Review: Thank You, Golden Worry

I had heard a bit about Thank You prior to seeing them back in November in the cold out behind the Current Gallery in Baltimore, and it was a really enjoyable sound that I hadn’t heard of before.

It’s a very rhythmic sound that they seemed to hone on their latest EP Golden Worry, a quick little 30 minute jam out from Thrill Jockey. At first when I heard them live, I thought they would be among the slew of Baltimore bands that couldn’t capture the energy in the studio, but this really isn’t the case, or at least not in the 6 tracks showcased here.

The opener “1-2-3 Bad” is somewhat of a roller coaster of an opener, in the best way possible. With two guitars fighting against each other, occasionally almost acting like keyboards, the drums provide for an almost krautrock like experiment.

The second track starts off on a different track, with an almost Arabian sounding keyboard part, very delicate and fragile sounding. Like a breath of air caught before we head back into the intensity that starts up with the vocals.

The vocals are by far the largest surprise on the album. Almost ethereal sounding, they fight a losing battle against the instruments for who can be distinguished more, and with the guitars dancing to the drums, its nearly impossible for the vocals to win. But this isn’t a bad thing. It creates a sort of awesome distanced sound of harmonies.

Another change is felt by the third track “Pathetic Magic. ” It starts out as a combination of the first two. Harsh drums. Explosive guitar. All that jazz. But the way it ends sort of has this quality that reminds me, almost entirely of the early versions of “Taste” by Animal Collective in the sort of spaced out magic.

The second half of the EP starts out with “Continental Divide” which is filled with screeches and sceams  coming from who knows where. In fact, I think I heard a jaw harp somewhere in the mix. It’s almost dance-able, in the weirdest of ways.

“Strange All” goes back to the previous sounds of the band, from earlier releases, building on organs and intense drum lines with intense, rather un-melodic vocals that bring back memories of Terrible Two from 2008.

Album closer “Can’t/Can” points towards yet another new dimension in the bands sound. The guitars bounce between a clean sound and a distortion pedal. They build and crash multiple times, sending us off on a journey before bringing us back down to earth with intense singular beats and tones. As the final note wears out, we already want to buy return tickets, if I may use such bad music journalism cliches.



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