A new Centro-matic album is a special event at WYMA, and good news for anybody who likes good, honest guitar rock that gets you right in here. The band has released its 11th album, Take Pride In Your Long Odds, and throughout its 12 tracks, the band address the topic of its title, as singer and songwriter Will Johnson said: "If there are entities telling you that you can't do something, that there's no way something is gonna happen for you—take pride in your work and prove them wrong. If it's worth it to you, you shouldn't give it any less of a chance because of what someone else says." If you're a fan of this band, that attitude makes perfect sense and is something to be truly grateful for, because it's kept these guys making music for 17 years, through everything that life can throw at them. Every record, every opportunity to see them live, is a joyous occasion and absolutely not to be taken for granted.
Previously we shared the track "Salty Disciple", and they've put together a trippy video to accompany the song:
That's a great track, but the treasure here is "Academy of Lunkers" - it's the one with the most distinctive Pence drum intro (a la "The Mighty Midshipman") and it opens up the quickest of any track on here, to feature a great Will Johnson vocal, guitar feedback and the combination of melody and noise that nobody seems to do as well as Centro-matic. It also contains some place references only residents of Denton will likely get (mentioning "you were romancing every sunset alone on Bonnie Brae" - one of the surest ways North out of town, if I recall correctly, and "met you by McKenna Park, you were struggling with all your shivers"). What's it all about? As usual, Johnson never says directly. Your impressions are what's important. Centro-matic are artists, man. Listen, think, and most of all, enjoy:
Well, it's that one or "Relative Unto the Aces" and its perfect lead guitar riding on top of Pence's perfect beat, Hedman's perfect bass line and Danbom's - what are those things?
The next greatest track is "On the Ride Back" - an absolutely beautiful 5:23 of guitar chords, perfect rhythm and vocals (both Johnson's lead and the harmonies that float in and out), and some devastating guitar solos that start about 2:00 in... not to mention some heavy sonic experimentation that reminded me of drummer Matt Pence's production work with True Widow.
There are plenty of terrific moments - the transition from "Calling You Glad" into "Cynthia Glass", the pretty acoustic on "Every Mission", swirling synthesizers on "Anything Torn Out"... "Cross Path" calls to mind "All The Talkers", one of the strongest tracks on Centro-matic's last album Candidate Waltz - they worked with the same producer, Scott Solter, for both records.
The closer, "Through The Fog, Then Down" is a beauty, too - there is not anything close to a weak track on the album - but it's especially gorgeous, and sort of blasted, with its juxtaposition of a piano reminiscent of Lennon's "Imagine" and a fuzzy, distorted guitar.
It's another beautiful collection of songs - I expected nothing less, but that does not diminish the pleasure a bit. It's out today (June 3).
This qualifies as the best music news of the week for me: a new track from Centro-matic is always cause for celebration. "Salty Disciple" is a long track with a few changes, and like Centro-matic's last album, 2011's universally WYMA-acclaimed Candidate Waltz, it contains some new sounds - a bracing keyboard fanfare right at the beginning, some growling guitar, and a sort of sly, understated, in places spoken vocal approach. Like so many of my favorite Centro-matic tracks, it starts off with a good Matt Pence drum intro and fills out into a terrific chorus. Yeah, it's a familiar musical formula, but there aren't too many artists doing the chorus better than these guys.
Lyrical snippet for reflection: "Maybe you were just plucking it out of books and not living it..."
The album, titled Take Pride In Your Long Odds, will be out June 3. I can't wait.
By the way, they'll also be releasing a double vinyl version of Redo The Stacks at the same time, but will have 30 copies available for RSD in Austin, and online beginning next week. Check the website to learn more.
True Widow is a Texas band playing a heavy, heavy take on the shoegaze/noise pop genre. On Circumambulation, they feature a thunderous bottom end, alternating male/female vocals, and some guitar tones that are, frankly, reminiscent of Nirvana. It's a very interesting sound, and it certainly provides a workout for the bass portion of your speakers.
The band consists of guitarist/vocalist Dan Phillips, bassist/vocalist Nicole Estill and drummer Slim, TX. Their producer is none other than WYMA hero Matt Pence (Centro-matic's drummer and co-owner of Echo Lab in Argyle, TX) and they credit him with helping them get the thick, heavy sound they are looking for. Phillips' vocals are a bit understated, whereas Estill's seem to be a little bit more out-front. It's a pleasant contrast and provides a sense of balance to an album that consists of eight rather lengthy songs.
For a little more background, go check out this good Dallas Observer interview with the band about their process, their dedication to this signature heavy sound, and even the reason their song titles look like that.
Video for "S:H:S"
Here's "HW:R":
And here's my favorite track - one that features the full array of their formidable sound, including a terrific Estill vocal - "Four Teeth":
This is a tremendous album, one of my favorites of 2013 so far. It's out now on Relapse (released July 23), which is responsible for another of my 2013 favorites, ASG's Blood Drive. You can listen to more at the Bandcamp link - click through the "Four Teeth" stream above. Or you can visit their website or Facebook.
