Hype is an enzyme excreted by a venomous spleen, and another late night here at Citizen Dick headquarters has been spent sifting through music that fits into three interrelated types.  The first section of tracks could fall into the essentially no hype category, consisting of bands nearly non-existent to a majority of people around the globe.  Obscure demos and random email submissions deluge the inbox quite frequently around here and we’re always trying to keep up and listen to anything sent our way.  The second section is the flavor-o-the-month variety bands, with a semi-sweet frosting of blogosphere hype that will either plummet in a month or continue the upward swing toward darlingness.  These are the tougher ones to figure out, as they inevitably will either wilt or thrive based on what the writers do to water them.  The third bag of songs I’ve pounded my ears with tonight is comprised of the mega-hyped outfits; these are the established vets that pump out tunes that spin straw into gold, regardless of stylistic worth.  This is not to say hype-crazy bands aren’t indeed worth all the fuss, however; all musical hype is, at least at the onset, rooted in a basic premise of artistic merit.  Hutch Harris and The Thermals have rolled around in the hype hay for a long while now, and the eagerly anticipated release of their first (and maybe last) Kill Rock Stars release, Now We Can See, is a noisy collection of pop and punkish anthems that do a whole lot to validate the hype machine’s buzz.  This is a band straddling a narrow fjord, teetering between a one-way ticket to mainstream stardom and a comforting home here in the indie world.  Luckily for us, Now We Can See is a resounding sonic success, fully throttled and lyrically astute from track one to eleven.

The Thermals waste zero time getting the party started in frenetic and edgy energy with “When I Died,” a balls out opener that signifies a major motif for the rest of the album; the hooks are simply as big as caves.  Now We Can See, stylistically, is a bit of a departure from the rougher arrangement of previous work, and this new, fully produced and “hi-fi” sound allows the tunefulness to ring out loud and clear.  The distortion and punk undertones are still heavily present, however.  The track slams with the warbly indifference of Harris’ vocal delivery and the chorus, like most tracks on the album, won’t leave your head long after you hit the stop button.  A major boon to the effort is the underlying energy the band creates throughout.  Tracks like “We Were Sick” and “I Let it Go” are both singalong accessible and urgent at the same time.  They’re ready to kick you in the face with the sound, but force you to smile before the boot hits you.  We aren’t supposed to guess here, but just nod our heads and stomp the ground. Loud drums, distorted power chords, and crisp and edgy vocals make this like a trip to the power-pop candy store.

The tandem nature of vocal delivery and lyrically steered intelligence are uniquely defining elements of Now We Can See.  As an English literature major, I could probably launch into a lengthy discussion about the meritorious ambition this album has lyrically.  I’ll spare you this but instead focus on the duality present on the album.  For the cursory listeners, this album will shovel an initial visage of frivolity and punk I don’t give a fuck-ness to the forefront.  Indeed, however, it’s the depth of lyrical writing that clearly tells us the band does give a shit and the sloppy and energetic package is merely a disguise for some sharp stuff.  ”Liquid in, Liquid Out,” while being an insanely catchy pop/punk anthem, is also metaphorically driven, with “Liquid in, liquid out, what my life is all about” hitting figurative notions of life’s cyclical nature through images of pissing and drinking. Likewise, earlier tracks on the album make heavy reference to oceans, water, and distant lands.  There is an undercurrent of yearning in the previously mentioned opener, “When I Died.”  I was sick of the sun and the sky and the trees. . . I was sick with horror when my curtain fell. Literally, the song is about the speaker dying while swimming and looking backwards at the event with reflective horror.  The figurative nature of the lyrics is what sustain this entire record.  Life moves in cycles and things change.  Harris and bandmates are abundantly aware of their artistic craft, and no matter how much hype or pop undertones lace the record, this cannot be ignored.  Think of recent Rivers Cuomo hits but take away the inane lyricism and replace it with endearing intelligence.

The major haymakers are present on the first half of the record, while the second half delves more into the sentimental side and signifies a distinct departure from the more raucous nature of the Sub Pop years. Hooks are balanced and still there, but some of the latter tracks are poised for MTV airplay and would fit into any mainstream power pop catalog.  This isn’t necessarily a knock on the album, however, because the lofty and intelligent nature of the lyricism and edgy delivery separates it enough to make it span both arenas well. “At the Bottom of the Sea” slows it down a notch or two, but doesn’t sacrifice the underlying energy of the first few tracks. This album is impeccably produced and crisp, which The Thermals would no doubt state as the goal here. Simple but loud chord progressions and well belted vocals splash the entire second half, and even the most snobby indie rockers will secretly tap their toes and sing the songs after it’s all said and done. This is, in my opinion, a finely crafted album, and while it’s a shade more polished than previous efforts, a new and emerging pop sound is still infused with the band’s early charm.

As mentioned earlier, the release of this album tomorrow (April 7) is no secret.  The EP has been well discussed in the blogosphere, and the titular track has been pounded into the ether like an Obama ad.  Hype machines are a fickle animal and while Now We Can See teeters on the edge of mainstream, everyone should get behind the record based on their own unique reasons.  For me, it’s my understanding that the greatest of all rock songs don’t ignore the hook, and smart lyricism is always the great mediator in a sea of similar sounds.  Get out there and pick this up tomorrow.  I defy you to get these tracks unstuck from your craw.  It ain’t gonna happen.

The Thermals – Now We Can See

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