[Track By Track] When Thieves are About – We’re Literally Almost There

Released last week via Manic Kat Records, When Theives Are About‘s debut record We’re Literally Almost There blends a classic pop-punk sound with the band’s vast array of influences, including but not limited to NOFX, Saves The Day and Title Fight. Recently we were offered us a track-by-track explanation of their debut record, and below are the backstories and descriptions of each track from their high octane debut.

Read on to learn more about We’re Literally Almost There, and stream the album in it’s entirely below.


“This may be the first track, but it came about very late in the record writing process. The album was taking longer than anyone expected and it left the band feeling like they had something to prove. It’s the fastest song in terms of tempo and it showcases vignettes of Thieves song writing styles that develop throughout the rest of the release. The lyrical themes are very simple here: Everyone has their own needs and wants, and the most important step in achieving those desires is to first believe that what you seek can be attained.”


“Written primarily by a younger more angst ridden multi instrumentalist Ryan Struck, ‘Singe’ was aptly polished up and re-purposed after being brought back from its mass grave of retired Thieves demos. Notable for its distinctly separate lead and rhythm guitars, floor tom rolls, and a searing distorted chorus in the likeness of Leftover Crack, ‘Singe’ features some of the most powerful lyrics on the release, brooding upon growing up in a household with only one parent. No matter how open your mind is you may find yourself in situations where you unwilling to bend or negotiate, but when you inform your past it has no place in your present, you may realize to your dismay that part of it has stayed with you all along.”


“One of the most difficult things about maturing is observing the people you used to be close to slowly disappearing from your life without notice, seeing them stray off in a direction you could never have predicted and would never condone, or even hearing that they’ve passed away. This process ran its course for all the members of When Thieves are About several times over. People we knew are truly gone, and others feel as if they are. ‘Wayne Brady’ is a nostalgic reflection on something that once was real, and a heartfelt goodbye.”


“Let’s not beat around the bush here: ‘Youth Decay’ is about aging, as it is experienced in early adulthood. At a certain point life starts to eat at you and you wonder to yourself when any change actually occurred. It is possible to feel as if you are a different person through no conscious acts of your own, and when the realization becomes hard to ignore, your sense of self identity can be temporarily shaken by the loss of control you’ve experienced. This is the type of tune that everyone can (eventually) relate to, and it is among the most likely songs on We’re Literally Almost There to get stuck in your head.”


“Despite having no musical refrain or repeating lyrical hooks in the vein of more progressive composition, ‘Apogee’ has a driving rhythm section which stays interesting throughout and vocal melodies that grab onto your ear refusing to let go. While the majority of Thieves lyrics involve personal experiences and motivations, ‘Brave Toward The Apogee’ steps into the realm of politics and social commentary, challenging the listener to hone in on questionable decisions, ethics, and morals that affect everyone, or risk facing a future in a science fiction-like dystopia.”


“You should come first for yourself. However, you won’t be the only person on Earth thinking this way. You’ve met people in your own life who have taken advantage of you without thinking twice about it. ‘Convenience Store’ is the feeling of being buried beneath of the selfishness of others, the weight of obligation, or the greed of corporations. It is written in direct contrast to ‘Kerry Wexford’ and is played in its relative minor key signature. Though heavily inspired by past Thieves songs and releases, the chord progressions and riffs are entirely composed by lead guitarist Mike Greene, revealing new influences for the band and a synergy with their now concrete lineup.”


“When you care a lot about another person, you might think you know what is best for them, and they for you. ‘Doppler Effect’ is a story of a relationships with inadequate communication, of similar people with deeply differing perspectives trying to coalesce, and a devastatingly sudden departure. Musically bizarre in rhythm structure and unable to be defined by a single tonality, Doppler moves between a four count and a three count for the majority of the song before reaching a climax at the seven-beats-per-measure bridge, symbolizing two incompatible parts coming together for the last time.”


“Anyone who has spent a significant amount of time working on a project, or simply has many acquaintances, knows what it feels like to be confronted by someone you care about who believes you have not been spending enough time with them. When one side starts to take it personally, it can push the other away. It’s a difficult situation that often becomes tense. ‘We Sell Thomas’ is the maintenance of personal relationships intricately woven in classic catchy pop punk vocal melodies and a brisk but steady rhythm section.”


“Written almost entirely at a single practice, Razor stands out from the rest of the track list in many ways: All band members were able to give their input on the final instrumentation while in the same room together, this is the only place on We’re Literally Almost There with a fully fleshed out guitar solo, and horror film inspired lyrics are written exclusively by Alfredo Diaz and Ryan Struck (featuring themes akin to Convenience Store’s gory aftermath, as a “victim” makes their escape and begins a healing process). Being composed by a live band led to Razor Wire Maze to be produced using several tempo changes in order to achieve the atmosphere the band was looking for in each section.”


“Every Thieves band member has experienced a family-breaking event in their lives. Angry, urgent, uncertain, melodic and hardcore, ‘Inertia’ explores the psychological phenomenon of hindsight bias and attachment theory as they relate to life changing events such as divorce. When any action or non-action leads to far reaching acute negative consequences, you can become frozen in place until you gather the energy to push yourself towards rational long term solutions, or until someone else sets you into motion. The track closes the album with an acapella vocal harmony, composed by Alfredo Diaz, with as many as four independent melodies and lyrical phrases blending together to represent the doubts and indecision that manifest on the cusp of a major life change.”

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