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On the Shelf 171: The Thermals
Sep. 6th, 2016 07:55 amHopelessly behind on reviews, but that won't stop me...
I first heard the Thermals 13 years ago with their single "No Culture Icons" from their debut More Parts Per Million and was instantly hooked. Improbably, they are still around and still relevant with seven albums all total now in their discography.
On paper, very formulaic with no particular differentiation on each song; the reality is that they have produced (by the stingiest critic) a certifiable indie classic- 2006's The Body, the Blood, the Machine and you could probably argue near classic status for all of their other releases as well.
Of course, it's hard to tread that fine line that people expect a certain sound but also when you are pigeonholed in a narrow scope- the AC/DC/Ramones/Motorhead conundrum.
Pitchfork's review of the 2016 album We Disappear says that the band has struggled between polar audiences- serious angry protest and poppy punk. I don't necessarily agree. I feel the Thermals have always known their sound, and their mood was always captured on whatever was the latest release. Though ostensibly, it's mindless directionless energy, Thermals albums do generally have a theme.
The last album - 2013's Desperate Ground- saw them move to Saddle Creek Records and work with a new producer (John Agnello- Sonic Youth, Dinosaur Jr). In comparison to their other albums, it's probably not as good, but it still was a very solid album. So it is with Personal Life.
Personal Life has a slightly different sound and I can't particularly place my finger on why. It's the same lineup and Chris Walla is back as producer- a position he has been in for most of their records.
Still, there's something, and maybe I should go back to that Pitchfork review. We Disappear isn't an angry record in terms of 'screaming at the top of your lungs", though screaming is largely Hutch Harris's modus operandi.
The band usually has some memorable anthems on every album and "If We Don't Die Today" is certainly that. With a title like "Hey You", that song doesn't promise much, but fits well in the catalog.
The album's second track "We Disappear" gives a different side of the band, and proves that if they want to go other directions they could. But that is the exception here, most of the songs revert back to the formula found on opener "Into the Code".
Nothing life changing here, but I have to say I am satisfied with the product and this will likely put them back on my Year End Best Albums list once again.
I first heard the Thermals 13 years ago with their single "No Culture Icons" from their debut More Parts Per Million and was instantly hooked. Improbably, they are still around and still relevant with seven albums all total now in their discography.
On paper, very formulaic with no particular differentiation on each song; the reality is that they have produced (by the stingiest critic) a certifiable indie classic- 2006's The Body, the Blood, the Machine and you could probably argue near classic status for all of their other releases as well.
Of course, it's hard to tread that fine line that people expect a certain sound but also when you are pigeonholed in a narrow scope- the AC/DC/Ramones/Motorhead conundrum.
Pitchfork's review of the 2016 album We Disappear says that the band has struggled between polar audiences- serious angry protest and poppy punk. I don't necessarily agree. I feel the Thermals have always known their sound, and their mood was always captured on whatever was the latest release. Though ostensibly, it's mindless directionless energy, Thermals albums do generally have a theme.
The last album - 2013's Desperate Ground- saw them move to Saddle Creek Records and work with a new producer (John Agnello- Sonic Youth, Dinosaur Jr). In comparison to their other albums, it's probably not as good, but it still was a very solid album. So it is with Personal Life.
Personal Life has a slightly different sound and I can't particularly place my finger on why. It's the same lineup and Chris Walla is back as producer- a position he has been in for most of their records.
Still, there's something, and maybe I should go back to that Pitchfork review. We Disappear isn't an angry record in terms of 'screaming at the top of your lungs", though screaming is largely Hutch Harris's modus operandi.
The band usually has some memorable anthems on every album and "If We Don't Die Today" is certainly that. With a title like "Hey You", that song doesn't promise much, but fits well in the catalog.
The album's second track "We Disappear" gives a different side of the band, and proves that if they want to go other directions they could. But that is the exception here, most of the songs revert back to the formula found on opener "Into the Code".
Nothing life changing here, but I have to say I am satisfied with the product and this will likely put them back on my Year End Best Albums list once again.
