Rolling Stones producer Chris Kimsey is producing on British band Thirsty’s new release, “Albatross.” The result: experience meets a 70s rock vibe.
Thirsty, a British band, has given a 70s flashback to a modern release. The vocals of Guy Bailey meet Irina D to give a layered, unique sound. And if you’re wondering whether you’ve heard these drums before? That’s because you have: Simon Hansen of Squeeze is the backbeat of this 70s jam session.
Opener and titular track “Albatross” has a soothing, aged voice repeating “It’s all right,” with the scratch of a breathy, aged friend. The backing track feels fresh and like a great classic guitar band from the 70s. There’s a bluesy bass beat that is an enticing beginning to the album (check it out here).
“Chaos” is a slow 70s jam that mixes and plays an interwoven melody to a sad vibe. The melody is danced around to great effect by the crooning, aged voice who has been around the block. You feel instantly as if he has seen things and had crazy adventures; perhaps he has. It’s definitely a compelling slow jam. A companion piece to this song is later, “Va banque,” a bluesy, melancholy piece. Like in “Chaos,” during “Va banque,” you feel the singer’s sadness and angst. While the opening guitar riff sounds very close to “Chaos,” perhaps it is just because of a solidarity betwixt the songs of the album; much like an orchestrated runway show where each piece is part of the whole, you feel what this band loves to do right away regardless of the track. It’s no wonder that the album itself takes its name from “albatross,” meaning a burden. We feel like there is a weight to the band’s ultimate feel of these pieces, especially when listened to as a whole.
“Orlando” is overwhelmingly a cry of despair. There’s a wail of the guitar, the background singer... We feel the pain and anxiety of this surging melody. It feels like Bob Dylan telling us a story but paired with a clear Rolling Stones-influenced melody.
It’s therefore relieving to get the next song, the sing-songy “Say it ain’t so Joe”. The syncopation is charming and clears the palate after all that harshness of “Orlando.”
“Black Hole” feels like it would fit in a honky-tonk stomp. Did you watch the film “Everybody Wants Some”? Was this hidden on the track of that 80s throwback? The guitar solo on this track is a fun way to experience a guy who knows what he’s doing enjoying it.
“Beat Of Her Heart” is akin to “Say it ain’t so Joe.” It feels like a piece of Squeeze got put in here, even though it is just the drummer! If you don’t think of “Tempted,” upon listening to it, that makes one of us.
“Shore Of Light” is a lullaby on the album. The guitar picking is clean, and the crooning beg of “shore of light, you’re under my skin,” feels like an unrequited love we’re experiencing second hand.
“Parliament of Fools” comes out of nowhere with its choral accompaniment immediately. It feels as if it came from a different decade entirely, as if it’s a lost track of the 1990s, even though the guitar work fits in the mold of what’s been going on for the rest of the album.
“Cosmic Aphrodite” has a strangely sweet, layered, complex croon. It feels like French new wave cinema. Are we watching a black and white film with two faces looking opposite ways? The strange accent of Irina D. that’s been layered somewhat haphazardly dancing around the lead Guy Bailey’s vocals give it an eerie ethereal quality.
“Patriotic little trash” is the closer of the album, and feels like this band’s version of “Freebird.” The wail and soar of Irina over Guy’s croon mixed with a 70s electric guitar and a slow, steady drum beat really feels like it captures what this band is about: multi-layered, weighty, and complex.