Geoff Rickly of Thursday and former Lostprophets members have a new band called No Devotion. A 12” will be released in the US on July 22nd via Rickly’s Collect Records. Stream a first song called “Stay” below after the jump.
United Nations (ft. members of Thursday, Pianos Become The Teeth) will be releasing The Next Four Years on July 15th via Temporary Residence Ltd. Check out the artwork and track listing for the release below after the jump.
Geoff Rickly ended up spending $2,000 for two tickets to see The xx play a very, very special art show at The Armory in New York City. Rickly wrote about the event from a very interesting perspective that can be read in full here or partially below after the jump.
How We Get Rid Of The Plague That Is StubHub
by Steve Ciccarelli, edited by Erik van Rheenen
Two decades after their untimely demise, Nirvana seems to be everywhere lately.
Not that they ever really went away, if you’re judging by radio play, but with the anniversary of Kurt Cobain’s suicide and their recent Rock and Roll Hall of Fame induction/quasi-reunion at Brooklyn’s favorite music bar, they’re again at the forefront of fans minds and lips. Released as a special item on Record Store Day, Robotic Empire’s In Utero, In Tribute, In Entirety, takes the band’s swan song and reimagines it through the lens of some of underground music’s top names. The resulting compilation is a varied, confusing and occasionally shaky take on one of the most important albums ever.
In its original form, “Serve the Servants” is the prologue for the next eleven songs, with a ramshackle beginning full of out-of-tune noise that comes into focus with Cobain’s mission statement: “Teenage angst has paid off well/now I’m bored and old.” Through Pygmy Lush, the angst and frustration are replaced by a mid-period Yo La Tengo-influenced drifter; a song slowly floating along on a wave of intricately picked guitars and ambience. The lyrics are given a meditative new life, presented regretfully instead of spitefully. At the end, a string section washes through, and we’re in the soundtrack for an independent film trailer. It’s a beautiful interpretation.
On the other side of the coin is the usually lush Circa Survive taking “Scentless Apprentice” and stomping their way through it. The problem is the song’s precision: Circa is a group of masterful musicians and here they’re just too good, coming across machinelike instead of imbuing the song with the naturally sloppy feeling that made it so perfect in the first place. Anthony Green’s distinctive voice lends itself to 90s Seattle quite well, especially the guttural howls in the post-chorus transition. These Arms Are Snakes take on “Heart-Shaped Box” and introduce Reznor-influenced soundscapes to make an already haunting song downright bleak. If TAAS ever were to make another record, it should sound as darkly industrial as their cut on this tribute, it’s a sound that’s original and interesting.
Geoff Rickly of Thursday will be working with the other members of Lostprophets for their new band, but not as their new singer. Rickly’s label, Collect Records, will be handling the new band’s first release. Check out an interview and transcription of the news below after the jump.
Eleven years ago, The New York Times (yes) published an article called The Summer Of Screamo that brought attention many beloved emo and post-hardcore bands while trying to predict their future. Noisey rehashed the article all these years later. Read the full piece here and a snippet below after the jump.
Thursday’s War All The Time will celebrate its 10-year anniversary this upcoming weekend, and PropertyOfZack is launching our next installment of the Decade feature in honor of the record. We have commentary on the album from POZ team members Zac Lomas, Adrienne Ray Fisher, and Zack Zarrillo. Enjoy the read and reblog to let us know your thoughts on War All The Time ten years later!
Legacy of War All The Time
While the idea of “screamo” bears a different definition for those between music generations, when Thursday broke out into the scene with Full Collapse, the band was immediately pegged with the term. Their music was emotional. It screamed. What other genre name could so neatly encapsulate two of their most obvious characteristics? The ball truly got rolling for Thursday with Full Collapse, but it was War All the Time where the band began to showcase the cracks in the concrete “screamo” definition by which they, for better or worse, had come to be known. Thursday had always been introspective, but fierce and fiery; War All the Time boasted one of the first Thursday presentations that proved that the band was capable of writing a sonically toned-down song that was just as potent and staggering as anything that had already been belted, screamed, and sweated out in a New Brunswick basement.
