For years now, Centro-matic, a band that began in Denton well over a decade ago, has been known as a prolific group that has risen to a rather lofty status in the world of American Indie-rock. Led by Will Johnson, now an Austinite, the band hasn’t yet put out a record that one would consider anything less than stellar.
The band members themselves are highly sought after when it comes to contributing their individual talents to other’s projects, even. Johnson was the touring drummer for the massive Monsters of Folk project, and he also played guitar on Patterson Hood’s (Drive by Truckers) last solo album. Of course, that’s aside from his many producing projects. Drummer and sound engineer extraordinaire Matt Pence has toured with Jason Isbell while multi-instrumentalist Scott Danbom has played with Slobberbone and Sarah Jaffe. See? In-demand!
Their new album, Candidate Waltz, has reawakened many to the greatness of this band and has already began earning more than its fair share of rave reviews and predictions of the album finding its way onto a solid amount of year-end-best-of lists (Hint: There’s no way it’ll avoid landing on this blog’s list of 2011′s Best Texas Albums. Not a chance).
Enough of me blabbing. Since it’s always nice to see fellow Lone Star dwellers win praise from outside of our own borders, I’ll just let you see for yourself, OK?
- PopMatters digs Will Johnson’s prolific nature…
- Paste loves the straight-forward rockness of the album…
- Prefix Magazine is also a fan of the album’s somewhat “un-hip” straight-forward nature…
- Spin Magazine is yet another admirer of Johnson’s ability to create so much, so well, so often…
So, there. Centro-matic might be a band from our state, but it’s clear that their appeal lies beyond the Red River. Still not sure? Check out the tour schedule for the guys. There aren’t many corners of the great 48 they wont be hitting soon, if not later…
We showed up with a list of special releases we couldnt wait to get our hands on, but by 11am, pretty much all of our top choices were gone, except for this limited edition Foo Fighters LP, which my son wanted, you know, "cuz it's got a steak on it."
Denton's darling, Sarah Jaffe sounded great. By this point in time, however, it was hard to tell which group was larger inside of the store: the people specifically watching Jaffe or the people in-line to purchase albums. I suppose many were doing both, too. It was nice to see the early sets of the day be as attractive as this day's were.
See what I mean? PACKED! It's of little wonder that the special 7-inch singles from Husker Du, Built To Spill, Pains of Being Pure at Heart, or the others that were on my list were no longer available. This pic was taken around noon. Word has it that eager vinyl-lovers started lining up at the store's doors around 5:30am! Note to self for next year: Man up and get there early next year. Record Store Day is the new Black Friday.
For the last two years, the festival/conference/musical extravaganza in Denton, the week before SXSW, has been known as NX35, but that has changed, presumably for legal reasons and trademark issues or whatever. What hasn’t changed is the quality of talent that will make a point to swing by Denton’s walkable square before they go to Austin. Check that – that has changed, also, but in the sense that the talent pool is deeper this year than even the last two years where a full four days of awesome talent has been had.
In 2009, the main knock on the line-up was how many Denton acts seemed to be featured. For some (not me), the four day “conferette” seemed to be little more than a mashing together of a months worth of shows that would’ve occurred in the college-town to begin with, rather than a legitimate national showcase for the so-called “little d.” Those concerns were certainly addressed last year with the Flaming Lips and others, like Health, Carrie Rodriguez and The Walkmen taking NX35 stages.
That brings us to this year’s insane line-up. Big Boi, Local Natives, Mavis Staples, Dr. Dog, !!!, Gayngs and Dan Deacon are but a few of the names that have been among the bigger names in music over the last couple of years, for those paying attention, of course, that will be rocking the crowds this year. Up and comers The Civil Wars, A Place to Bury Strangers, O’ Death and Jessica Lee Mayfield add diversity and intrigue to the mix, along with the local and regional talent. As for the locals, most notably Sarah Jaffe and Slobberbone, thank you very much, there are still plenty, but they’re more evenly mixed in with the names that will likely bring in folks who might not make a point to hit the local shows as often.