Overseas is Will Johnson of Centro-matic, David Bazan (formerly Pedro the Lion) and Matt and Bubba Kadane (The New Year, Bedhead). Having raved about Bazan's most recent solo record Strange Negotiations (WYMA review here), and pretty much everything Johnson, Centro-matic and South San Gabriel have released (example: my 2011 Top 25 here), I am far from partial on this matter... but your independent research for this record will be simple and pleasant. Bazan and Johnson each take five vocals, and the songs are wonderful.
Fortunately for you, it's possible to visit their website now and hear one song from each: "Ghost to Be" from Johnson, which is slow-building and majestic (somewhat reminiscent of Mogwai) with vocals that, as always with him, get right to the heart; and "Down Below" from Bazan, which is upbeat, with some pretty aggressive guitars and his distinctive vocals.
Here's a video for "Ghost to Be":
This video was done by Kevin McAlester, who directed the Roky Erickson documentary You're Gonna Miss Me.
The physical cd/lp will be out June 11, but you can pre-order and get a download right now.
I think it should go without saying that 2012 was a great year for music fans - the four of us who write about music we like on When You Motor Away have each come up with a list of our favorite records, and there is not a lot of overlap. To me, that's evidence that there is more good music available than there's ever been. However you discover it - YouTube, XMU, podcasts, or even little old music blogs like this - you had to be thrilled with the quantity and quality. I know I was. Here are the 50 records that hit me hardest in 2012. By no means is this considered comprehensive - there is no way I heard everything, or even everything that I might actually enjoy. I suspect I will still be discovering good 2012 music in, say, 2015. But we wanted to try to give you a sense of what we liked, and while hard to cull, these lists are fun to assemble. So here you go - top 25 in order, next 25 alphabetical...
1.Guided by Voices - The Bears for Lunch. This was the best record of the year – it had plenty of competition from within Robert Pollard’s 2012 body of work, including Class Clown Spots A UFO and Let’s Go Eat The Factory as well as Robert Pollard solo releases Jack Sells The Cow and Mouseman Cloud, but The Bears For Lunch was the fullest, best-sounding and most fun of the five. Four Tobin Sprout songs on one GbV record? As always, GbV and Pollard are characterized by generosity – you know, more is more. WYMA reviewhere.
2.Dwight Yoakam - 3 Pears. As good as Yoakam’s been for over 25 years (and when he’s hitting his stride, there is not a better country singer, songwriter or showman), 3 Pears might be his best. He’s never been afraid to blur the lines between country, rock, pop and rockabilly and this record was no exception. He also combined forces with Beck, Kid Rock, Jason Falkner (he always has a great guitarist on hand) and created one of the best records of 2012 in any genre. If you like country, you’ll love it. If you don’t think you like country, it’s still probably worth a try. WYMA review here.
3.Lee Bains III & The Glory Fires - There Is A Bomb In Gilead. Out of Alabama comes a dynamo, a hard-rocking force of nature who manages to combine punk, country and R&B to great effect. The Dexateens were really good, but Bains has upped the ante here – he’s a great shouter who can switch gears and sing straight-up soul music, backed by a great southern rock band. WYMA review here.
4.Dinosaur Jr. - I Bet On Sky. Well worth the wait, I Bet On Sky is already among my favorite Dinosaur Jr. albums. Sure, J Mascis does the same thing over and over, but when that thing is THIS kind of great guitar with J’s plaintive vocals, who can complain? WYMA review here.
5.Neil Young And Crazy Horse - Psychedelic Pill. We didn’t review this record – why would anyone need a recommendation from US to pick up the latest from Neil Young and Crazy Horse? But just in case you do, please don’t hold Americana against them… Psychedelic Pill is a tour de force, a return to great, great form. I remember the resurgence evident in 90’s Crazy Horse output like Sleeps With Angels with its 14:30 “Change Your Mind” – and I realize I should never have doubted these guys. For good measure, they have included two songs with over 15:00 of Young and Sampedro on guitar… at their best, they are as good as guitar rock gets. On this record, they are at their best. Since I don’t have a review, here’s a video:
6.Brian Olive - Two Of Everything. Olive is a former member of the Greenhornes and Soledad Brothers, and co-conspirator with Dan Auerbach on Dr. John’s lauded 2012 release Locked Down. But more importantly, he’s a heck of a songwriter and arranger who made one of my favorite records of 2012 – soulful and psychedelic, the Sly Stone and John Lennon comparisons I read both make sense to me. Check out WYMA review here.
7.Tame Impala – Lonerism. Speaking of psychedelic rock, while I have you on a bit of a psychic tangent with Olive, let me launch you into space on the wings of Kevin Parker’s Tame Impala. Long songs, plenty of reverb, and great guitars make this a record you can really get lost in. WYMA review here.
8.Strange Hands - Dead Flowers. This was my favorite of a very good lot of garage rock records I heard in 2012. Rocksteady really tapped into the garage rock resurgence with a lot of his reviews this year, but I got a few – Nashville citizens like Pujol and Turbo Fruits, and also from overseas. This Italian import had it all, from the retro “Every Picture Tells A Story” intro of “First Poem“ to the head-bobbing, foot-tapping racer “Acid Vision“ and the Johnny Thunders-style hard punk rock of “Anxious Pictures“. There’s not a weak cut on the record – far and away my most pleasant out-of-nowhere surprise of 2012. WYMA review here.
