Album Review: Ghost Thrower – “Ghost Thrower”

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Ghost Thrower deserves more acknowledgment. Their self-titled really takes the expertise and experience of ex-members from Therefore I Am, Shipwreck a.d. and Bravo Fucking Bravo to a new elevated level and they fare pretty well. Capable is an understatement in describing the band as this brings out their most versatile work to date. Their diverse verses, energetic choruses and heavy charisma ooze in spades. In its abundance, the musical ingenuity of the band really makes them more accomplished than I ever thought they’d be after first hearing the ‘Get Miserable’ EP.

Reminding me a lot about Thursday’s Waiting’ isn’t a bad thing. This record vaguely characterizes a bridging of the gap between the relentless bark of later-era At the Drive-In and the loose frantic-ness of underground contemporaries like Small Brown Bike, Lifetime, Mineral and Sunny Day Real Estate. They’ve shifted so much of their music to surprisingly sunny, upbeat numbers that represent glimmers of hope buried in an otherwise caustic and darker arsenal.

They don’t idle on flaws or sloppiness but what crops up is an intense fit of endearing, energized noise. “Lemons” takes its toll as a calmer branch off the post-hardcore tree and as tame as it is, it’s effective. It adds a layer of shoegaze in a record that does splice in surf punk too. Peppered with a sound of The Weakerthans, The Beach Boys and The Dead Milkmen comes the organically fun-sounding “Still Life With Paranoia”. They don’t force the issue in their musical variance and despite it being non-linear, it works. This reminds of Dad Punchers in its ease and veracity. Embroiled in searing riffs, a la ATDI, and dissonant drums, they fuse enough power to make “When Are You Coming Home?” another top-notcher on the album. The assortment of discord on the record rings sweetly given the change in melodies, evident as it swings back to the Beach Boys-esque “The Unexamined Life “.

The emo-melodic stance of the album revels a bit more given two chapters called ” The King Of Louisiana” and “Young Luck”. This establishes the cavalcade of 90s emo/alternative that adds another dimension to how well-rounded the record truly is. The definition of post-hardcore is riddled like bullets come the closing “Worry Addled Brain” and it’s a formality to wrap things up by not stating how well arranged the structure is…and just how much the album gets to breath. It breathes life into you and breathes brilliantly as a storyteller. Can’t ask for much more.

4/5 Stars


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