Tracklist:

1. Covered up in Mines
2. Calling Thermatico
3. Patience for the Ride
4. I See Through You
5. In Such Crooked Times
6. For New Starts
7. The Fugitives Have Won
8. Monument Sails
9. Triggers and Trash Heaps
10. Nothin' I Ever Seen
11. Take the Maps and Run
12. Take a Rake

Will Johnson, where have you been? It’s been so long. You used to pump out albums like a hummingbird’s heart pumps blood. Since 2003, we have only had one album, and it wasn’t even Centro-Matic (see South San Gabriel’s The Carlton Chronicles). As you must now be aware, I’ve missed you, and I’m glad to see you’re back.

Not only that, but you’ve brought an absolutely fantastic record. Towing the line between alt-country and mid-90s style indie rock, Fort Recovery contains the same clever lyrical snippets, balladeering and rousing rock and roll the band previously employed to perfection. Make no mistakes: this record is as good as, or better than, anything Centro-Matic has done so far.

One of Centro-Matic’s big draws is the salty southern drawl of singer/brainchild Johnson, and with Fort Recovery’s polished-over aesthetics, it rings pure and clear. Opener “Covered Up In Mines” sneaks in with wiry guitar and Johnson’s whispers over calm, steady drums but expands when the feedback hits, enlarging into country-tinted brilliance. Follower “Calling Thermatico” is strong drumming and guitar blast centered around a splashy, instantly catchy chorus.

The album is divided into a handful of more rocking tracks and some slower-paced songs (though not necessarily quiet ones). Besides the two openers, the former category consists of tracks like album closer “Take a Rake” and “For New Starts,” which is anthemic in its gorgeous sprawl of crashing cymbals, though I must admit that every here and there I was reminded of an Aerosmith ballad (C’mon, who saw Armageddon?). “Monument Sails” starts reminiscent of Sebadoh, oozing the same kind of soot-covered rock only to crash into a clean, ascending chorus.

The latter group tends to contain the really impressive songs. “Patience for the Ride” slides along on Johnson’s slurred words and twinkling piano over energetic guitar. “In Such Crooked Times” is a slowly warbling, processed hum, with the added benefit of being absolutely gorgeous.

Plus, one of the best songs on the record, “Triggers and Trash Heaps,” belongs to this category. Driving bass is pierced by tiny piano chords and pricking guitar jabs, and Johnson’s voice sounds soulful, especially during the lines where the background vocals cue in and create a wispy, dreamlike quality. When most of the instruments drop out, leaving Johnson to croon “It’s a much needed start / for a parasite heart” accompanied only by beating strings and blinking guitar, it’s beautiful.

There are a few moments on the record where Centro-Matic tries something a little different, and surprisingly, they succeed quite well without altering the total flow of the album. “Take the Maps and Run” is focused on misty electronics and soaks everything in reverb, abandoning the soaring guitar and vocal-centered motif of the rest of the record. “I See Through You” is half gentle, guitar-plucked ballad and sweet strings, and half electronic buzz. The echoed blips and groans of computerized noise create an interesting contrast, and help make Johnson’s romantic leanings feel more poignant.

Centro-Matic have always been giants among the narrow realm of alt-country, and Fort Recovery feels like the album they have been trying to make all these years. It incorporates the aesthetic of all of their previous efforts into their best production yet. Bottom line, Fort Recovery is a terrific record, filled with enough emotional delivery and expert songcraft to fill the biggest, bluest Texas sky.

This entry was posted on Thursday, April 6th, 2006 at 10:01 am and is filed under Record Reviews. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site. Edit this entry.