9.Trainwreck Riders - Ghost Yards. Terrific punk-influenced country jams – another of my favorite discoveries of 2012… songs like “Gypsy Stealin’” kind of make a case for the claim that The Meat Puppets, Pixies, Nirvana, Drive-by Truckers and Whiskeytown arose from pretty similar impuses. Okay, I’m the only one making that claim… check this out, if for no other reason than the gorgeous guitars on “House Upon The Hill”. WYMA review here.
10.Patterson Hood - Heat Lightning Rumbles In The Distance. I consider this record a minor masterpiece. I’m not sure Hood’s ambitions with this record were all that grandiose – some of the interviews I have seen seem to indicate he just felt he had to get some of these songs out. But sometimes the man, the material and the timing all come together perfectly. I think that’s what happened here. WYMA review here.
Scorpion, Will Johnson's new solo record differs from Centro-matic records in that it is quieter - a really hushed affair. It differs from his South San Gabriel side projects in that it is more raw. And in Johnson's own estimation (read interview with Dallas Observer here), he intends it to be a "grower". And it is.
Scorpion starts out slow, quiet and intense... and stays that way. It's a record whose vocal intensity forces you to pay attention, but that is so musical and listenable that you find yourself lost in it. Johnson's vocals are, as always, a highlight. He conveys so much with slight changes in tone and tempo, that he's one of the best acoustic artists working today (electric, too, but that's for a Centro-matic review).
Check out the just-released video for "You Will Be Here, Mine":
And you can see our previous post here, with a link to download that song, too. Just an amazing vocal. Special thanks to "The Galassi Brothers", who are credited with filming it.
Some of the songs sound like demos - "Winter Screen Four", for example with its slowly plucked acoustic and whispered vocals - and that is due to the process employed on these songs, which Johnson describes: “A lot of them were written in the studio, right then and there, in the moment. I enjoy capturing those initial gut reactions in songwriting. It doesn’t always work, but when it does — you capture the song in such a raw, unique form.”
Helping him with the record are Matt Pence (at whose studio it was recorded) and Scott Danbom from Centro-matic, Howard Draper (Tre Orsi, Shearwater, Okkervil River) and Magnolia Electric Company’s Mikey Kapinus.
Other highlights include "It Goes Away So Fast", with what sounds like a looped synthesizer slowly morphing into a raw-but-restrained electric guitar solo over the last minute or so of the song, and the 7:00 "Bloodkin Push", an alternately pretty and difficult song, featuring mostly just acoustic guitar and piano, that really takes its time.
This record rewards your attention, especially your repeated attention. It's going to be out Tuesday (9/11) but you can stream it now at Paste.
Johnson has self-released the record, and you can get it at his website, or via the usual sources. At his website, you can also check out tour dates.
Great news - a new release from Denton, TX artist Will Johnson - a solo record (with help, of course, from some of his talented friends, including Centro-matic bandmates). Scorpion is due out September 11 on Undertow/Thirty Tigers.
For this project, Johnson has decided to cut out the middleman and self-release the album direct to fans via Undertow Music/Thirty Tigers. Scorpion was recorded in the wooded outskirts of Denton, Texas, at the studio of longtime bandmate, producer and engineer Matt Pence. Also lending their skills to Scorpion are multi-instrumentalists Scott Danbom, Howard Draper and Magnolia Electric Company’s Mikey Kapinus.
Unlike Centro-matic’s Candidate Waltz or Johnson’s last solo album Vultures Await (both of which were written well in advance and recorded using carefully conceived arrangements), Scorpion documents the genesis and germination of its songs. “A lot of them,” Johnson says, “Were written in the studio, right then and there, in the moment. I enjoy capturing those initial gut reactions in songwriting. It doesn’t always work, but when it does — you capture the song in such a raw, unique form.”
You can get a download of the lead track, "You Will Be Here, Mine" - just click here. It's vintage Johnson - languid, slow-burning, with some terrific guitar supporting one of the most soulful voices in rock music.
Johnson is hitting the road this fall in support of Scorpion, with his friend and New Multitudes collaborator Anders Parker, playing a mix of traditional club shows and intimate acoustic living-room sets.
