The Thrills, So Much For The City
Reviewed by f*v
Think of what may have happened if Brian Wilson's cousin were Irish, not a formula-chained gas-pumper turned lucky lead singer turned oldies jukebox. You get a band who, according to Uncut Magazine, has captured the heart of Morrissey (he’s become a big fan and invited them to open some shows last year) and Bono, who went backstage after seeing them open for Morrissey and gushed.
The Thrills have pieced together album of perfect California pop, but with enough little quirks and edges to keep it from being too polished and formulaic. A sometimes imperfect set of vocals, banjos and the occasional yelp of guitars or weird space-out trick makes just a bit more interesting the very very pretty mix of jangly guitars, organ, piano, sleighbells, and harmonies that exceed expectations. Add to that the fact that these guys write really really good songs & hooks that don't feel forced or cliched. I've been digging on this album for a few weeks now and I fall more in love with it every time I listen.
The Thrills kick off with “Santa Cruz,” a cut that at the outset seems a melancholy moaner, plodding piano, bleating banjo…the sleighbells shake a bit, harmonies drench, the mood picks up, and by the time the Neil Young styled harmonica goes solo, no one feels bad anymore even though the lyrics make no indication of a change in plot. Someone screams “END IT!” and the epitome of perfect pop, “Big Sur,” begins. In High Fidelity, Rob explains that in making the perfect mix tape, the second song has to “take it up a notch,” and the Thrills do. “Don’t Steal Our Sun” showcases superb harmonies against a steel guitar, borrowing a page from the Byrds. “Slow Down,” Conor Deasy urges on “Deck Chairs and Cigarettes,” and everything does. “Let’s go to San Diego, where all the crazy kids go,” he beckons, and his smooth, believable vocals nearly convince you to do just that. Instead, The Thrills head to “One Horse Town” next, a song that switches between a sort of jangly, xylophone-enhanced Big Star tribute and a more simplistic country vibe that complains “hanging around in a one horse town does nothing for your state of mind.” “Old Friends, New Lovers” continues the dreariness, with Deasy breathlessly groaning, “such a shame when old friends fall out.” Things cheer up on the next song, “Say It Ain’t So,” a rollicking “Am I Losing You?” song that brings back the steel guitar and attempts to channel the ghost of Gram Parsons (more his solo sound than with the Byrds). “Hollywood Kids,” a clear contrast, presents a sleepy, dirge feel. The now-and-then distorted, fuzzy guitars and streaming organs make this track the perfect companion piece to Starflyer59’s Old album (don’t worry, the UK release for this album was in May, so no ripping off occurred). “So let’s party, Dustin Hoffman,” could possibly be one of my favorite lines ever, given this context and delivery. The band keeps it mellow with “Just Travelin’ Through,” a simple folky song that floats along, advising a heartbreaker of a friend. The charming, glittery “Your Love Is Like Las Vegas” decries a “cigarette Barbie” and includes a humorous Beatles reference: “you’re like Pete Best, bitter after all these years, just let it go.” The album closes with “’Til the Tide Creeps In,” a song with an opening reminiscent of Solomon Burke’s cover of a Brian Wilson song, “Soul Searchin’,” in that there’s a great heavy organ vibe. Harmonica and piano fill out the last lush song of the record (well, before the unannounced bonus track).
The Thrills avoid a major trap, failing to sound imitative while wearing their heroes’ sounds on their musical sleeve. A few of the songs on So Much For The City carry strong single potential, yet The Thrills never once lose their sense of presenting a collection of songs to be enjoyed not as a smattering of potential singles, but as an entire album.