Beach Day, Good Graeff
54 North Orange Ave
Orlando, FL, 32801
This event is 12 and over
Watch & Listen
The Thermals are a post-pop-punk trio from Portland, Oregon. In ten years, the band has released six records and toured fifteen countries. The Thermals are Hutch Harris (guitar and vocals), Kathy Foster (bass), and Westin Glass (drums).
A brief history of The Thermals, year by year.
The Thermals burst out of Portland, OR and onto the international indie rock scene with their debut LP, More Parts Per Million (Sub Pop), at a time when people were just starting to stop paying for music. Recorded in singer Hutch Harris’s kitchen on a 4 track cassette, MPPM’s recording costs were only sixty dollars, making it one of the cheapest (sounding) records of all time. The Thermals quickly established themselves as a powerhouse live act, the original four-piece line-up consisting of Kathy Foster on bass, Ben Barnett on guitar, Jordan Hudson on drums, and Hutch Harris on lead vocals.
The Thermals released their sophomore LP, the highly sophomoric Fuckin’ A (Sub Pop). Produced by Death Cab For Cutie’s Chris Walla, Fuckin’ A was the perfect follow-up to More Parts Per Million: louder, longer and slightly better (or worse, depending on who you ask.) The Thermals quickly re-established themselves as a power trio after the departure of Ben Barnett, with Harris assuming guitar duties. It was in 2004 that The Thermals turned down a $50,000 ad from Hummer, an act that would earn them a reputation for having ethics, a burden which has since hung like an albatross around their collective neck.
The Thermals recorded their infamous “lost” record, We Sleep In A Holy Bed. A morbid meditation on religion and death, the record would have served as a fitting precursor to their next album, which would prove to be fully loaded with fire and brimstone. Produced by Joanna Bolme (Elliott Smith, The Jicks) at the original location of Portland’s famous Jackpot studio, …Holy Bed (as of this writing) has still not seen the light of day. Jordan Hudson left The Thermals after the album’s (non-)completion, leaving Hutch Harris and Kathy Foster to record the next two Thermals records as a duo, with Foster performing all bass and drum tracks.
The Thermals released their first masterpiece, The Body, The Blood, The Machine (Sub Pop). A terrifying tale of a young couple fleeing a fascist faux-Christian USA, TBTBTM was a critical darling and a commercial success as well. The album was produced by Fugazi’s Brendan Canty, who had recently recorded a Thermals song for his “Burn To Shine” series, in which indie bands perform at houses slated to be burned by the fire department. Little did he know TBTBTM would go on to burn the entire world to the ground.
The Thermals continued their TBTBTM victory lap, touring the world and beyond. The band performed as a four piece again, for the first time in four years. Joel Burrows doubled up with Harris on guitar, and drummer Lorin Coleman joined Kathy Foster in the rhythm section. The Thermals toured the US extensively with Cursive, who at the time were promoting their own slab of blasphemy, Happy Hollow. Only a few of the shows were canceled, mostly due to locust infestations.
Hutch Harris and Kathy Foster retreated to the cold, stony Oregon Coast. In the wind and the rain and the short bursts of warm light, they stood at the shore and shouted at the sea, demanding the answer to the greatest questions of life: “What is the meaning of life?” and “What comes after death?” There was no reply, but the brutal smashing of endless waves.
Later in 2008, Foster and Harris met Westin Glass. The three felt an immediate kinship and found a lasting friendship. Glass soon became The Thermals’ permanent drummer.
The Thermals returned with a new LP, Now We Can See, on a new label, Kill Rock Stars. Producer John Congleton (Explosions In the Sky, R. Kelly) gave the album an enormously wide, vaguely threatening aura that was a fine match for the album’s theme, “songs from when we were alive”. The title track is one of The Thermals’ biggest “hits” to date, and was featured in many popular network television programs!