FRI Sept 14 - Waverly, AL @ Living Room Show
SAT Sept 15 - Birmingham, AL @ Living Room Show
SUN Sept 16 - Atlanta, GA @ Living Room Show
MON Sept 17 - Athens, GA @ Living Room Show
TUE Sept 18 - North Carolina area @ Living Room Show
WED Sept 19 - Baltimore, MD @ Living Room Show
FRI Sept 21 - Philadelphia @ Living Room Show
SAT Sept 22 - Brooklyn, NY @ Living Room Show
SUN Sept 23 - NYC @ Mercury Lounge
MON Sept 24 - Boston, MA @ Living Room Show
TUE Sept 25 - Montpelier VT @ Living Room Show
WED Sept 26 - Buffalo, NY @ Living Room Show
THU Sept 27 - Cleveland, OH @ Living Room Show
FRI Sept 28 - Chicago, IL @ Schuba's
Sat Sept 29 - Saint Louis @ Off Broadway
Tue Oct 2 - Dallas, TX @ Texas Theatre
Wed Oct 3 - Houston, TX @ Fitzgerald's
Thu Oct 4 - Austin, TX @ Cactus Cafe
Here's my "Top 25" (only because I just don't have the time or energy to do 50). This was harder to do than it's ever been, and frankly I nearly gave up and just threw them all out there alphabetically. Most of Rocksteady's disclaimers apply to me as well - if you asked me again in a week, the rankings might be different, and there is admittedly a lot of good music I just didn't have the time to give proper attention (or any attention). It was just about a year ago that I reached out to Rocksteady, JD and Hardy. The request was nebulous: "hey, want to help me write a music blog? You don't have to review anything you don't like and you have complete control over what, when and how much you write." To my great joy, they all three assented and have supplied some of my favorite recommendations over the last year. From the comments I've received, it seems they've done the same for our readers, too.
The reviews we've linked to should contain links themselves which will allow you to find the artists' websites, soundcloud pages, etc. where you can listen to more, usually download a track or two for free, and buy it. Or you can go to your local record store... like Grimey's (and check out their 2011 favorites for a few more suggestions).
1. Centro-matic - Candidate Waltz: My favorite record since Love You Just The Same from these guys, I'll just point you to my review and ask: Too effusive? WYMA Review.
2. Boston Spaceships - Let It Beard: It was the best thing of the six records that Bob Pollard Rock Industries put out this year. Keeping the customers satisfied is a high priority, and nothing works quite like a double album full of the four P's, humor and great guest spots by fellow rock travelers like J Mascis and Steve Wynn. Chris Slusarenko has made the transition from playing in a GbV cover band to co-writing a sprawling collection of 29 songs, every single one of which is listenable and most of which are delightful… and John Moen’s power rock drumming helps the band bring back memories of a time when rock could fill arenas with bands from Boston who made you think of Spaceships… “Let it beard, let it beard, let it beard, and get all weird…” Well said, as usual. WYMA Review.
3. Jim Lauderdale - Reason And Rhyme: A musician's musician, a songwriter's songwriter, a leader of a regular country music revue and sometime radio host, it would seem Jim Lauderdale has more on his plate than one man could handle. And yet he was able to find the time to sit down and write another album (bluegrass this time) with lyricist Robert Hunter and put together a crack bluegrass band. Is there a place where the Carter Family meets the Grateful Dead? If there is, this is it. Not a meandering jam band uttering the same old standards with a watered-down boogie, but a crisp bluegrass band with a super-talented lead man, playing smartly-written turns on Americana. WYMA Review.
4. David Kilgour & The Heavy Eights - Left By Soft: While my fellow bloggers gave (and deservedly so) massive praise to the Bats record, I want to call attention to the other corner of the New Zealand guitar rock pantheon, David Kilgour of The Clean. I loved this record when it came out and as I listened to other things, I sort of put it aside. When I took some of the earlier stuff out to listen in December, this thing just moved right back up – where it belongs. The guitars on “Diamond Mine” are pure joy. WYMA Review. When I reviewed it, there were no videos available. They’ve since released this one:
5. The Semis - Decapitator Blues: This is a hardworking and talented Florida band, playing everything from sunny power pop to full-on Stones raunch, that really ought to be better known. If anybody from a label reads this list, get down to Tampa and see if there is some apparent reason Billy Summers isn't already famous. Because reckoning by his music, he should be. WYMA Review.
6. JEFF The Brotherhood - We Are The Champions: Heirs to the Stooges/Ramones “school” of rock so stupid it’s smart. Or so smart, it's stupid... They throw a little bit of Beach Boys-style harmonies in, too. Part of a burgeoning garage/punk scene based in Nashville consisting of bands like Turbo Fruits, Pujol and the Ettes, and benefiting from a part time association with Jack White’s Third Man Studio, JEFF the Brotherhood just keep getting better. WYMA Feature. Here's a later video for a long single they released on Third Man Records... that's Jack on keyboards:
7. WATERS - Out In The Light: To be honest, I never heard (or remember hearing) Port O’Brien, Van Pierszalowski’s previous band. But I’m glad he broke it up so he could make this record… very much in the indie spirit of bands like the Pixies – terrific guitars. WYMA Review.
8. Circus Devils - Capsized! And so begins the flood of Robert Pollard projects. He made our 2011 so much better than it would otherwise have been, and he did it seemingly effortlessly. Circus Devils is an outlet for Bob’s wicked sense of humor and darker musical impulses… if you’re not familiar, this is a great place to start (and of course, you ought to proceed immediately to the great Harold Pig Memorial). WYMA Review.
9. Mars Classroom - New Theory of Everything: Pollard plus Big Dipper (Gary Waleik) plus Pell Mell (Robert Beerman) equals ridiculously catchy indie rock. This record consisted of jangly power pop, wistful ballads, a terrific rhythm section, a variety of great guitar sounds and one of Pollard’s best vocal turns ever. WYMA Review.
