By Kirsty Armitage
Thrice is an American rock band from Irvine, California, formed in 1998. The group was founded by guitarist/vocalist Dustin Kensrue and guitarist Teppei Teranishi while they were in high school; later recruiting Teranishi’s Skate-park friend Eddie Breckenridge to play bass, occasional live guitars, keyboards/synths, backing vocals and Riley Breckenridge on drums.
Early in their career, the band was known for fast, hard music based on heavily distorted guitars, prominent lead guitar lines, and frequent changes in complex time signatures.
‘Major/Minor’ is the seventh studio album from Thrice and seems to be their best yet. It has an open, untainted quality that could lead you to believe it was recorded live with no post-production tinkering (a good omen for an eagerly awaited tour). Front man Dustin Kensrue’s voice has retained his infamously gravelly tone, but the lyrics come clear and easy on the ear. His rasping voice appears to have little or no ‘treatment’, and there’s a simplicity to the music and songs that allows the listener to enjoy them at a very basic level.
Don’t be deceived by the apparent simplicity of the album, though – Thrice have managed to produce an incredibly complex series of tracks full of intricate guitar riffs, swelling chorus lines and staggering drum support from Breckenridge. ‘Yellow Belly’ (the opening track) is a perfect example of this – on first listen it seems quite straightforward, however its construction and delivery are far from easy. It comes across as emotional, with a yearning, but superior musical control.
‘Major/Minor’ is a brilliant platform for Riley Breckenridge to showcase his talents: it’s all too easy to find yourself lost among the many different contributions he puts across; from unorthodox, jazzier moments featured in ‘Words in the Water’ to the usual sections like in the ‘…Trail of Dead-like Listen Through Me’. Breckenridge seems to have met a remarkable level of technical ability without dominating each track. The punchy rhythms that intersperse the album, like in Cataracts, are a brilliant example of the technical mix this man brings to the band.
If I have any criticism of ‘Major/Minor’, it’s that it could feel slightly same-y. There aren’t any knock-your-socks-off ballads, nor an overly fast track; or anything exceptionally heavy, as Thrice of old, though I would hardly say their tracks are lightweight. The over-arching vibe from the album is one of constant comfort. Thrice are back, better than ever.
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