Search Results for "Throw"

Album Review: Throw – “I’m Very Upset”

I make no secret out of the punk I like. Over time, I’ve stripped off layers and layers of affectation, only to fully embrace my own inner-orgcore. I don’t pretend to like Black Flag, I don’t get misty-eyed over the Clash. For me, punk rock is at its finest when it’s melodic, vulnerable, and DIY. It’s just the way I’m wired, poserdom be damned. But even in this corner we’ve collectively started calling melodic punk—my corner—there’s still the same amount of repetition and triteness you’d find anywhere else. That’s how genres work, there’s a narrow field of tropes to play with and some stick to the tried and true and some steal apples from neighboring farms. Portland’s Throw is one of the latter with an armful of apples, and trite they are not. They play with stunning openness, humor, and heart—and they do so very, very fast.

I’m Very Upset is their latest album, a follow up to last year’s Real, Real Nice (which showed up on my best of the year list), and on it they continue refining their unique brand of punk rock: combining emo, indie, and the athletic strumming of Epi-Fat skate punk into a scrappy and inherently youthful vision that feels a lot more like what the genre should sound like in 2018 than anything else I’ve heard. Which is to say: it is both true to the genre’s original vision and true to what it has become in the present day.

“Atlas; Bummed” opens the album with trebly crunching guitars and whiplash speed, taking a breather for a bridge, but otherwise, spending its minute and forty-five seconds at full sprint. The  crux of Throw is presented here in all its glory, through double-time strumming and bummed out lyrics. The first sung line of I’m Very Upset is fitting: “Feels like the weight of the world is crashing down all around me.” It’s this combination of lyrical openess and garage-borne speed that makes me liken them to a gag reflex—quick, involuntary, and natural—a response to stimuli that manifests in an instant. Throw isn’t just writing songs, they’re throwing them up.

I’m Very Upset is filled with a lot of great songwriting though, and it’s not all emotional histrionics. “Drinking Wine With My Dad” is a great song that paints a portrait of a moment in a charmingly direct way. It’s this kind of snapshot songwriting that aligns Throw with the Menzingers and Restorations of the punk world, even if their actual approach to the music is a lot more classically punk. “Trees” supports the argument that Throw has their hands in a lot of old school punk as well. If you know the words to Descendent’s “All,” you can probably figure out “Trees” as well.

The second half of the record contains its best hooks. The 50s style ‘ooos’ of “Steamroller” juxtapose against heavy power chord riffs, resulting in a dynamic, venomous listen. “Pass the Prozac” has the best opening line on the record, coupled with galloping chords. “Well I’ve heard this one before, you really fucked up, apologize,” leads the charge into one of Throw’s most fully realized song—complete with rockin’ solo. But it’s “Spaceship,” that might just be the best on the album. It sounds like Suffer-era Bad Religion (name-checked in the lyrics, of course) but it’s also funny, pointed, and catchy as all hell. When I’m Very Upset finishes, I’m left with one line repeating in my head, over and over again, the chorus to end all choruses: “Elon Musk privatized my spaceship!”

I’m Very Upset is an evolution as much as it is an antidote. It encompasses the post-Against Me! era of punk rock in its entirety. Within this collection of songs it chronicles the rise of Red Scare, the combined influence of Hot Water Music, the Flatliners, the Menzingers, and Nothington—all the while sounding nothing like any of them. They’ve taken the quirky, cracked-iPhone, late-texting, memeing nervous energy of emo-pop darlings Modern Baseball without dipping more than a toe in their waters. Throw is an amalgam of all the ideas of what punk can be now, while taking notes from the genres foundation. I’m Very Upset is like a stretched rubber band, and here, we’re hearing it snap back to form—settling somewhere between loud-and-fast and sad-as-fuck.



DS Exclusive Stream/Interview: Sad, fast, and loud—Throw brings speed back to melodic punk

The fact of the matter is, whether you’ve heard of them or not, Throw is making exciting music.

Last year, these guys threw a wrench into what could’ve been a recitation of big-names’ sophomore albums and ended up claiming a spot in my year-end best-of list. They came out of nowhere, as most great bands do, with an interesting and developed sound, played very fast. This is the crux of Throw—the self-deprecating vulnerability of bands like Joyce Manor meeting the spastic speed of old school punk. It’s a weirdo amalgam of hardcore, indie, skate, and emo that feels both scrappy and singable—but also, inherently young. 

Throw’s new record, I’m Very Upset, is another set of songs played amphetamine fast with open throats and hearts-on-sleeve. We’re debuting the full stream right here (and it’s their absolute best work to date)—but while we’re at it, we decided to sit down and talk to the Portland punx about the band, the new album, and themselves. Check out the stream and interview below!

Throw (melodic punk) stream “Yesterday’s Pizza EP”

Portland melodic punks Throw are now streaming their, “Yesterday’s Pizza EP.”

This EP follows up the “Happy Hangovers EP” which was released in June of this year.

Aside from their release titles describing my life to a very pointed T, Throw seems to have a knack for creating a recipe for a perfect ear worm.

Check out the new EP below!

Album Review: Throw – “Real, Real Nice”

I saw Portland’s Throw open for Alone in Dead Bars (the solo version of Dead Bars). I’d heard a couple songs off their bandcamp and had a couple people say Real, Real Nice was a pretty damn good record. So, I went, I watched, I nodded along, and spent hard-earned cash on a cassette. And guess what? Yeah, Real, Real Nice was, well, basically what the title says.

Throw is a melodic punk band in the vein of Jeff Rosenstock, PUP, and a little Joyce Manor. They’re kind of hard to pin down, but if you had to apply a subgenre to them, you could probably be safe with indie punk. There’s a little emo in there too, but for the most part the songs are fast singalongs with a bit of a lo-fi aesthetic. So, put Pavement, Mom Jeans, and your favorite emotionally volatile punk singer and you might have something close to Throw. Opener “Corner Store” is filled with throat-shredding melodies and emo revival fretwork, the drums sound like firecrackers and it all coalesces into controlled demolition. Throw has energy to spare, with enough texture to their sound to hearken back to all of the bands who used punk as a springboard to greater creativity. The big choruses, driving rhythm, and instrumental sections of “The Floor” are a great example of Throw’s songcraft, continually building and releasing tension.

The songs are funny, and don’t last too long. That’s about the level of criticism you get included with a Big Mac, but it still stands. Writing songs is an art, but it takes an awareness of both what you want to do and how your audience will respond. Throw puts together quick songs with a lot of energy and some ear catching lines. My favorite track on Real, Real Nice is the finale, “Brunch Burrito,” which opens with the tattooable couplet: “I want you to cum on my face, I’ve had the worst fucking day.” Strong evidence for Throw knowing how to capture an audience’s attention.

Also, how refreshing to see a full fledged album that is just eight good songs. It surely could’ve been pushed a little further, but with this, and the aforementioned Dead Bars releasing shorter, succinct albums, I feel like this could be one of the best trends in DIY punk in years. Nothing wrong with keeping it short and sweet, and Real, Real Nice feels all the more cozy for it.

Throw is a cool band and if you like cool bands you haven’t heard of before, well, shit– you might like these guys. Twenty-something sad sack angst, riffs, twinkles, and big, meaty choruses, all delivered in an album that doesn’t overstay it’s welcome. Real, Real Nice is the sort of album you hope comes out of your local scene– creative, honest, and catchy.


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