10. The Lifeguards - Waving At The Astronauts: Pollard plus Doug Gillard equals Lifeguards, a band that embodies in its name Pollard and Gillard’s apparent fixation on the concept of the hero. Quoting myself (I think I can do that, it’s my blog): Pollard and Gillard are clearly interested in the concept of the hero: astronauts, volunteer firemen, lifeguards... and I would put them in that category, at least in spirit, for doing their part to save rock's flaming ass from itself. While the industry continues to founder and lurch from one kid-friendly trend to another, there are guys like Pollard and Gillard, working in places like Dayton, Ohio, to deliver rock excellence to folks like us. Speak kindly is the least I could do.WYMA Review.
11. Robert Pollard - Space City Kicks: Maybe the best example of all four P’s released by Mr. Pollard this year, this record is short but sweet (and also salty). In my review I cited influences from Roky Erickson, Bowie, Beefheart and The Who. Synthesis can be fun! WYMA Review.
12. Robert Pollard - Lord Of The Birdcage: This was billed as “Robert Pollard’s poetry put to music”. You could definitely sense the poetic impulse and how it affected the song structure. While his lyrics are always a strong point, I think he intended these to stand either with or without music, and they do. “I tried to stop the rock. You can’t stop the rock.” WYMA Review.
13. The Black Keys - El Camino: More Nashvillians making great down and dirty rock and roll. I like the glam sounds, and the Danger Mouse input. I’ve been “on board” for the whole ride with these guys, ever since one of my old buddies at Grimey’s pushed the vinyl copy of The Big Come-Up my way. We didn’t review this record on WYMA, but everybody else did, and there was plenty of publicity.
14. Booker T. Jones - The Road From Memphis: How this record, featuring a dream collaboration of Booker with The Roots, Dennis Coffey on guitar and a guest lineup of indie rock and soul greats, flew under the radar is a mystery to me. There should always be a place in the world for music this good. My favorite song is “Progress” – it really swings and Jim James (My Morning Jacket) is clearly enjoying the opportunity to work with these guys. But there are a lot of highlights – a nice soul workout “Down in Memphis” featuring Sharon Jones and Matt Berninger, and "The Bronx", with Lou Reed on vocals, among them. WYMA Review.
15. Yuck - Yuck: Great young British band on Fat Possum puts together one of those records. You know those records? "This sounds like... it sounds like..." and to finish the sentence you're coming up with Dinosaur Jr., Sebadoh, Sonic Youth... If you haven’t heard one of those in a while, get to know this one. Charming and well-played, it held up very well over the course of the year. WYMA Review.
16. The Feelies - Here Before: As with any band reunion after a long time apart, there are questions – the Feelies themselves ask if the “Time is Right”… and the answer is yes. It’s both unexpected and wonderful to have had R.E.M., The Bats, David Kilgour and The Feelies all release good guitar rock albums in 2011. WYMA Review.
17. The Joy Formidable - The Big Roar: I like the truth in packaging of the album title. Almost every song builds up to a roar, with the drums and guitars turned way up. It almost has to be that way to supply proper backing to Ritzy Bryan’s voice. They rock ridiculously hard- check out this live clip of “A Heavy Abacus”! WYMA Review.
18. Mogwai - Hardcore Will Never Die, But You Will: Here’s the point at which I thank our resident Scots-phile, Rocksteady74, for letting me carry on about Mogwai. So, thanks. Mogwai haven’t disappointed me yet. Every one of their records has contained a new favorite song of mine… here it’s “San Pedro”. WYMA Review.
19. Glen Campbell - Ghost On The Canvas: The debt that any current rock singer or songwriter owes to Glen Campbell and Jimmy Webb is hard to calculate, but not often acknowledged. Campbell's Farewell Tour has given a lot of folks the opportunity to do this, and the results are magnificent. Campbell has been a top session singer and guitar player in both rock and country (once touring with the Beach Boys as a fill-in for Brian Wilson), a TV and movie star, but on this record he received support from a lot of the artists he helped pave the way for… and he covered a Guided by Voices song! My favorite track on here – and the one to buy if you only have 99 cents – is a cover of Teddy Thompson’s “In My Arms”. It’s upbeat, really beautifully sung, and features guitar pyrotechnics by Campbell, Dick Dale and Chris Isaak. We didn’t review it on WYMA. Maybe we should have… Glen Campbell Website.
20. Tom Waits - Bad As Me: Just a wonderful record. Waits gets inside his characters and the songs that result are rich, full and very entertaining. Collaborating with David Hidalgo was a great idea… there’s always seemed to be a certain kinship between the sounds of Waits and Los Lobos. WYMA Review.
21. Richard Buckner - Our Blood: A typical, which is to say, outstanding and affecting, album from Richard Buckner. He's so consistent and his songcraft is so strong that he is one of the few artists whose work I will purchase before listening. Here's a link to an earlier post I put up to announce the release.
