It’s been a strange ride for Portland, Oregon’s The Thermals. The lineup has gone through numerous changes throughout the years, with drummers and other members coming and going like clockwork, but keeping that songwriting duo Kathy Foster and Hutch Harris at the core. Their sound has been described by various rock journalists as “post-pop-punk”, “neo-grunge”, or “post-power-pop”. Needless to say, as the twenty-first century has unfolded, it’s become harder and harder to put a label on these guys.
The Thermal’s last record, 2009’s “Now We Can See”, proved that Foster and Harris were more than capable in producing a melodic, energetic, and exciting indie record. It was an impressive effort by a band that could easily have been lost by the wayside. Now, they will release their fifth effort, “Personal Life”, an album that compliments their previous one, and sticks with that down-to-earth, not over-produced garage punk sound.
While “Now We Can See” was predominantly wrought with themes of death, The Thermals show their softer side here, staying away from over-reaching philosophical subjects, and sticking to a perfect dose of love and romance. In the past, The Thermals relied on aggressive strumming and angry tirades, but now they focus more on the structure of the songs themselves in order to get their message across.
“You Changed My Life” is a perfect example of this newfound ode to love, and while many bands would crumble with such a mushy subject, the Thermals wear it quite well. With all it’s charm and soft progression, the opener, “I’m Gonna Change Your Life” shows Hutch Harris persuading for love, guaranteeing that he will “change your life” and “steal your soul”. What else does a guy have to say? The song acts a good set up for the fun first single off the album, “I Don’t Believe You”, which comes complete with all the power-chord-chugging guitar riffs and “ooh ooh ooh’s” you could want in an indie/punk song. Then there is the one-two knockout punch of “Power Lies” and “Only For You”, two songs built around cute little riffs and running bass-lines. These songs, as well as many others on the album, are sure to win your heart over for good.
The Thermals certainly don’t try to hide their influences in their music. Their sound is such that you can almost believe that this album was released in the mid-nineties. It’s hard to ignore the fact that Harris’ vocal delivery sounds very reminiscent of Black Francis of the Pixies or that of Ted Leo and the Pharmacists. It’s pop punk with a different approach: it isn’t immediately accessible, and yet The Thermals build upon the best qualities of their influences to make an extremely catchy album. One has to appreciate the seemingly effortless knack the Thermals have for creating one solid song after another.
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