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Threads

4.9 out of 5 stars 57 customer reviews

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Audio CD, March 6, 2012
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Editorial Reviews

Trans- Records, the new label launched by Death Cab for Cutie guitarist/producer Chris Walla, proudly debuts with the release of the sophomore full-length album Threads from Minneapolis based Now, Now on March 6th 2012. Produced by Howard Redekopp (Tegan and Sara, An Horse, New Pornographers), Threads is a sprawling sonic endeavor of vulnerable vocals giving way to oceans of sound retaining definition via deftly layered guitar parts augmented by lingering synths alternating between background and center stage.
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Product Details

  • Audio CD (March 6, 2012)
  • Number of Discs: 1
  • Label: Trans- Records
  • ASIN: B006WAF3RC
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (57 customer reviews)
  • Amazon Best Sellers Rank: #78,165 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

Format: MP3 Music Verified Purchase
I buy a lot of music, and this is the first review I've ever written, so forgive me if my format is unusual. I had to write a review because I love this album! Seriously, I'd like to court this album for about a year before asking for her father's blessing. He would give it, gladly. I would ask for her hand over a fancy dinner, she would be appropriately surprised and gladly agree. It would be a quiet, beautiful ceremony, just family. Our honeymoon would be at Disneyland. We would have 2 children, a boy and a girl. He would become an astronaut, she the president. They would bear us many beautiful grandchildren. We would be faithful to each other our whole lives (old fashioned, I know). We would die of old age, within 10 days of each other. The funeral would be lovely and our ashes scattered over the Pacific. Lovely, beautiful, spectacular, just like this album. Buy it!
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I buy a lot of music but have never written a review, when I saw that this only had one review I was was shocked. Since buying Threads, I have listened to it over 50 times and it gets better with each listen. For me, that's the true test of good music. It flows very well as a full album and I found that is the best way to listen to it. But for you kids out there that need a standout hit, check out Wolf, Dead Oaks, Prehistoric, and Thread. However, my favorite songs on the album are But I Do and School Friends. This album is so good from start to finish that it is by far my favorite album of 2012 (at this point it's not even close). Do yourself a huge favor, buy this album.
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If Paramore began listening to Mew (e.g. "And the Glass Handed Kites"), and decided to take a big step toward making real ART, it might sound something like this. The songs themselves are great, but what really sets it apart is the overal SOUND of the album. Rather than sticking to a pile of guitars and such, the mix is filled with enough interesting sounds (not the least of which is the singer's phenomenal voice) to keep you guessing, and to make you forget that, at heart, these are pretty much pop songs. The mix shows not only a command of subtlety, but of RESTRAINT, as most often the tried-and-true wall of generic guitar tones is eschewed in favor of good old, forgotten SPACE. One guitar at a time is not uncommon (as is no guitar at all), and most are executed with a great degree of tonal know-how (one exception is "Oh. Hi.", which serves as the musical equivalent of the drawing of a lamp that is simultaneously a drawing of two faces... at 0:14 the sound of the hand sliding across strings is borderline hysterical). A guitarist that knows the value of midrange and knows that more gain does not usually equal harder-hitting! What a concept! Excellent performances all around, and a great group of songs to boot. What's not to love?
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Before this album, I liked Now, Now. I didn't follow them to any large extent, but I'd listened to most of their music and I enjoyed it. I did not immediately pick up this album when it was released. A friend talked me into it. Now I owe that friend big time. Immediately this album shot to my favorite album of all time position, a position previously unwaveringly held by a record I bought years and years beforehand and had loved throughout my childhood. The connection I felt to these songs was extreme. There was passion behind the lyrics, and I loved the way they were sung and accompanied by such soothing, smooth, catchy rhythms. Cacie Dalager has the voice of an angel.

What I love most about this record is the connection between the songs. The album starts with The Pull, a short intro piece that is later reheard, extended and more complete, in the song Thread. The piece is tied in again at the very end of the record in the song Magnet's ending lyrics "Can you feel the pull, can you?" As the song fades away and the album ends, it takes you immediately back to that first piece and you want to listen to the album all over again.

This album is so complete, and, by my standards, much more professional sounding than any of Now, Now or Now, Now Every Children's previous records. This album makes me excited for all of their future products, and I don't think it'll leave my favorite album spot for a long, long time.
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I knew of Now, Now. They have popped up on my last.fm radio station regularly over the years (often as Now, Now, Every Children). I never skipped their songs, but never felt like exploring them more. Then one of my last.fm friends whose musical taste I highly respect had been listening to Threads quite a bit. I thought - I've always enjoyed what I heard from them, may as well give it a spin. I listened to it online and was hooked. I came here and bought it so I could have it with me always.

As others have said, what makes this album so spectacular is how well it works as an album. The songs intertwine and work so well together that each song compels you to listen to the next. When "Magnet" ends all you can do is start it all over again. I don't really consider any songs standouts since the album really works best as a whole, but over the last 7 months of listening to this I have been partial to "Prehistoric," "Thread," "Dead Oaks," "School Friends," "Colony," "Lucie, Too," and really virtually every other song at one point or another. It's rare in the age of the single to find an album with absolutely no filler songs, let alone one where every song strikes a nerve with the listener.

Scores perfectly on what I consider to be the key qualities of a great album:
1. Musicianship - 5/5
2. Vocals - 5/5
3. Consistency - 5/5
4. Cohesiveness - 5/5
5. Replay-ability - 5/5
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