I’m going to be there, no doubt about it. The line-up and schedule (not the times, but the dates of when the bands will perform) have been released, so do what you got to do to get there!
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly.
Way too often, music fans and writers confuse hazy for lazy, when it comes to describing the sonic texture of a record. An album can be sleepy without being stagnant, and indeed, a record can produce an atmospheric haze without coming across as lazy. In fact, properly pulling off such a feat requires a focus and a specific vision that is anything but loose and cavalier.
Todd Gatreau’s project, Crushed Stars, is a great example of the above equation. The Smiths-meets-Mark Kozelek vibe of his latest album, Convalescing in Braille, further establishes the sonic signature that has been honed over the course of several albums since the group’s inception in 2005. Crushed Stars have been successful in getting the word out, over the past few years. Along with appearances at the all-encompassing SXSW and CMJ festivals, many radio stations have added songs from their catalog to their playlists. Recently, their genius cover of the campy 1980′s classic, “99 Red Balloons,” made noise on airwaves outside of North Texas.
Having worked with an impressive group of producers including Stuart Sikes (White Stripes, Cat Power) and North Texas native John Congleton (Walkmen, St. Vincent, Sarah Jaffe), calling Crushed Stars a band might be a bit of a stretch, given that for this latest album, Gautreau played all of the instruments himself, with drums bing the lone exception. In this instance, it seems as the dedicated multi-tasking paid off, as the album flows evenly and effortlessly. Even with numbers like “Technicolor” and “Spark” boasting a bit more percussive pounding and quickened pace than many of the other softer tunes, the collection’s moody cohesion is never disturbed.
While we’re always a bit reluctant to quote anything from Pitchfork, we’d be lying if we said that they didn’t sum up our general feelings as it pertains to the work of Gautreau when they reported that Crushed Stars music makes “you wish it were night all day long.”
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
Can this "unofficial release" from the Toadies make it into the Top Albums list for our state in 2010?
Don’t look now, everyone, but it’s really freaking close to becoming 2011. One way to know that the calendar will soon be turning is the slow cropping end-of-year lists that have been showing themselves in recent days and weeks.
Some become annoyed with such lists after reading a couple, but me on the other hand, I get downright ravenous. I’ll admit to getting a massive kick out of seeing what other bloggers, writers and publications – ones I trust and ones I don’t so much – have to say about the year in music as they see it and if it matches up with my views in any way, shape or form.
I’ll go ahead and admit it: The title to this post is a bit misleading. Sorry. I’m not actually going to divulge my final list of the best this state has produced musically in 2010. I’m sure you’re all waiting anxiously, however (or not!).
Honestly, I don’t have a problem disclosing a few records that I feel certain will make my list of this year’s best Texas records. I don’t see any need to be so secretive, so I wont. However, for those keeping score at home, please know that this is a random, thinking-out-loud kind of deal here, and nothing definitive. If anything, I hope that this post might direct a few of you to some bands or records that you might have missed earlier. Don’t worry, though. I’m entirely too narcissistic to let the year go by without presenting a more formal listing of what I feel are this years best records, so keep an eye out!
A few of the records that come to mind are ones that I’ve discussed in some form, here on The Squawker, even. The recently discussed Thrift Store Cowboys Light-Fighter album, along with the new Possessed By Paul James record and Austin’s American Graveyard are some rootsy acts that should find their way onto plenty of year end lists.
For records that don’t fit into the country realm; Sarah Jaffe’s much celebrated album, fellow North Texas folk artist Doug Burr’s gorgeous O Ye Devastator and the metal-riffic shredding of The Sword and their excellent album, Warp Riders, will also surely cause a cyber-stir come the end of the year.
Oh, by the way, a few Lone Star heavyweights also released albums that were beyond solid: Austin Kingpin Alejandro Escovedo, The Old 97′s and even The Toadies produced records that absolutely stood out.
So, the end of the year should be good for more than mistletoe-induced desperation and turkey-intensive nightmares, no?
