The Days of Lore

The Thermals: O Canada!

Tuesday, February 9th, 2010 | musiX, pdX | 2 Comments

The Thermals released a new song today in honor (or should I say, honour) of the winter Olympic games being held in Vancouver. “Canada” is available for download at iTunes, or you can cop yourself a free listen right here.

The song is true Thermals—catchy, raucous, fun, and it’s nice to finally hear drummer Westin Glass on a recording. Is it just me, or do the “Whoa whooooa whoas” throughout the song sound ready-made for a Pepsi commercial? Not that there’s anything wrong with that.

Tags: "Canada", The Thermals

Best of 2009: TDoL and the Furious 15

Sunday, December 20th, 2009 | musiX, pdX | 11 Comments

Seems like it was only yesterday that I was cobbling together the TDoL best of 2008. Yes, time flies when you’re old and surly. And, yes, I know year-end lists are everywhere, cliché, overdone and a dime a dozen—but I do love them so.

These lists are difficult to make, too. I mean who has time to really absorb a full record when you’re being bombarded with hundreds of albums and mp3s? It was chore to make a list that exorcised both my discerning (wax-clogged) ear and my (beer-besotted) gut—the “I can see what this artist is trying to do here” versus the “this fucking rules and I’m going to sing it at the top of my lungs in my car/boxers” if you will. I prefer the latter—less thinking involved.

The following is a semi-in-depth look at what I liked about music in 2009 … in list form. It’s a magical place where good and evil coexist, where big, dumb rock mingles with smarty-pants indie, a place where it’s Christmas year-round. But before we get down to it, I’d like to present to you the following pre-list list.

Thing(s) to do after reading the TDoL Best of 2009:
1. Leave your own list in the comments.
2. Harshly ridicule and mock my list, also in the comments.
3. Praise my list for its fine taste and heterogeneousness.
4. Tweet/tell your friends to read it and do the same.
5. Explain to me what the hell heterogeneousness means.
6. Click on the album cover to purchase.
7. Note there is no Animal Collective on this list …
8. … or Yeah Yeah Yeahs.
9. But there is a KISS on my list.
10. Thank you for reading.

15. Pacific Dust - The Mother Hips (Camera Records)

After years of wrestling with major label politics and personal demons—all of which led to members taking a two-year hiatus—The Mother Hips came back to release one of their best albums in 2007’s Kiss the Crystal Flake. Pacific Dust feels like its sister record, the Hips again playing to their strengths—gorgeous Bee Gees-inspired harmonies, pop hooks, country licks and the occasional Sabbathian riff. I’ve said it before and I’ll say it again: The Mother Hips are criminally underrated.

“Young Charles Ives” - The Mother Hips

14. Crack the Skye - Mastodon (Reprise)

I’m still trying to figure out how Mastodon became so popular among non-metalheads … though they aren’t your typical metal band. With Crack the Skye Mastodon has created a sweeping monster of a record that piles riffs on top of mind-bending prog passages. It’s as beautiful as it is brutal, sort of like Tool. And I guess if hipsters are listening to Mastodon, it means less time spent doting on Merriweather Post Pavilion and It’s Blitz … which is never a bad thing.

“Divinations” - Mastodon

13. Amorum Tali - Purple Rhinestone Eagle (Eolian Records)

Led by lanky guitar-whiz Andrea Genevieve, Purple Rhinestone Eagle strings together mighty riffs that crackle over the rib-rattling rhythm section of Morgan Ray Denning and Ashley Spungin. Amorum Tali (Talons of Love) stands firmly at the intersection between San Francisco flower power and Birmingham doom, especially on “Walk With the Wizard.” Add the fact that the lyrics often touch on deeper social and political issues and you have an incredibly potent rock machine.

“Walk With the Wizard” - Purple Rhinestone Eagle

12. Now We Can See - The Thermals (Kill Rock Stars)

The Thermals’ Kill Rock Stars debut doesn’t quite match the barbed nastiness of 2006’s The Body, the Blood, the Machine—it’s still intense, however, as guitarist/vocalist Hutch Harris reflects on his time on Earth after offing himself in the very first song. Now We Can See is a polished piece of wicked pop punk—songs are more refined, hooks sharper. And it took only, what, three releases for bassist Kathy Foster to finally lay down some backing vocals? Now we can hear!