Many blamed the music “softening” to their new home at major label Island Def Jam, but in reality, WATT boasts a type of cultural significance that Full Collapse just didn’t quite nail. For that, it’s become an extremely potent snapshot of the unrest felt by American youth post-9/11. The record specifically delineated a lot of maligned social and political issues, especially pertinent at the time but still bearing meaning throughout the ages. From life’s lost meaning via corporate greed in “For the Workforce, Drowning” to the exploitation of sexuality in “Signals Over the Air,” to the seemingly pointed 9/11 references in both “This Song Brought to You by a Falling Bomb” and the title track, the scene set by this record is done brilliantly and beautifully, but it’s a dark, desperate, and despondent scene that we see. Yet, interestingly enough, the band denies that the record was written with a strict political agenda - and if one reads well enough into the lyrics, they’ll find they can easily be molded to interpret more internal, personal situations as well as larger, societal ones.
For that, WATT has a firm footing in history as a detailed depiction of what it meant to experience societal torment at that time, but it also remains important in the scene today, transcending time and new generations of music fans by being an amazingly well-written record both musically and lyrically. – Adrienne Ray Fisher (@adriennerayfish)
Most important song on the album
War All The Time fits snugly into my list of “perfect” albums, i.e. albums whose entire tracklisting flows together so well that it would be an injustice not to listen to it in full. So it’s an arduous task to choose justone track as the most important, but upon multiple listens, “War All The Time,” the album’s title track, stands out as the obvious choice. Borrowing its name from a lesser-known collection of Charles Bukowski’s poetry, which avows that love is, in fact, war all the time, the song espouses the same pain so often present in the California native’s poetry. Touching on a string of suicides that circulated through the New Jersey region during singer Geoff Rickly’s childhood, the song is emotionally gripping, with subtle references to the “lullaby of carbon monoxide” making for a most macabre sonic atmosphere. In fact, I would argue that “War All The Time” is Rickly’s zenith as a lyricist, providing the most resonantly poetic lyrics of the band’s career. – Zac Lomas (@infidelegate)
How War All The Time holds up in 2013
There are a few select albums in every genre that open the door to the magic that lies within it. Whether you want to call Thursday a post-hardcore, screamo, or whatever type of band, War All The Time is one of those albums that if found in 2003, 2007, 2012, and (presumably) in 2020, that will always shed light on something great. You can hear the sounds of 2003 moving throughout War All The Time, but a great album is one that is not limited to an era, and Thursday managed that with this release more than Full Collapse and perhaps the rest of their catalog as well.
Throughout his time as frontman of celebrated post-hardcore unit Thursday and into his solo career, Geoff Rickly has kept one constant in his musical styling – innovation. Rickly’s second solo mixtape, Darker Matter,is no exception to the rule, finding the Brooklyn resident at his most experimental. Prefacing the EP with an honest letter about the impetus behind the record, Rickly explains that, “this has been the most unbelievably difficult year of my life” and “This is my record of that time. It is difficult.”
Darker Matter begins with “Crushed Penny,” featuring an oddly mechanical electronic beat superimposed over an intricate acoustic riff. Periodically, a bright electric guitar weaves itself into the song’s elaborate structure, but the song’s most notable aspect is Rickly’s voice. As with his work in Thursday, Rickly has an innate ability to capture sorrow and pain, and then transform it into beauty. When Rickly sings of the crushed penny metaphor – “No one wants to pick you up” – he speaks to listeners’ own feelings of discontent and rejection in a way that is both accessible and chilling.
“Somewhere, Listening to Chet Baker Without Me…“ combines dissonant piano and Rickly’s newly adopted synth work that, while different, perfectly complements the song’s somber tone. Following in its footsteps is “HE’S EVIL!!!” with its layered acoustic guitars and Rickly’s ever-haunting voice, bathed in echoes and catharsis. This track particularly shines thanks to the various string instruments that interject in the latter half, as well as accompanying vocals from a slew of (one can only assume) Rickly’s friends.