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
For those that live in the North Eastern region of our great state, there is a solid chance that you are familiar with Denton’s Sarah Jaffe. For those of you who find yourselves living in other environs, you’re going to be hearing a lot about her real soon.
With the physical release of her Kirtland Records debut, Suburban Nature, nigh upon us (May 18th), Jaffe is poised to make an indelible mark on not only the music scene of her hometown, but that of the entire country. Positive buzz from national outlets, as well as appearances on some considerable stages have helped spread the word.
After releasing a well-recieved E.P. a couple of years back, Jaffe says, “I was playing with all the same players I play with live, so I wanted to stay true to what I do in a live setting. I knew what direction I wanted to steer and to bring more layers in this time. The E.P. was kind of a minimal, very raw introduction.”
Given the fact that Jaffe has been writing and performing for several years now, it’s no surprise to learn that she had plenty of material ready to be placed onto a full length record. “I’ve never written for a specific record. They’re mainly just songs i’ve written over the span of five years ago to even two years ago. Ironically, when the songs come together, they actually kind of tell a story.”
As with the bounty of musicians in the Dallas/Denton area, there seem to be many capable producers as well. One such person who has made quite the name for himself as both a musician and a producer, is John Congleton. “John Congleton is amazing at what he does. He’s very good at letting me get an idea out there and experimenting and letting me move about the room, and he’s also very good at directing – doing what a producer is supposed to do.” says Jaffe.
Letting Jaffe do her thing has not only aided in creating a supremely produced album, but it has also produced a very personal and transparent collection of self-penned tunes that are ripped straight from the joy and pain of her own memories. Jaffe, with perhaps a bit of blushing, admits that, “I’ve always wanted to be one of those writers that can just make up something elaborate in my own head. Unfortunately, I’m kind of a self-centered writer where I have to write from my own experience. I exaggerate some of the emotions, but fortunately or unfortunately, they’re all first hand accounts.”
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
Earlier in the week, I showed you fine folks a few pics from my trip to this year’s SXSW Music Conference. As I said then, I really only grabbed pictures from my adventures on Thursday. After starting the day at the New West Records party for some Buddy Miller, among others, I caught a few other great acts like Sarah Jaffe at some cool venues like Red Eyed Fly. Below are some more pictures and thoughts on how I ended my SXSW Thursday…
Hey, how else would I wash down some Frito Pie from Stubb's BBQ as I awaited the evening's sets to begin, but with a cold Lone Star? Robert Francis from L.A. came on shortly after this and really impressed with his straight-forward brand of good ol' American rock.
Canada's Besnard Lakes simply tore the place up with their epic brand of anthemic rock. Just before their set began, an older gentleman with a Canadian accent asked me, "Who are these guys coming on next?". After I told him, he started laughing and explained to me that he was the uncle of The Besnard Lakes' lead singer and I passed the test he had given me. Those wily neighbors to the north.
Jace Lasek and Olga Goreas can't stop tearing it up...
Even though I have now seen Georgia's Drive by Truckers a few times, this set was special as it featured, almost exclusively, material from the just released "The Big To-Do", which is an album that just kicks you in the throat and then laughs at you for even thinking of wincing from the pain.
Kicking off their set a little after 11:00pm, Tim Bluhm, of San Francisco's The Mother Hips makes the shoddy stage on Encore's patio seem not as shoddy. Also mainly belting out tunes from an excellent recent release, the crowd ate up every last bit of the tunes from the Pacific Dust LP.
After, soaking in the greatness of The Mother Hips, I actually ended that night with a set from the heavy metal band, Solace, then did a bit of nameless showcase hopping, as I made my way back to the car in the wee hours of Thursday night/Friday morning.