“I Let It Go” - The Thermals

11. Popular Mechanics - Surrogate (Tooth & Nail)

Surrogate hails from Chico, Calif., touring only occasionally and putting out some incredible pop records on a label that puts out some incredibly god-awful records. Multi-instrumentalist/vocalist Chris Keene has come into his own after playing hired gun in his previous band Number One Gun, writing smart, earnest, well-produced indie rock that should make fans of Nada Surf take notice. Keene’s influences are all over the map, but it only takes one spin to make Popular Mechanics feel like home.

“Whiskey (Vomiting Words)” - Surrogate

10. Wilco (The Album) - Wilco (Nonesuch)

Well, hand it to Jeff Tweedy and Co. for coming up with their most experimental album title in 2009. So the music within doesn’t come anywhere near the eclecticism of masterstroke Yankee Hotel Foxtrot —it’s simply another tried-and-true batch of songs that further cements Tweedy as one of the great tunesmiths of his generation. And musical wunderkinds Glenn Kotche and Nels Cline again show magnificent restraint. I just like that Wilco continues to simply do what comes natural.

“Country Disappeared” - Wilco

9. Power Move - Screaming Females (Don Giovanni)

Screaming Females got a lot of play at TDoL this year, usually in my car as I was being transformed into a screaming male. The aptly-titled Power Move is a fuzzed-out, riff-laden rock ‘n’ roll that shrewdly pulls from each of the last four decades. The highlight, of course, is Marissa Paternoster, the band’s 5-foot-2 guitar goddess who cranks out noodly solos over an air-tight rhythm section. Album opener “Bell” shows that, as is the case with most shredders, it’s usually the riffs that really scream.

“Bell” - Screaming Females

8. Breaks In the Sun - WEINLAND (Badman Recording Co.)

What strikes me most about Portland’s WEINLAND, is the Jekyll and Hyde they pull with their recordings and live shows. Although Breaks In the Sun comes from less of a dark place than 2008’s La Lamentor, there’s still a calmness and beauty to it. Adam Shearer’s hushed vocals are the centerpiece, floating through emotionally-charged country folk songs brimming with pop hooks. Live WEINLAND transforms into a gritty bar band that would probably buy you a beer. It’s rather impressive.

“Autumn Blood” - WEINLAND

7. Love and Curses - Reigning Sound (In The Red)

It’s unfortunate that Greg Cartwright is known only by weirdos who still like to spend hours scouring dusty bins for records by dead people. Love and Curses is the North Carolina quartet’s first record of new material since 2004, and big guitars and swirly organ still rule here. Cartwright’s voice is a little more ragged this time around, but he sure knows how to convey tenderness and despair whether he’s representing the everyman or a jilted lover. Yes, everyone should listen to more dead people.

“The Bells” - Reigning Sound

6. Sonic Boom - KISS (KISS Records)

Chaim Witz and Stanley Eisen made good on their promise to deliver a klassik KISS album, and the former’s songs are the best of the bunch … don’t tell him I said that. Sonic Boom is one kick-ass rock ‘n’ roll party loaded with sexual innuendo, cheesy lyrics (I’m talking Easy Cheese between two slices of Velveeta sprinkled with Cheetos), riffs, cowbells, ripping guitar solos, walking basslines and anthemic choruses. Attn. hipsters: Wouldn’t it be totally ironic if you played this at your next party?

“Yes I Know (Nobody’s Perfect)” - KISS

5. S/T - The Yule Logs (self-released)

A holiday album on a year-end list? Take away the snow, Santa and menorahs and you’re left with some damn catchy songs with Brit pop jangle and Beach Boys harmonies. The hardest working band in snow business plows through classics as well as a few equal-opportunity originals like “Hanukkah Mambo!” and “Christmastime Is Here (Again!).” And I’ve been listening to it non-stop since August … which means either I’m weird, or it’s just that good. Probably a little of both.

“Christmastime Is Here (Again!)” - The Yule Logs

4. Seconhand Runner - Bodhi (self-released)

Bodhi’s influences are as clear as day—Bowie, The Stooges, Gary Numan—yet they manage to end up sounding like nobody but Bodhi. “Kids Are So Nice” is a fine slice from MTV’s early days when new wave, Nina Blackwood (and videos) ruled. Brian Carr’s voice is the glue that holds the myriad influences in place, even when the band decides to throw a new wave country song into the mix (”Bystander”). Went from 0 to No. 4 on my year-end in less than three weeks.

