Saddle Creek Records
I don’t know how to write a bio for an album. I’ve never written one. I’m a comedian. My job is to talk onstage for long enough that the trapped, drunken audience has to buy more chicken wings from the club. I am not qualified to write about music. And yet here I am, writing a bio for the new Thermals record, We Disappear. Thank god it’s a great fucking record. Read More...
I don’t know how to write a bio for an album. I’ve never written one.
I’m a comedian. My job is to talk onstage for long enough that the trapped, drunken audience has to buy more chicken wings from the club. I am not qualified to write about music. And yet here I am, writing a bio for the new Thermals record, We Disappear. Thank god it’s a great fucking record.
The first time I heard The Thermals was on broken headphones while riding the A Train to Rockaway, Brooklyn, flying mere feet over a frozen Jamaica Bay on a too-bright January morning. I had just fallen in love with a wonderful, terrible woman who was thousands of miles away. I was very fragile, I had no boundaries, and I was the strongest I’d ever been. And that’s how this album feels. There’s a new vulnerability here, but The Thermals’ sound is as strong as it’s ever been.
The Thermals are best at making songs you put on mixtapes named ‘Drunken Sing-alongs When You’re Sad.’ They specialize in late-night, secret conversations about feeling simultaneously romantic and resentful over being raised Catholic. They’re the soundtrack to breaking glass, and an ode to the beauty of brokenness.
They say that the mark of intelligence is the ability to hold two disparate and conflicting truths in the mind at the same time: I am a good person; I am not a good person. We Disappear lives in this delicate, in-between place: at once hard and noisy, while also soft and personal. And seeming contradictions abound on this album. We Disappear is an all-too-real, dark, and intensely personal album – in the past most of singer Hutch Harris’ lyrics have been mostly fictitious tales – about how we try to outrun demise, whether personal or physical. It is an emotional document of how two people can tear each other apart, while simultaneously making you wanna get up and jump around the room.
The deeply dark, yet oddly catchy “Heart Went Cold” plays on the double metaphor of loss of love/life and features the sad realization “I pushed you away”, but is immediately followed by the super poppy “oh-oh oh”. The classic fucking rock anthem “Hey You” is a paranoid fantasy about running from the Grim Reaper as he calls after you, about “being terrified of death,” says Harris, but “a celebration of that feeling as opposed to feeling sad about it.” A surprisingly uplifting eulogy of the death of a relationship, “Thinking Of You” is explained by Harris as “one of the most straight-forward love songs we’ve ever written, a point-blank post-break up song. It’s a song that says exactly what it means. It and a lot of the record are about regret, i.e. still loving someone after a break-up and hanging on to these feelings.”
We Disappear is also about separation in terms of technology, how it can isolate us and impact our relationships, and how humans have embraced it to the point where we’ve already assimilated into it. “The Great Dying” and “Into the Code” examine how we’re so afraid we’re going to be forgotten, or overlooked, that we upload everything about our lives onto the Internet.
Harris explains, “Technology, love and death are the three obsessions of the record. Our privacy used to be so important to us and now everything has changed – we freely offer once private information about relationships and reveal everything about our day-to-day lives. We’re trying to preserve our life digitally so when we’re gone people won’t forget us. We’re using technology to become immortal. You can even set up Facebook and Twitter accounts to continue updating after you die! We Disappear is about how humans fight the inevitable.”
I’m sure you want to know that the record will come out March 25th, 2016 on Saddle Creek, that it features the longest running Thermals line-up of Hutch Harris, Kathy Foster, and Westin Glass, and that it was recorded in Portland, OR at Kung Fu Bakery (The Shins, Tegan and Sara) and in Seattle, WA at The Hall of Justice (Nirvana, Mudhoney), and produced by Chris Walla (formerly of Death Cab For Cutie). But what really matters is that this record GETS IT. It walks that fine line between truth and lies, between death and life, between depression and joy – all the while recognizing that one cannot exist without the other. And it brings us with it. That’s the reason to listen to this record: Because it’s a fucking great album, by an amazing band. Long Live The Thermals.
- The Thermals after the election on Pitchfork
- The Thermals' Hutch Harris joins Marc Maron on his WTF Podcast
- The Thermals perform on Last Call with Carson Daly
- The Thermals make their Comedy Bang! Bang! debut
- The Thermals' 'We Disappear' is reviewed by ABC News
- The Thermals premiere “Thinking of You” on Nerdist
- The Thermals announce new album "We Disappear," share single "Hey You" on Pitchfork
- The Thermals perform for Jam In The Van
- The Thermals catch up with Paste Magazine
- The Thermals star in their video game The Sword By My Side
- The Thermals "Desperate Ground" gets an 8.1 from Paste Magazine
- The Thermals' "Desperate Ground" earns an 8 out of 10 rating on NME
- The Thermals' "Desperate Ground" is "amongst the best work the band has done," says Pop Matters
- The Thermals discuss their influences for "Desperate Ground" on SPIN.com
- The Thermals' "The Sunset" is song of the day in KEXP
- The Thermals release new album "Desperate Ground" on Saddle Creek Records
- The Thermals debut lyric video for new song "Born To Kill" on SPIN.com