and again I find a band which is so perfectly my taste that I find myself rushing to their digital store to see what wares I can buy. My first introduction to Racing Mount Pleasant was “Your New Place”, the song which coincidentally finds its place as the entry point to the album. The band’s dynamics, contrasting emo-adjacent rock instrumentation with progressive movement and a fair bit of saxophone, quickly sealed the deal. From here, I was able to look backward to the group’s work previously under the Kingfisher moniker, and I enjoyed this as well.

The question ultimately then becomes one of why the group decided to rebrand – and why they went straight for releasing a self-titled album under this new name. The answer is quite simple: this is the kind of record that most certainly will be one of my favorites from the year. Racing Mount Pleasant shows the confluence of experimental folk a la Novo Amor, paired with the horn parts which rival San Fermin, all topped off with the raw and raucous energy of the defunct Anathallo. Sometimes, the band flails wildly with layered gang vocals, like on title track. Elsewhere, like on You, Racing Mount Pleasant assume the role of evening entertainment at a cocktail lounge.

Thematically, the album seems to follow the dissolution of relationship, with one partner moving out of state (presumably into Chicago as evidenced by lyrical notes, the album art, and the idea that the new apartment is on the 34th story of a building). There’s a push-and-pull of the sonic tide, shifting between lyrical passages and winding instrumental segments that helps convey they mix of emotions – from fear, to regret, to wondering what might have been. But that doesn’t mean it’s a sad album; Racing Mount Pleasant maintain plenty of energy throughout, and the saxophone, drum, and bass parts all have their time in the spotlight by injecting the tracks with energy. The string-heavy “Emily” is a particular highlight on the rhythmic front; rain-drop staccato pairs with strong-yet-restrained drumming which explodes into more standard rock fare toward the end. The end vocals carry the soulful dissonance I can’t help but compare to Hotel of the Laughing Tree. It’s definitely a highlight track.

At 13 tracks and just shy of an hour long, this is an ambitious album. If you’ve followed me for any length of time, you’ll know many of my favorite albums are fairly long – but you’ll also know I find them very easy to get wrong. Some of have multiple personalities on their A and B sides; others are simply spotty. But Racing Mount Pleasant feels like one closed journey, front to back, paired with repeating musical and lyrical motifs. It’s pensive, but it’s not brooding. It’s thoughtful, but it’s not pretentious. It’s clear the entire band is at their best, and the result is 13 songs which find the sweet intersection of cohesion and diversity. The sparser “You” is offset by the maximalist “Outlast”, but each finds its place in the narrative (and both have ties into the tracks which follow just after). This is a masterfully crafted record, and Racing Mount Pleasant have set the bar impossibly high for future releases. Here’s to hoping more merch is available is soon as this is the kind of record that deserves a vinyl pressing (or at least a CD for the Luddites like myself).

RIYL: Anathallo, Caracara, Foxing, The National, Triple Crown Records