“Kids Are So Nice” - Bodhi

3. S/T - Harper Simon (Tulsi/Vagrant)

“Shooting Star” grabbed me before I even knew who Harper Simon’s pops was. Simon’s debut is a love letter to Nashville. He recorded there, recruited producer Bob Johnston (Nashville Skyline) as well as noteworthy Nashville musicians including pedal steel player Lloyd Green (Sweetheart of the Rodeo). Not surprisingly, he ended up with a beautiful, warm country record. Simon can’t help but sometimes sound like his father Paul—not a bad thing unless, of course, we’re talking about Graceland.

“Shooting Star” - Harper Simon

2. S/T - The Pains of Being Bure at Heart (Slumberland)

Boy-girl harmonies, jangly guitars and hooks up the wazoo (which is less painful than it sounds) reign throughout the New York quartet’s debut. As guitarist/vocalist Kip Berman explained to TDoL earlier this year: “I feel that pop is so wonderfully broad a style of music that you could never ever get bored or fully exhaust it—it’s infinite.” With all the press that TPoBPaH received in 2009, it’s nice to know that they aren’t interested in resting on their laurels. Hell, they might actually be in this for the long haul.

“Young Adult Friction” - The Pains of Being Pure at Heart

1. And Girls Club - The Strange Boys (In The Red)

In The Red put out some incredible records this year from King Khan and BBQ Show, Reigning Sound and Thee Oh Sees, but nothing grabbed me as immediately as the debut from Austin, Texas’ The Strange Boys. The combination of chops, songs and enigmatic confidence made these young(ish) boys sound well beyond their years. The band doesn’t go for lo-fi or silly garage-rock aesthetics, instead churning out no-nonsense, R&B-fueled rock ‘n’ roll that falls somewhere between Meet the Beatles! and Bob Dylan’s Newport Folk Festival performance. Guitarist/vocalist Ryan Sambol coyly unleashes his general disaffection through nasally vocals, while jangly guitars and a booming rhythm section crank out the soundtrack for a misfits sock hop. Effortless and fun. Come to think of it, the only thing lo-fi about The Strange Boys might be the album’s cover. But who really looks at those anymore?

“This Girl Taught Me a Dance” - The Strange Boys

The Best of the Rest of the Best …

Bitte Orca - Dirty Projectors

Paint the Fence Invisible - Drug Rug

To Be Still - Alela Diane

Rose City - Viva Voce

Survival Strategies in a Modern World - Liechtenstein

Tags: Alela Diane, Amorum Tali, And Girls Club, Best of 2009, Bitte Orca, Bodhi, Breaks In the Sun, Crack the Skye, Dirty Projectors, Drug Rug, Harper Simon, KISS, Liechtenstein, Love and Curses, Mastodon, Now We Can See, Pacific Dust, Paint the Fence Invisible, Popular Mechanics, Power Move, Purple Rhinestone Eagle, Reigning Sound, Rose City, Screaming Females, Secondhand Runner, Sonic Boom, Surrogate, Survival Strategies In a Modern World, The Mother Hips, The Pains of Being Pure at Heart, The Strange Boys, The Thermals, The Yule Logs, To Be Still, Viva Voce, WEINLAND, Wilco, Wilco (The Album), year-end list

Now You Can Win: The TDoL Thermals Contest

Monday, March 16th, 2009 | musiX | 8 Comments

I’ve made a damned fool of myself with how often I’ve mentioned The Thermals in this space. I will not apologize. Only a few weeks to go until the release of The Thermals’ new record Now We Can See (out April 7 on Kill Rock Stars).

To help celebrate the event The Days of Lore, in conjunction with the fine folks at InSound, is holding its first-ever contest called—Now You Can Win: The TDoL Thermals Contest. The winner will receive a very snazzy Thermals T-shirt, which can be viewed right … here. The winner also gets a free download of the new record. Is there any way I can enter my own contest? I’m being told that I cannot. OK then.

All you have to do is write your favorite Thermals lyric in the comments section of this post and provide your name and e-mail address. Also, if you’re on Twitter—and I know you are—Tweet your pals about the contest … Tweet, Tweet! Deadline for entries is midnight (PDT), Monday, March 30. The winner will be announced that same week on Friday, April 3, and the loot will be sent right to your door. Total retail value of this package: PRICELESS.

