Review of the album “The Thing” by Silent Radio
Mixing elements of garage rock and blues, The Thing is making a triumphant return with their latest album, fittingly titled ‘The Thing’. This New York-based band, comprising Jack Bradley, Zane Accord, Michael Carter, and Lucas Ebeling, continues to keep their momentum going with a steady stream of albums that show no signs of slowing down.
Drawing inspiration from a variety of sources, The Thing masterfully blends these influences to create a sound that is both unique and nostalgic. Jack Bradley explains their approach to music-making, stating, “We’ve kind of adapted the ethos of: with restriction comes creativity – old becomes new. And, throughout every part of the process that remains.”
The opening track, ‘Above Snakes’, kicks things off with Bonham-esque drumming that sets the tone for the rest of the album. The vocals come in with a confident swagger, while the guitars showcase their technical prowess with sharp, slicing riffs that cut through the music. All of this is anchored by the solid bassline that ties everything together.
‘Dave’s Tv’ sees the drums and guitar engaging in a playful back-and-forth, creating a dynamic energy that captures the listener’s attention. The vocals exude a sense of nonchalance that adds to the song’s charm.
‘Family Business’ injects a new wave twist into the mix with progressive guitars and a creeping bassline. The vocals channel a David Byrne-like aesthetic, while the drums provide a lively backdrop that propels the song forward.
The haunting opening of ‘Can You Help Me?’ sets a contemplative mood, with themes of disillusionment seeping through the lyrics. The backing vocals add an ethereal quality to the chorus, creating a captivating echo effect that enhances the song’s emotional depth.
‘Mr Useless’ starts off slowly before building up to a powerful chorus that injects a surge of energy into the track. The infectious chanting adds a communal feel that draws the listener in.
‘The Waltz’ showcases a softer, more introspective side of the band, with the guitars serenading the listener and the vocals imbued with raw emotion. The song builds to a crescendo of aggression, with crashing drums and howling vocals.
‘Alive (The Sword)’ features Lou Reed-inspired vocals that glide effortlessly over a backdrop of reverberated guitars. The rhythm section provides a solid foundation for the song, allowing the vocals and guitars to take center stage.
Starting off reminiscent of Jeff Buckley’s ‘Hallelujah’, ‘Holy Water’ quickly picks up the pace with driving guitars and buoyant vocals. The addition of cowbell lends a playful element to the song, dividing it into distinct sections.
‘Something to Say’ draws comparisons to Kings of Leon’s early work, with pulsating drums and cutting guitars driving the song forward. The vocals weave a compelling narrative, with backing vocals adding depth to the storytelling.
‘Insane’ showcases the band’s knack for crafting repetitive yet catchy hooks that stay with the listener long after the song has ended. The vocals convey a sense of urgency and frustration that resonates with the song’s theme.
The theatrical ‘Malört’ is a whirlwind of swirling guitars and ominous drums that create a sense of unease and unpredictability. The hallucinogenic vocals guide the listener through a sonic journey that feels both familiar and alien.
Bringing the album full circle, ‘Irresistible’ closes out the album with a display of classic rock bravado. The infectious riff serves as the backbone of the song, with the bass providing a steady heartbeat that drives the music forward.
With ‘The Thing’, The Thing continues to push boundaries and defy genre conventions, delivering an album that is both reverent of the past and forward-thinking. By infusing elements of jazz into their rock sound, the band creates a sonic landscape that feels both timeless and fresh. Paying homage to their influences while forging their own path, The Thing proves that good music knows no boundaries of time or genre.