Thursday
War All the Time

THE REVIEW

Premise: I know that a review of this album already exists, but since it doesn't seem exhaustive enough, I would like to express a different point of view.

What a strange situation when you go to buy an album idolized by many, driven by the desire to explore a genre that's unfamiliar to you and especially to find in that album the wonderful emotions that everyone has experienced... Strange situation, I said, because when you listen to those songs, they leave you with nothing but indifference, a constant sense of déjà vu, and a general flatness. Of course, out of eleven tracks, there might be four that strike you, though they are far from being those heart-wrenching blows so poetically described in other reviews. At that point, in total indecision, you start to think that you are the one who's wrong, that an album enjoyed by a vast multitude of people must somehow manage to communicate something to you, even a little, a shred of feeling... And so you listen to it again, ten, twenty times, but still nothing. In the end, you resign to the evidence of a total incompatibility of "characters" between you and the album, and you leave it there, in a corner of your discography, waiting for some kind of epiphany.

So, without mentioning either the artist or the album title, I could close this review of the Thursday album titled "War All The Time" here, but I want to continue, for at least three reasons: one, to make a somewhat decent review; two, to talk at least a little about the album and the little that struck me; three, above all and if possible, to get some external judgment from those who already know the work in question, just to have a bit of a discussion.

An emocore band of notable resonance in the USA, Thursday follows in the footsteps of historical bands of the genre (far more valid in every respect) like Fugazi and Sunny Day Real Estate, aiming in this album for a rock tinged with strongly emotional themes (here linked to 9/11) that still maintains strong radio-friendly cadences. In plain terms, the album aims to be easily listened to while still leaving a mark, with admirable emotional depth (or at least it should aim to do so, see above).

Good guitar phrasing, sometimes sharp and noisy, other times more soothing and sweet, predominantly clean vocal lines but with well-done scream interjections, a pounding rhythm section dominated by a great bass, and a good piano occasionally painting the atmosphere in more detail: these are the ingredients used by the band.

The result? Objectively, only four tracks struck me. The opener, "For The Workforce, Drowning", an electric burst of good value, sharp, direct, fast, and rather varied, is pleasantly striking. The song maintains high and tight levels throughout its duration, with the singer's standout performance who never seems to catch a breath between verses.

"Signals Over The Air" starts quietly, well-paced and excellently structured thanks to intelligent guitar lines, only to explode in the chorus. Good clean-scream alternation, used in moments of greater intensity, and also the overall atmosphere created by the track, twisted and tumultuous at times yet really catchy, is good.

Different from everything else is the poetic and intimate "This Song Brought To You By A Falling Bomb". Built entirely around a beautiful piano arrangement and the voice, often whispered, the track is, in my opinion, the best piece on the album. Truly touching and engaging thanks to its melancholic and resigned lyrics, the piece still finds its winning weapon in the singer's vocal performance. A really interesting track, albeit (unfortunately) very short.

I would conclude with the well-done title track. Opened by a precise bass line gradually supported by guitars arising from nothing, the song grows over time, with a well-crafted and well-conceived chorus, where the arpeggios intertwine (I must say with excellent creativity) in a labyrinthine manner, and the drumming supports everything precisely and quickly. As usual, the vocals are also excellent (but this is a bit of a constant throughout the album).

The rest, at least as far as I'm concerned, remains on a significantly lower level. More confused, less elaborate, and qualitatively lower, the other songs don't reach the intensity of those I've listed. However, this whole review can also be contested based on the fact that I am (and will always remain) a neophyte of the emo genre, which is not at all in my wheelhouse, although I acknowledge excellent bands and equally excellent albums within it. Based on this, every single argument can be refuted, but ultimately, as I mentioned at the beginning, I wrote this review also to hear the comments of those who are more competent in this field than I am. As far as I'm concerned, the good tracks aren't enough to significantly raise the score of an album that barely passes the threshold, but certainly doesn't go beyond. There's much better out there in this same genre, don't stop here.