AnR factory writes about our SONG: “You & me”

“If you’re one of those people that keeps their Post-Punk playlists stagnant with sounds that were produced before the 00’s, you might want to check out Central Plain’s new single You & Me.  Not even ten seconds into the track you’re treated to the Peter Hook style rhythmic bass influence which is overwhelmingly palpable, then the track progresses to the haunting atmospherics from Post-Punk bands such as Echo & the Bunnymen, the Smiths and the Cure. Nik Westman’s vocals are the perfect outlet for the poignant lyrics that could rival bands such as the Chameleons when it comes to creating a bitter sweet narrative. Yet, Central Plains latest track You & Me is more than just a revival of a sound that I for one get so God damn nostalgic about. The Brooklyn based band create a haunting yet energetically spectacular soundscape through their ingenious use of psychedelic groove and Jangle Pop guitar renditions.”

PREVIOUS RECORDS ACCLAIM

Pittsburgh Post Gazette reviews 2nd album “walk on beaches” (2011)

Nik Westman is a straightforward guy, not one to embellish his credentials. But past press reports have misinterpreted some of his statements; notably that he was heavily influenced by Indian music, and that he wrote a book about the cuisine of the central plains of Pennsylvania. Neither is true.

“There’s so much misinformation,” Westman says with laugh.

What’s not at all questionable is Westman’s talent. His band, Nik and the Central Plains, will release its new CD, “Walk on Beaches,” with shows Friday and Saturday at the Thunderbird Cafe in Lawrenceville.

Westman describes the music as “straight-up, three-piece, garage folk rock.” That might be technically accurate, but mere words don’t do justice to the sweep of the music. Think Calexico by way of Camper Van Beethoven, with elements of Wilco, Crazy Horse and Steve Wynn and the Miracles, and you’ll start to approximate the band’s sound.

But only start.

Westman, 28, of Aspinwall, released an eponymously titled album with bandmates Kraig Decker (bass) and Colin Bronnenkant (drums) in 2010. “Nik and the Central Plains” was merely “a collection of songs,” he says. “This one is the band. This is the guys I’ve been playing with for three years. It’s more representative of the band. The last one wasn’t really what we sound like.”

Each song on “Walk on Beaches” is fleshed out with small touches. The spare, acoustic “Kickin’ Leaves” is augmented by slide guitar and chimes. “Arctic Dance” starts with a frenetic blare before segueing into a hypnotic maze of mellow guitar rock. “Paul and Jen,” the closest Westman gets to a pop song, is leavened by the accordion of Ross Raider. Other guest musicians, including vocalist and violinist Sara Siplak and guitarist Tom Demagall, add texture throughout.

Westman isn’t quite sure where his musical diversity comes from. Born in Sweden, he lived in Los Angeles until he graduated from high school and moved to Pittsburgh.

“I also lived in Hawaii for a year and I got into a lot of drumming,” he says. “I was around a lot of island jams. And I’m a skateboarder, so, watching a lot of skating videos, you get into a lot of different styles.”

If there’s a mood that best describes “Walk on Beaches,” it’s manic. Westman draws mostly from his own experiences for material, as in the semi-autobiographical title song, which is punctuated with flourishes of trumpet and vocals reminiscent of David Byrne’s.

“When I listen to (the album), there are a lot of suggestions that people are crazy,” Westman says. “It deals a lot with people’s emotions.” 

Ryan OToole (producer, former bandmate)

“My memories of making 'Sink Into This One'(2021)”

first and foremost, I’m THE FORMER drummer in this outfit. MICHAEL BAMBINO NOW CARRIES THE FLAME. THESE ARE MY THOUGHTS ON THE MAKING OF THE 2021 ‘SINK INTO THIS ONE’ record. I'm extremely proud of these recordings of Nik Westman’s songs. They were produced, recorded, and mixed from soup-to-nuts, in my tiny 10'x10' rehearsal space in Long Island City, before and throughout the pandemic.

I’VE never once thought of myself as some hot-shot producer. The goal is alwayS: serve the song. preserve the human feeling of the original performance. At the core of these recordings is a working band, playing in a small room, IN EARNEST, and with passion. You are listening to Friends, playing instruments together. No bots, clicks, or tricks.

I LEARNED HOW TO MIX WITH THIS RECORD. GOING IN, I was an 'ok' recording engineer. I grew up 4-tracking songs on cassette tape. I recorded most of my MUSIC at home and this proved valueable. Like MANY, The pandemic launched me into a deep dive of discovery. I had time to learn everything I could about mixing music. I spent WEEKs learning how to get the kick drum, bass, acoustic guitars, vocals and electric guitar layers sounding the way I wanted. I read a lot of BOOKs and RE-DID A LOT OF WORK to get it right. Every song on this record was mixed, then stripped down and re-mixed several times over. The result is a well balanceD 'natural feeling' set of songs. Throughout all of this was Nik's enduring patience. For that I thank you.

TECHNICAL CREATION Notes: ‘SINK INTO THIS ONE’

(by producer/FORMER bandmate: Ryan O’Toole)

The foundation tracks (drums, bass, acoustic guitar) were recorded on 2 separate days, January 13 & 16th, 2020. Improbably, the jams were laid down without any rehearsals and my initial thought on the undertaking was relaxed, but nervous that I’d MAKE A MISTAKE AND WE would end up with nothing. Nik just said, "Let's set up and play. See what happens." He turned out to be 100% right. Sometimes a calm and relaxed approach is the most professional. we haD been playing together for years IN NYC AND WERE very much tuned into one another’s musical subtleties.

The drums, bass, and acoustic guitars were recorded live with scratch vocals. The acoustic guitar was recorded direct plug input.

Nik returned on his own and sang all his vocals for the entirety of the record. He also laid down properly mic-ed up acoustic guitars, but in the end, the original DI guitar performance was used throughout. I discovered a way to make DI acoustic guit sound wonderful. Nik’s guitar playing, when he’s singing his own songs, is so much more connected than when he’s playing along later. I suppose it is the same for us all. singing and playing renders 2 unique layers, working together. That kind of guitar playing is the heart and soul of these songs. nik finished all his tracking by the end of January 2020. We discussed further tracking on the songs and made plans to pick up in March 2020. Then the pandemic hit.

Understandably, our focus on music was tabled, as New York went through a terrible time. Somewhere in July, a desire to work on music crept back in. I began mixing and laying in loads of percussion, background harmonies. I also added Acoustic Piano and organ parts. In October 2020, Sean came over to record socially distanced bass redux parts for Sand Dunes, Isn't It Unfair II, and I Can Hear The Choir. There was nothing wrong with his initial live tracking, but Sean had discovered some new ideas. the songs are better for it. Sean later learned how to track himself at home and, in April of 2021, he turned in redux parts for Oh No The Feeling Is Back, Landed II, and Put Your Money Where Your Mouth Is. Paul tracked at home as well, turning in layer after layer of 6-string-magic right up until the end of mixing, July 1st 2021. The final mastering was done by Adrian Morgan - Timeless mastering, laying off to 1/4 inch analog tape.