22. Joe Henry - Reverie: I wrote our review on this record and I will point out that it was not an easy record to get into. You know how you trust certain artists? Henry is somebody you can absolutely trust. If he wants to go in a new direction - say, from blues influenced singer to blues singer, go with him. The trip is a rewarding one. The themes on this record vary from old jazz to Delta blues to Bogart, Cooper or Fonda movie soundtracks - fitting for an artist who steeps himself in the history of "old L.A." WYMA Review.
23. Laura Stevenson & the Cans - Sit Resist: A truly delightful record from a young artist backed by a talented postpunk band. Which is not to say that it's a postpunk album. It's a singer/songwriter album - by a great vocalist - with a great variety of sounds and tempos. This is a very "human" record, for want of a better descriptor. Do yourself a favor and see what I mean - the video for "The Healthy One" is below. WYMA Review.
24. Apex Manor - The Year Of Magical Drinking: Here's a title that's become less ironic since the album's release, as Apex Manor's website indicates frontman Ross Flournoy has entered treatment in August. I wish him the best and want to once again state for the record that this record joins the Broken West records as some of my favorite pop/rock albums. The guy's really got a way with a song. WYMA Review.
25. Wye Oak - Civilian: Another female vocalist with a big voice and some strong guitar work backing her up... Wye Oak is a Baltimore duo I just discovered this year, and they quickly became a favorite. Wish I could rank this higher... but then I wish I could add the next 20 albums to this list, too. WYMA Review.
HONORABLE MENTION (Really hated to leave these off, or need to spend some more time with 'em - some we wrote about, some we didn't):
David Bazan - Strange Negotiations
Elba - Elba
Foo Fighters - Wasting Light
Gardens - Gardens
Henry's Funeral Shoe - Donkey Jacket
I Was A King - Old Friends
J Mascis - Several Shades of Why
James Pants - James Pants
Jason Isbell and the 400 Unit - Here We Rest
Jesse Sykes and the Sweet Hereafter - Marble Son
Joey Ryan and the Inks - Dennis Lane
Lydia Loveless - Indestructible Machine
R.E.M. - Collapse Into Now
Radio Moscow- The Great Escape of Leslie Magnafuzz
Sad Face - Gosh Darn!
Strong Killings - Strong Killings
The Bats - Free All The Monsters
The Big Sweet - Ultraviolet Rain
The Drive-by Truckers - Go-Go Boots
The Janks - Hands of Time
The Midgetmen - Loud Enough
The Milk Carton Kids - Prologue
The Pack a.d. - Unpersons
The War On Drugs - Slave Ambient
Unknown Mortal Orchestra - Unknown Mortal Orchestra
Wilco - The Whole Love
Youth Lagoon - The Year of Hibernation
I guess the lesson here, if there is a lesson, is: there is plenty of really good music out there. Don't settle for whatever "the man" wants you to listen to. The gang at WYMA is always happy to help. Thanks so much for reading, and for sharing our site with friends. Here's to even more music and harder decisions in 2012...
One of the most beautiful songs they've ever recorded and that's saying something. This song is a great showcase of Will's singing, from 2011's Candidate Waltz:
And here's Will performing "Devil On The Interstate Line" from his EP Little Raider, also released earlier this year:
If you don't have either or both of these records yet, well, I don't know why. If you do, tell your friends.
Wednesday through tonight was the big MusicfestNW here in Portland OR, a boutique version of SXSW where a dozen+ clubs put up a different band every hour on the hour from 9:00-1:00. You buy a wristband and make your way through the maze of bands, bars, music and beverages.
There were some larger shows held outdoors downtown in a big public square (Iron and Wine, Band of Horses, etc.).
I saw a dozen plus bands, but rather than review them all, in keeping with our masthead I will just write up a few that I really loved.
Three sets stood out. Soul man Charles Bradley killed me. Bradley's history is a long story and an especially good one, so we'll tell it in this Friday's Soul Corner. But here's a little taste from the "Screaming Eagle of Soul":
And WYMA's old friends Centro-matic lived up to the lofty pedestal we've put them on here. Their set made me think of one of my favorite observations about music, which came from Ian MacKaye of Fugazi who told a buddy of mine that "There are 2 types of music - signals and echoes. And I am interested in the signals." Will Johnson sends out signals. On the surface he might appear a typical son of Neil Young, alt-country rocker. But the compositions, lyrics, musicianship and singing are all so careful, thoughtful and original that every song is a revelation.
Centro-matic is one of the first bands that our fearless leader John Hyland turned me onto when we first connected maybe 10 years ago, and I've enjoyed their recorded output. But this is the first time I've seen them perform and it's just that much better live. Will Johnson has simply got it - magic flows from his guitar and voice. And the band is right with him - as with all great bands, the whole greater than the sum of its parts.
Here's some very recent Centro-matic footage from this tour, giving you the flavor of what I experienced:
The other non-NW band that I was really impressed with was The Romany Rye from LA. Another rocking alt-country sort of outfit but with great vocals, big harmonies and a terrific warm vibe. Here's two:
Many Portland and Seattle bands played and I'll write a piece in a day or three on some sets I enjoyed by some local Portland and nearby acts. And please check back in Friday to hear about the great Charles Bradley.