Having conquered God and Death (no easy feat) with their two previous records, The Thermals set out to vanquish an even greater and more terrifying force of nature: monogamy. Personal Life (Kill Rock Stars), The Thermals’ fifth LP, (and first with Glass drumming) contains some of their darkest and most beautiful tracks to date. Chris Walla returned to the studio with The Thermals, giving Personal Life a sharp and shiny sheen, as only he could. The Thermals toured China for the first time in 2010, one of only a few American bands to do so. They found it quite delicious.
The Thermals met The Coathangers, toured with The Coathangers, and fell madly in love with The Coathangers. Have you met The Coathangers? You would too.
The Thermals mourned the passing of their former guitarist and dear friend Joel Burrows. Joel was a sweet and incredibly funny man, and we will miss him until the end of our days.
The Thermals signed to Saddle Creek and released their sixth (and obviously best) record, Desperate Ground. Produced by John Agnello (Dinosaur Jr., Sonic Youth) in Hoboken NJ, Desperate Ground is a true scrappy-and-scratchy return-to-form for The Thermals. Fast, cheap, and out of control, it’s the perfect bookend to The Thermals’ first (and so far best) decade.
2013 also found Sub Pop reissuing The Thermals’ first three records on vinyl: The Body, The Blood, The Machine, Fuckin’ A, and More Parts Per Million, which celebrated its tenth birthday March 4th.
Hollywood, Florida is not your typical beach town. The buildings, diners, and of course the beach appear frozen in the 1950's. Probably a result of the town's population boom happening in that era, a current drive down the streets feels like your moving through an R. Crumb drawing. Things seem exaggerated and a bit odd. The now mature population seems a caricature of their former selves.
It is this strange place, lovingly dubbed Hollyweird, Florida, that the trio Beach Day calls home. Their sound is heavily influenced by their surroundings. They make new music, but it is definitely old at heart. And it's definitely sunny, but not without some murkiness.
Kimmy, Natalie and Skyler met at a local show and quickly bonded over their love of 60's Girl Groups, their dissatisfaction with their current musical endeavors and a common desire to be in a band that was purely about fun and making music without pretense.
Skyler was living in Asheville but missing the beach culture, so he moved back. Natalie was planning a move to the west coast but already had song ideas, so she decided to stay. The two moved into a house with Kimmy and all acquired jobs at the local Smoothie Shack. Somewhat of a big commitment for a band that just wants to have fun, but the first song they wrote together came easy. It is called Beach Day, and it is their first release out July 17th on Kanine Records (limited edition white vinyl 7" & digital download).
An embodiment of their surroundings and love of 60's girl groups, Beach Day sounds as you might expect. Think of a female fronted Beach Boys, throw in some The Shangri-La's, The Ventures, The Sonics, Phil Spector, The Ronettes, add in contemporaries Cults, Jacuzzi Boys, Dum Dum Girls and the Black Lips and you have a soundtrack for your perfect Beach Day.
We are Good Graeff, a pop-folk duo from Florida by way of Hanoi, Vietnam. When we were 16 (we're twins!) we started playing together on street corners for tips. This seemed a natural follow-up to the whole-car sing-alongs that were a part of every road trip when we were kids. We made our band official in 2004, but, separated by thousands of miles, we were mostly creating music for ourselves, family, and friends.
Until 2012, when we reunited in Vietnam. We hadn't seen each other in two years (that's like 12 in twin years), and it was amazing to start playing together again, just for fun like we always had. But then our neighbors overheard a practice session and asked us to play a party. From there, we were overwhelmed by the positive response, along with the bookings and support that came out of it. And we decided to give music-making the attention it deserves.
$12.00 - $14.00
Tickets Available at the Door
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Social Pre-game: $3.50 U-call-it for the first hour. Includes everything, Jack Daniels, Crowne, Greygoose, Fireball, Pinnacle, Knob Creek, Jameson.... anything we carry for the first hour!!!! Beer & Shot: Buy any beer and get any shot for $5 all night.
Mon, March 27
Tue, March 28
Thu, March 30
Fri, March 31
Sat, April 1