The Thermals
The Body, The Blood, The Machine (Sub Pop)
Long ago, in another realm, I was an oboe-playing music major at a snooty New England women's college.  Thankfully, I quickly realized there's more to good music than avoiding parallel fifths and developing perfect vibrato.  What changed my tack was a music theory professor who'd had the pleasure of teaching Meat Loaf the difference between his arse and his elbow back when they were college buddies.  After enduring Meat Loaf's excruciating early songwriting attempts - imagine the same chord, over and over and over - he taught the man chord changes.  The rest, of course, is rock 'n' roll history.
I'd like to prove this good man taught me something before I transferred and wound up a tattooed, bass-playing, backtalking Evergreen grad.  In honor of my obviously exhausted prof - he name-dropped Meat Loaf, for fuck's sake - I decided to put my ear to the test and analyze the Thermals' third full-length release, The Body, The Blood, The Machine (Sub Pop).
After a first listen, I knew I liked their style.  They're high-energy, high irony, and lo-fi.  Add biting, provocative lyrics, a sharp take on biblical themes, and that classic Portland indie sound, and you have a skirt-lifting worthy, good band.  The Body, The Blood, The Machine is smart and vigorous - indie pop as it should be.   
My second time through I sat down with my bass and played along.  Here's what I found:  1) The Thermals love the key of B.  2) The tempos vary, but they have a couple of cozy favorites.  3) There's not really a lead instrument, because Kathy Foster's bass and Hutch Harris' guitar both keep rhythm.  4) The chord changes are standard pop fare. 5) I now know Foster's bass parts, so if she gets carpal tunnel or becomes an unmanageable diva, you guys should totally call me.
I, too, love B major, four-four time, Portland, and apocalyptic visions of the future.
Seriously, call me. - Jennifer Boutilier