“Now We Can See” - The Thermals

“An Ear For Baby” - The Thermals (The Body, the Blood, the Machine)

Hutch and Kathy performing “I Let It Go” for an MTV feature on PDX music

Tags: Kill Rock Stars, Now We Can See, Now You Can Win: The TDoL Thermals Contest, The Thermals

The Thermals: Top of the pop

Tuesday, February 10th, 2009 | musiX | No Comments

Like I said, you haven’t heard the last of me doting over the new Thermals album (out April 7 on KRS). A few weeks ago I posted the demo version of the excellent “I Let It Go.” Today the band released the title track to Now We Can See—a shiny, sparkly piece of pure power pop that might be poppier than anything they’ve ever popped out. If you’re not humming along to the chorus after listening, ask a friend to hold a mirror up to your mouth.

“Now We Can See” - The Thermals

Tags: Kill Rock Stars, Now We Can See, The Thermals

Now we can see … and hear

Wednesday, January 21st, 2009 | musiX, pdX, politiX | No Comments

I awoke this morning to the scent of hope … and coffee. And it smelled so good. Yesterday, Barack Hussein Obama was sworn in as the 44th president of the United States of America, and with that, things have already changed. His speech was good—not great—I’ll give it a 7.5. Put it next to any speech by George Walker Bush, and it’s an 11.5. Aretha Louise Franklin’s performance: a solid 10. She still brings it. So, enough talk about her hat.

With all of these feel-good feelings and scents and sounds I was reminded of my interview with The Thermals’ Kathy Foster in December. I asked her what the new record would be like given the changes taking place in the Oval Office. Of course, 2006’s The Body, The Blood, The Machine was a punchy punk rock diatribe on the state of affairs under neo-conservative Christian influence. Foster calls Now We Can See (out April 7 on KRS) more of an “Obama record.”

“It’s mostly written from the perspective of someone who’s died and is looking back at their time on Earth, realizing their own mistakes and those humanity has made. Now we can see! Yes we can!”

I like her feel-good optimism. The new album is one of my most highly anticipated—i.e., you haven’t heard the last of me doting over Now We Can See. Now you can listen.

“I Let It Go” - The Thermals (demo, Now We Can See)

Tags: Aretha Franklin, Barack Hussein Obama, Kathy Foster, Now We Can See, The Thermals

2 much rawk 4 me?

Monday, December 8th, 2008 | musiX, pdX | 1 Comment

Live: Blitzen Trapper, Starfucker and The Parson Red Heads at Wonder Ballroom, 12.4.08

The Thermals, Panther and Champagne Champagne at Doug Fir Lounge, 12.5.08

Seeing 2 handsome rock bands in 2 nights might be 2 much 2 handle 4 some. But I went for it. A couple of Portland’s beloveds performed at home after long absences: Blitzen Trapper has been touring the country for the better part of this year, performing on Conan and generally making music-folk weak in the knees. The Thermals have been working on a new record, recruiting a new drummer, signing to a new label and generally making me weak in the knees.

It was my first time seeing Blitzen Trapper, although I’ve watched plenty of live clips. The stuff I had seen always reminded me of the euphoric musicality of The Last Waltz, minus the coke boogers … and Neil Diamond. On this night the Trappers performed like the seasoned road warriors that they are, playing a good portion of the excellent Furr record. Although, it was a short set. Are they, perhaps, experiencing some road fatigue? No matter. They played “Furr,” “God & Suicide” and “Love U,” and I left a full-on Trapper keeper.

The Thermals played their first show in Portland in almost a year. And with that they unleashed nine new songs from their forthcoming release Now We Can See, which will hit iTunes and those old contraptions they call record stores April 7. The title track and “I Let it Go” (hear the demo version on their MySpace) are loaded with rock and hooks, soaked with blood, sweat and tears, slathered in barbecue sauce and … just read about it at SPIN.com (I am not above shameless self-promotion).

I haven’t been able to get enough of The Thermals of late. I think I might have a problem. 1 of the effects is that I start 2 use Prince-isms. Now U can C.

Tags: Blitzen Trapper, Furr, live, Neil Diamond, Now We Can See, The Last Waltz, The Thermals

The Thermals: Yes they can!

