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The Thermals are even bringing two Portland bands with them: Shaky Hands and Point Juncture, WA.“When you actually add up all the bands that Portland has right now, it’s totally the indie-rock capital of the world,” he says, referring to acts like the Shins, the Decemberists and Modest Mouse.Harris and Foster return for a rare hometown show Friday at the Blank Club for KSCU-FM.
The duo entered the studio with producer John Congleton, known for his work with bands like the Polyphonic Spree and Explosions in the Sky.When you hear a whole crowd singing along, that’s so fun.One of the big goals of this band is to get people singing along, jumping around and shouting.” Harris and Foster got their start playing in South Bay bands like Haelah and the Urban Legends, performing DIY shows with like-minded friends in alternative venues such as the Knights of Columbus hall in Cupertino.(L-R) Hutch Harris, Kathy Foster and Westin Glass of The Thermals perform on the SIRIUS XMU channel at SIRIUS XM Radio Studio on May 11, 2009 in New York City.(Photo by Astrid Stawiarz/Getty Images) When last we heard from the Thermals, they were railing against the political establishment with “The Body, the Blood, the Machine,” a scathing allegory about, in the words of singer-guitarist Hutch Harris, “a fascist Christian government ruling the U. with an iron fist and going to war with the world.” These days, they have a new message: “Oh-way-oh, a-whoa-oh.” On “Now We Can See,” the fourth studio album from the Portland, Ore., indie-rock band led by San Jose natives Harris and Kathy Foster, the Thermals achieve new levels of pop accessibility and sonic clarity — albeit in a concept album about death.