Well, there you have it. I wish I was able to share photos from the rest of the time I spent at SXSW 2010, but that would require me to have a clue when it comes to various electronic-type items, and I just dont have that. Rest assured, many great sets were enjoyed and I’m sure that I’ll bring a few of those artists to your attention, soon enough.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
I was able to get away for a few days and make my way to Austin last week for this year’s edition of the South by Southwest Music Conference. My camera wasnt overly cooperative with me – even if it had bee, my photography skills arent exactly Danny Clinch-like, as you’ll see – so I was only able to snap pictures of Thursday’s events. Thankfully, Thursday proved to be rather eventful. See for yourself below:
Lilly Hiatt and her band, The Dropped Ponies, kicked things off at The Belmont for the New West party and did her papa, John Hiatt, proud as he stood near the stage and sang along approvingly with her honky tonk stylings.
A recent addition to the New West roster, southern rockers Ponderosa, added a little Allman Brothers-style scorch to an already simmering afternoon.
After learning that Kris Kristofferson would NOT be performing at the New West party, my dejection led me many blocks down 6th Street to the Red Eyed Fly. Thankfully, Denton's own Sarah Jaffe and Those Darlins from Nashville helped ease my sorrow and sent me back to The Belmont in a better mood. Thanks to Jaffe's stellar showing, I didnt even care that I missed John Hiatt's entire set, weird, right?
A bad photo of the very good Those Darlins.
Hello high-point of the afternoon, my name is Kelly, nice to meet you. Buddy Miller's blend of expert guitar slingin', soulful vocals and sincere lyrics proved to be a fitting and wholly satisfying end to the New West party.
Oh yeah, Patty Griffin joined Miller on stage for a couple of songs, including "Gasoline & Matches"...that's only insanely awesome, right?
Heading down a few blocks on 6th Street from The Belmont, I arrived at the Pigeon Publicity party at Opal Devine's, ready for some Texas-bred talent. Somebody's Darling from Dallas, was so freaking incendiary that I literally forgot to even attempt any picture snapping. Really. In the picture that I did manage to take while at Opal Devine's, the excellent John Arthur Martinez helps everyone mellow a bit with some tunes from his suberp, recently released, Purgatory Road album.
Later in the week, I’ll have more to share with all of you. I had a great time at Stubb’s, among other places to close out the evening, and I have the photos to prove it!
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob
This is one of those cases where I’ll admit to being very late to the party. The fact is, I am thrilled to have finally arrived at all to hear 2007′s The Incurable Want from The Hope Trust, out of Denton. In order to save some face, it seems as though the group – who has been together for several years, actually - will be releasing a new album in 2010, so please consider this a primer for the future of the Hope Trust and not merely a tardy-man’s catch-up session.
The 2007 album is stocked with 11 relatively laid back indie-rock tunes that are flecked with alt-country flourishes, such as some sweet pedal steel work that layers many songs with a lush and ethereal quality. While there are moments where the amps are turned up a bit (“Parting Shot” and “Don’t Want to Fight”), it’s the prominence of both piano and the pedal steel that saves many of these songs from the doldrums of plodding indie-rock monotony. The vocals of lead singer and chief songwriter Kelly Upshaw are warm with a modest rasp and serve the arrangements well, as they are reminiscent of Cracker’s David Lowery.
In typical and communal Denton fashion, the players that form The Hope Trust have all performed in bands that are well known throughout the North Texas region. Slick 57, The Slack, and the Doug Burr-led The Lonelies are some of the more notable acts that at one point or another called one of these guys a member. The Hope Trust’s drummer, Grady Don Sandlin, has teamed up with Ryan Thomas Becker to melt faces over the last couple of years as a part of RTB2 as well as keeping time for roots-rockers Delmore Pilcrow. The guys have even been helping promote and organize concerts for other artists recently. Bassist Andy Odom produced a well-received folk show at an Episcopal Church in Denton featuring established area stars Sarah Jaffe and Robert Gomez, no less.
As you can see, if you are just getting to know The Hope Trust as I am, the answer to the question, “what have I missed?” is an easy one. A whole heckuva bunch.
Visit The Hope Trust’s Bandcamp Page for a free download of The Incurable Want album in its entirety, for a limited time.
Kelly Dearmore is a freelance writer, mean pot of chili maker and opinionated music lover. To read more about what Kelly is listening to, visit him here on The Squawker weekly or daily on his personal music blog, The Gobblers Knob.
