If you’re an Austinite like me you know one thing for sure: White Denim fuckin’ rips. The band, which consists of James Petralli and a rotating cast of musicians, has been a mainstay in the city’s always-changing scene since breaking through with Fits in 2009. I remember hearing that record courtesy of Gorilla vs. Bear and thinking, “Math rock and pop and jazz and noise? No way!” I was actually probably thinking about girls or a basketball game or something, but it was very cool to me that White Denim was doing all of those things.
On the band’s twelfth studio album, titled 12, all those influences remain, but Petralli has an interest in writing some of his most straightforward bangers to date. Opener “Light On” is an airy lounge-jazz number, skipping along like a Steely Dan classic with a dash of Nigerian highlife tossed in for good measure. It’s an ultimately optimistic number, with Petralli singing: “Keep loving in spite of the darkness / Laughing in the faces of the heartless.” Later, “Swinging Door” is a pop-leaning blues cruncher with a bubbly bass line and drums that slap like a cheap shot to the face.
To help spell out the origins of 12, we had Petralli share a playlist of songs that informed the record. “There’s too much to talk about here—music is bigger than shit,” the artist philosophizes. “I want to talk about my old friend Martin Crane and my old friend Andy Pickett and Roland Kirk and Eric Dolphy and Milton Nascimento and Jorge Ben and John McLaughlin and Blake Mills, Luke Temple, Kosta, Joni, Judee Sill, Janet Jackson, Bobby Caldwell, Lee Perry, King Jammy, Teena Marie—a million other people and how I’ve been reading Sly’s book and that it’s been making me feel so conflicted, but I have to make my son a dang quesadilla. I am alone this week with two children and a selfish hairy beast named Sergio. If you don’t include this last bit of text in your article I will only be mildly offended. Thank you!”
You’re welcome. Check out Petralli’s (bravely condensed) picks below, and pre-order 12 ahead of its release date tomorrow here.
Scritti Polliti, “Perfect Way”
This entire album is a huge inspiration—I love everything about it. It’s grandiose yet small, deadly serious but hilarious. All my favorite work contains opposing ideas and feelings.
Peter Gabriel, “No Self Control”
This album is incredible. This song in particular is really interesting aesthetically and so menacing. I love the marimba parts juxtaposed with the dissonant electric textures. The music and lyrics tell the same story. It’s a “whole thing,” as the youths lazily say.
Meat Puppets, “Swimming Ground”
I love the urgency, the effortless feel, and the humor in the delivery of this music. The chords are beautiful and it’s just nonchalantly the coolest hardest shit ever.
Joe Jackson, “I’m the Man”
This is really smart and fun rock and roll, in my opinion. The musical interplay is thrilling. It’s just a trio playing together—no frills. Perfect. Someday I’ll get brave enough to make a record just like this.
Cheap Trick, “He’s a Whore”
This feels like a natural next song to play and talk about after “I’m the Man.” This is on half the rock-centric playlists I make for people. Steve [Terebecki] showed it to me many years ago and it’s in constant rotation at my house.
The Replacements, “Shape Up”
I guess I miss Steve and need to call him—this is another one that he introduced me to. I don’t even think this made a Replacements record. Crazy. If a young band made this today, would the world be moved? This destroys all contemporary rock-leaning music, and these Midwestern boys couldn’t get to it back in the day!
Sonic Rendezvous Band, “City Slang”
I didn’t make a record like this, but I will eventually. This will be the last irrelevant (to my current album) rock song I put on the list. Everyone should hear this right now. This is what it’s all about—not that “Hokey Pokey” folks are doing on the internet these days with their modeling amps, light programs, and silly in-ear monitors.
Lou Reed, “Kicks”
This album is the top shit. There are more crowd-pleasing tunes on it, but this has an edge and the party atmosphere that plays and moves throughout the track is something that I definitely lifted for my album.
John Cale, “Barracuda”
The way the rhythm guitar is being strangled on this cut is the move. Brutality, finesse…juxtaposition in all good work!
Bob Dylan, “I Contain Multitudes”
This says exactly what I’m trying to say about work that I like right there in its title. I think Whitman said it earlier. I also think I’m slightly beyond acquainted with the guy that produced this Dylan album. Can you believe it? I paint landscapes and I paint nudes.
