Teenager

Editorial Review

You really would expect that the vocals of Conor Deasy would have mellowed in the four years since the Dublin five cracked open their debut. Or at least his tones might have gotten a shade less squeaky in the last three years since 'Let's Bottle Bohemia'. Nope, he's still somewhere between whiney plead, strangled cat, and your worst enemy maliciously running their nails down a blackboard. Unique in other words, and it seems that they are going to stay that way too. So it wasn't just that he was wearing his underpants too tight then.

The other criticism that detractors had before was that their folky pop was simply too derivative. Too many Beach Boys echoes, a plethora of Byrds, a glob of Travis, and even a hint of Joy Division for goodness sake. Well, if they have been listening to all those bands in their extended break before this third album, then it doesn't show here. Now there's bags more individuality, added passion, and even if the songs won't inspire Coldplay bedwetting issues, they are a damn sight brighter to behold.

Nobody can accuse them of not knowing a tune either. They are littered around the whole album almost carelessly. "The Midnight Choir" bangs in with a pop-solid beat and nagging mandolin plucked with a deep hook. Over-wrought optimism can get a bad press (and sound naff too) yet the positivity of "This Year" is pure and simple. Lyrical sticklers might argue that some songs are fluffed up with too many repeated lines, though at least these guys don't fall into too many predictable mouthtraps.

It's also the sort of CD that you should play a few times, put away, then pick up again a few days later. It gets better that way. There's a warmth to most of the tracks that glows like Kryptonite whilst the jewel case sports more dust. Deasy croaks again on "Nothing Changes 'Round Here" (more than usual that is) but it's hard not to feel satisfied by the results, even if it is an imperfect ditty. There's rarely any doubt as to their origins, and "Restaurant" is nicely Gaelic. A strong tune and an impossible to dislike series of happy go lightly riffs.

Another one of the traits of tracks by The Thrills is that you always think that the songs are going to turn into real belters, without them ever quite making it. They really, really, very nearly do, but you are often left with a feeling of near satisfaction, though with your tummy still growling. Get over it, and enjoy them for what they are.

They really can crank out the tunes when they want to. "Long Forgotten Song" has the bold beat of the Waterboys classic "Whole Of The Moon", whilst "No More Empty Words" is the epitome of jingly-jangly power pop. The title track is a pretty retrospective on reliving one's youth, though their can no excuse for singing "la la la la" a couple of times (what were they thinking). "Should've Known Better" is similarly subdued and nicely thoughtful without being overly melancholic. By the last couple of tracks (needlessly bundled as one, and with yet more "la la la's" to boot) the nagging inadequacies tend to poke out as much as the lustrous melodies.

There had been the big hype in 2003 that The Thrills were set to be the next big thing. Now it's a pretty safe bet that they never will be, and so they can get on with making music in their own way. 'Teenager' is a welcome deviation from the mindless shoegazing of more pretentious bands, and although it is pretty light and fluffy, it manages that accord without even hinting at the banality of others. It's enjoyable, yet disposable. Pop therefore – which is something to be proud of.

Neil Chase
Music Editor
August 2007

Additional Info

• Recording: STEREO
• Format: Single Case

Tracklisting