Rarely does a band get better and better with each album release, but California alt-rockers Thrice are the exception to the rule. The fearless experimenters have held tight onto their thrash metal roots, making their evolution from 1999’s ‘First Impressions’ to new album ‘Major/Minor’ truly remarkable. Each album changes slightly, refining and perfecting what made its predecessor so successful. ‘Major/Minor’ is simply that: It is the best parts of 2009’s stellar album ‘Beggars’ perfected.

Thrice’s evolution from album to album is subtle enough that it does not alienate their fan base. Despite the experimental steps taken in the last decade, the rockers continue to create headphone euphoria by mixing the best parts of their hard rock roots with their newer experimental blues and electronica.

The sound on ‘Major/Minor’ is Thrice defined: powerful guitars, emotional lyrics and complex instrumentation. ‘Yellow Belly’ opens the album with a heavily distorted guitar riff while Riley Breckenridge’s hi-hat and cymbal keep the timing on point. Dustin Kensrue then enters with his distinctly deep voice as he speaks about abusive fathers with the hook ‘You don’t care’ repeated after every line.

The song’s chorus explodes with Kensrue’s patented yell as Teppei Teranishi thrashes the guitar, channeling the sound from the band’s ‘The Artist in the Ambulance’ days.

‘Blinded’ features a guitar riff similar to ‘Melatonin’ by The Silversun Pickups before the distortion fades and Kensrue’s bluesy vocals take over. Kensrue, who has been experimenting with the softer side of his voice since 2005’s ‘Vheissu,’ has perfected his vocals on this album. The post-production feels so minimal it’s as if the vocals have not been touched at all. In a time where anyone can be a great singer with the help of post-production and auto-tune, it’s refreshing to hear an album in which the vocals seem so raw. Anyone who has seen Thrice live knows that Kensrue’s screaming, wailing and singing translate almost identically to those on the album.

The album’s drum work also shines. Breckenridge’s cymbal, hi-hat and offbeat drum rolls in ‘Promises’ set the pace for its hard rocking chorus. He expertly carries ‘Cataracts,’ pounding the snare as if it owed him money. For all the furious drumming, Breckenridge never overpowers the songs. He enhances everything from the thumping bass lines to the power chords and guitar solos.

The true gem on the album is ‘Listen Through Me.’ Its verses feature the softer guitar and bass work from the newer experimental days until the monumental chorus bursts with Kensrue yelling, ‘Listen to me.’ It is one of those perfect arena rock songs that could break any speaker system.

On ‘Major/Minor,’ Thrice perfects a sound cultivated by 13 years of musical experience, experimentation and inventiveness. Bits and pieces from the band’s full discography can be heard in each of the 11 songs, marking the rockers’ maturity and sophistication. ‘Major/Minor’ is a masterpiece. So what does the future hold for a band that’s constantly evolving? Fans will have to salivate over this near-perfect record until Thrice decides to once again show the world why it is one of the most important post-hardcore alternative bands of the last decade.

drbleckn@syr.edu

 

Published on September 19, 2011 at 12:00 pm