Review: Thursday – No Devolución
Much like Deftones’ paradigm-shifting White Pony or Thrice’s Vheissu, post-hardcore group Thursday’s latest, No Devolución, is a grand experience, full of depth and atmospheric subtleties that show off a new side to the group. Indeed, it is their most experimental, far-wandering album to date. The fact that the band wrote the album’s 12 tracks in one week belies the music’s intricacies. Thursday have managed to grow more, musically, than they have over the last 12 years, since they released their debut, 1999’s Waiting. The record shows as much influence from jazz and electronic music as the band’s previous hardcore influences. In fact, there’s as much keyboards on it as there are guitars, and largely there’s more real singing, less screaming.
Thematically, No Devolución—which could mean “no return” or, more literally, “no devolution” in Spanish—is best described as reflective. There is no anger or bitterness here, only perspective. It’s readily apparent that the band has moved past the angsty, emo-inflected screamo it helped pioneer to become more mature. And in this case, that’s a good thing. Take for example, the extended openings of “The Darker Forest,” “Past and Future Ruins,” and “Empty Glass,” which are reminiscent of Pink Floyd—a comparison that is not made lightly.
Here’s to hoping more bands have the guts to undergo such a transformation. CONOR MYHRVOLD