What can I say? Got to see 'em play it last week, just can't say enough about how good it sounded live... Scott's keyboards and harmony vocals, Mark's and Matt's rock-solid foundation and Will's vocals and eventual guitar shredding. There's a Hall & Oates quality to this one, and I mean that as an absolute stone-cold compliment.
See them live:
Tuesday 06/28 – North Star Bar – Philadelphia, PA
Wednesday 06/29 – Great Scott – Cambridge, MA
Thursday 06/30 – The Mercury Lounge – New York, NY
Friday 07/01 – Mohawk Place – Buffalo, NY
Saturday 07/02 – Beachland Tavern – Cleveland, OH
Sunday 07/03 – Schubas – Chicago, IL
Tuesday 07/05 – Euclid Records – St. Louis, MO @ 5pm (Will Johnson solo)
Tuesday 07/05 – Off Broadway – St. Louis, MO
Thursday 07/07 – Dan’s Silverleaf – Denton, TX
Friday 07/08 – Fitzgerald’s – Houston, TX
Saturday 07/09 – Cactus Records @ 1pm (Will Johnson solo)
Sunday 07/10 – Waterloo Records @ 5pm (full band)
Sunday 07/10 – The Mohawk – Austin, TX
There are two types of people in this world – those who love Centro-Matic with all their soul, and those who, for reasons that may be excusable, just haven’t listened to them enough.Anyone who’s clicked on this site more than a couple of times knows the love is deep ‘round these parts.I think part of the shared orthodoxy on this band is that, as good as they sound on record, they’re even better live.Part of that is that you just won’t find a more likeable group of guys out there (bassist Mark Hedman, pulling merch table duty Saturday night, spent 5 minutes trying to make sure I got the right size shirt for my 9 year old).Of course, the main reason is that they turn it up and flat out rock onstage.
Let me tell you, there’s no artifice employed to get Will Johnson’s voice to sound as perfect as it does on their recordings.Given its proper place in the live mix, just above the roiling guitars and pounding rhythm section (and Glen and the Local 506 crew had it perfect Saturday) his voice can be an overpowering force.And multi-instrumentalist Scott Danbom’s backing harmonies might be that secret ingredient that makes it all work as well as it does.But that’s all true on their recordings too.The thing that makes them so good live is that all that stuff has to be cranked up to be heard over the drums and bass. I’m not a drummer, and I don’t know if Matt Pence gets mentioned when a bunch of dipshits gather together to talk about great drummers.But all you have to do is listen to the second song in the set, Distance and Clime’s “Fountains of Fire”, to know he’s an uncommon talent.He can do the really cool complicated fills and the tasteful understatement (and he does both in that song).So even though they don’t do songs like “Repellant Feed” anymore, Matt and Mark still will happily put a hurting on those eardrums.
Speaking of songs, the set featured a lot of the well-worn mainstays they’ve been playing on most of their last few tours, leaning heavily on Love You Just the Same and Fort Recovery and working in four tunes off the excellent new record, Candidate Waltz.The new songs sound great live, working great with the older stuff.I’d have to say the only disappointment was that I can’t think of a song in the set from their fantastic last record Dual Hawks (but it was hotter than hell’s front doorknob in there, and I for damn sure wasn’t keeping a list).Highlights, though, were many, including “Patience for the Ride”, “Mighty Midshipman”, “All the Talkers” and the always breathtaking “Supercar”.(I saw them open for the National at the National Theater in Richmond a couple of years ago, and in my Joe Spectator view, “Supercar”, played through that venue’s wonderful PA system, punched an audience full of unsuspecting National fans right in the gut.) They finished with “Only in my Double Mind” from the new album.
David Bazan, who our visionary leader (that would be John) tells me toured with Will Johnson last year, played a terrific set interspersed with unassuming, yet hilarious stage banter after the Centro-Matic set. It was a fortuitous, one-time pairing, and Centro-Matic will go back to headlining from here out, with fellow Dentonite (Dentonian? Dentonese?) Sarah Jaffe opening.Go see them, and get there early.Sarah’s voice is heartbreakingly beautiful, and definitely not something you’re going to hear every day.
Seriously, what the hell is wrong with you?Go see them.I’ll even help out with dates (and throw on a couple of videos below):
Tuesday 06/28 – North Star Bar – Philadelphia, PA
Wednesday 06/29 – Great Scott – Cambridge, MA
Thursday 06/30 – The Mercury Lounge – New York, NY
Friday 07/01 – Mohawk Place – Buffalo, NY
Saturday 07/02 – Beachland Tavern – Cleveland, OH
Sunday 07/03 – Schubas – Chicago, IL
Tuesday 07/05 – Euclid Records – St. Louis, MO @ 5pm (Will Johnson solo)
Tuesday 07/05 – Off Broadway – St. Louis, MO
Thursday 07/07 – Dan’s Silverleaf – Denton, TX
Friday 07/08 – Fitzgerald’s – Houston, TX
Saturday 07/09 – Cactus Records @ 1pm (Will Johnson solo)
Sunday 07/10 – Waterloo Records @ 5pm (full band)
Sunday 07/10 – The Mohawk – Austin, TX
Here's a nicely recorded version of "Flashes and Cables" with only 350 views for some reason:
And here's a video for "Call the Legion in Tonight" from 2000's All the Falsest Hearts Can Try (learn the handclaps -- that's important):
Candidate Waltz is the latest, long-awaited full-length record from Denton, Texas band Centro-matic. Will Johnson, Scott Danbom (keyboards, violin, harmony vocals), Matt Pence (drums), and Mark Hedman (bass and guitars) have made a terrific rock record that's catchy, crunchy and raucous. There's plenty of tension/release, plenty of great guitars, of course one of the best rock vocalists in creation and a few twists: for example, the lead track, "Against the Line" features some electronic effects, a new touch from Centro-matic, and a few of the other songs have some effects and found sounds, but for the most part it rocks.