Tuesday, December 2nd, 2008 | interviewZ, musiX, pdX | 1 Comment

I’m going to come right out and say it: The Thermals are a great American rock ‘n’ roll band. There. I said it. The Portland three-piece has been busy putting the finishing touches on its new record Now We Can See, all while celebrating President-elect Barack Obama’s victory, celebrating Thanksgiving, recruiting new drummer Westin Glass, gearing up for a PacNorWest/Euro mini-tour and choosing which label would actually put out their fourth record … sheesh, a great American rock ‘n’ roll band’s work is never done.

In the end the Thermals’ core members, guitarist/vocalist Hutch Harris and bassist Kathy Foster (also of PDX pop punks the All Girl Summer Fun Band), parted ways with Sub Pop and went with Kill Rock Stars. The follow-up to 2006’sThe Body, the Blood, the Machine is due out April 7, with the new single coming our way in 7-inch form on March 10. The Thermals will also play two nights (December 5 and 6) at Portland’s Doug Fir Lounge before heading off to Europe for some dates. TDoL recently chatted with Foster via e-mail about pop music, the benefits of signing with KRS and why Now We Can See is “such an Obama record.”

TDoL: When you think of some of the great pop songs, who comes to mind?
Kathy Foster: The Beatles, Michael Jackson, Janet Jackson, Prince, Madonna, The Who, The Zombies, Weezer, The Supremes, Built To Spill, Flaming Lips …

Tell me about the decision to sign with Kill Rock Stars … must’ve been a tough one.
Yeah, we thought a lot this year about our different options and about what label would be a good fit, or if we should release it ourselves. Over the past six months a bunch of really great indie labels approached us, but in the end Kill Rock Stars won us over with their aggressive enthusiasm and pro-artist way of doing business (they agreed to all our outrageous terms!). Plus it’s great to work with a women-run label. Maggie bakes us cookies, and Portia [Sabin, president of Kill Rock Stars] does our laundry! Another big reason is that they are in Portland now. They moved down here from Olympia earlier this year. So we’re pretty much there every day now, eating all their chewable vitamin C and playing with Maggie’s [Vail, KRS VP] dog, Jackson, who’s the best dog in the world! Yes he is!

How’s the new record coming along? Any kooky tales from the studio?
The record is pretty much done! We’re finishing up the mastering. It’s called Now We Can See and will come out April 7, if all goes as planned! In the studio, it was only John Congleton, Hutch and me, so things got a little nutty. For some reason we were all channeling Larry David, and talking in really exaggerated New York Jewish accents to each other. We went to John’s studio in Dallas to mix, and Hutch and I went to Dealey Plaza. It was eerie how there are two X’s painted on the street at the points where JFK was struck.

What are you doing differently on this album lyrically or musically?
Well, we worked with producer/engineer John Congleton for the first time, from Elmwood Recording Studio in Dallas. He has worked all across the spectrum: Modest Mouse, Polyphonic Spree, Explosions in the Sky, Smog, Erykah Badu, The Roots, Kirk Franklin, R. Kelly(!) and tons more. I just looked him up on Wikipedia, and I really think this sums him up: “Congleton’s production is usually notable by a signature dark sound and a rhythm section that is very large and enveloping.” I was gonna say he’s really into making the rhythm section (that’s all me baby!) sound big, so this album has a much bigger bottom than our others. It was almost gonna be titled Does This Album Make Our Ass Look Big?. The songs are more dynamic and more developed. Also, Hutch feels the lyrics are the best he’s ever written. Yes they are!

What are you going to write about with Dubya leaving in January?
Luckily, Obama won the election, (YES!! We are STOKED!) because this record is SUCH an Obama record. It’s mostly written from the perspective of someone who’s died and is looking back at their time on Earth, realizing their own mistakes and those humanity has made. Now we can see! Yes we can!

Track listing for Now We Can See:
When I Died
We Were Sick
I Let It Go
Now We Can See
At The Bottom Of The Sea
When We Were Alive
I Called Out Your Name
When I Was Afraid
Liquid In, Liquid Out
How We Fade
You Dissolve

“St. Rosa and the Swallows” - The Thermals (The Body, the Blood, the Machine)

“How We Know” - The Thermals (Fuckin A)

Tags: All Girl Summer Fun Band, Hutch harris, John Congleton, Kathy Foster, Kill Rock Stars, Now We Can See, The Body the Blood the machine, The Thermals, Westin Glass