"All the Talkers" is a straight-ahead rocker that seems to be about the experience of discovering a new favorite rock band, sort of cutting through all the chatter and being blown away by their sound. Certainly an experience most Centro-matic fans will relate to... it's got two fairly distinct parts, with a bit of a stop in the middle, but they're knitted together pretty well. "They played until we had been won... It was not like the night before." Bit of an understatement, that.
"Iso-Residue" and "Solid States" are two of the poppiest songs Centro-matic has done: "Iso-Residue" has a real upbeat drumbeat underlying a sing-songy intro and some snippets of keyboards that jump in and out, but fortunately a squall of guitar feedback ain't far away. About 1:10, to be precise, where the guitar comes in over the piano and takes off. "Solid States" proceeds similarly and transitions to a soaring guitar solo, but it keeps the upbeat backing throughout.
"Estimate X3" is a slow build Centro-matic ballad reminiscent of "Janitorial on Channel Fail" or "Covered Up in Mines"... and it leads into the wall of sound intro and reverb-drenched vocals of "Only in My Double Mind" (video and downloadable track available below):
"Shadow, Follow Me" has a real country feel with pretty piano lines and hushed vocals, and leads into "Mercedes Blast"... back to the full guitar onslaught almost from the beginning... Johnson sings over a restrained electric guitar line that moves in and out for a full minute until the drums, bass and keys kick in, but even then it's pretty controlled for about another 45 seconds, a few more guitar sounds are added and the song takes off, just really beautiful rock music. Finally, speaking of guitar lines, check out the riff on "If They Talk You Down", choppy, insistent, and underlying another soaring solo.
All in all, this record proves that Will Johnson's songwriting and creativity are still at a peak and that Centro-matic show no signs of slowing down. The first Centro-matic record I ever heard, All The Falsest Hearts Can Try, just knocked me out and at the time, I figured if this was all we ever heard from this band, the world would be better for it, but there was that hope... That was in 2001! Since then, there have been six Centro-matic albums, various EPs and South San Gabriel releases, and absolutely no diminution in quality.
This record will be released Tuesday. If you like Centro-matic, do not delay. If you don't know them, give a listen. They'll play until you have been won.
US summer tour starts this week:
Wednesday 06/22 – Grimey’s Records @ 6pm (Will Johnson solo)
Wednesday 06/22 – The Basement – Nashville, TN
Thursday 06/23 – The Earl – Atlanta, GA
Friday 06/24 – Athfest – (in front of the) 40 Watt Club – Athens, GA
Saturday 06/25 – Local 506 – Chapel Hill, NC
Sunday 06/26 – DC9 – Washington DC
Tuesday 06/28 – North Star Bar – Philadelphia, PA
Wednesday 06/29 – Great Scott – Cambridge, MA
Thursday 06/30 – The Mercury Lounge – New York, NY
Friday 07/01 – Mohawk Place – Buffalo, NY
Saturday 07/02 – Beachland Tavern – Cleveland, OH
Sunday 07/03 – Schubas – Chicago, IL
Tuesday 07/05 – Euclid Records – St. Louis, MO @ 5pm (Will Johnson solo)
Tuesday 07/05 – Off Broadway – St. Louis, MO
Thursday 07/07 – Dan’s Silverleaf – Denton, TX
Friday 07/08 – Fitzgerald’s – Houston, TX
Saturday 07/09 – Cactus Records @ 1pm (Will Johnson solo)
Sunday 07/10 – Waterloo Records @ 5pm (full band)
Sunday 07/10 – The Mohawk – Austin, TX
Been up in Chicago for a week trying a case, and homesickness has set in. This isn't facebook, but it made me think of this video -- not just this great song, but this version, played by Will Johnson at the house of some guy named Mike.
Okay, here's another good version, where Will plays with Patterson Hood and the Screwtopians.
And then there's this fantastic cover, by a former Drive by Trucker, Jason Isbell. We know all the Truckers are and were great Centro-matic fans.
Great new track from Centro-matic, with great guitars, a bit of feedback partway through and Will's terrific singing. Vocals seem to be a little heavy on the reverb... it works for me. I'm excited to hear this record.
Man, can he sing... as much as I love the feedback-drenched crunch rock and non-sequitirs of Centro-matic, I don't think there's anyone's acoustic music I enjoy as much as Will Johnson's. He has really written some beautiful music.
