Send "Thrice " Ringtones to your Cell 
| Sputnikmusic |
 In a way it's only natural to want and expect some sort of sonic evolution in a new Thrice album, but if one looks at their output as a whole, the differences between each of their seven albums aren't the giant experimental steps that so often get mentioned when describing the middle of their discography. Instead it's more of a different approach and refinement of what came before. Vheissu had its roots in the slick production and dark mood of The Artist in the Ambulance, The Alchemy Indexes expounded on flushing out the possibilities opened up by Vheissu, and Beggars owed its soul to the second volume of the Alchemy Indexes. That same trend continues on Major/Minor. At its core, the sound is unmistakably Thrice. Major/Minor sees Thrice responding to aching minimalist undertones of Beggars, as musically it is very similar to its predecessor, but where Beggars was at its strongest at its most secluded moments, Major/Minor is an extroverted experience. They are no longer searching inward but projecting outward, like a light leading back from the darkness that ended Beggars. Leading the charge is Dustin Kensrue. Since finding the beauty in the softer side of his voice during the recording of Vheissu, Thrice lost a little bit of the commanding presence that so defined their earlier work, but on Major/Minor he has rekindled a little bit of the power that came with his distinctive rasp which, in turn, makes for his most impassioned vocal performance since The Artist in the Ambulance. That doesn't mean that he's back bullying the microphone, though. He cleverly and precisely balances his two halves, with songs like the distraught and pleading “Words in the Water” making the best of his later era refinements. The rest of the band step up to the challenge as musically they breathe new life in the the heavy blues groove that was found on Beggars, not only thickening its sound but making it more vibrant by focusing just as much on melody as on atmosphere. One only needs to look at Major/Minor's stand out track “Anthology”, which combines all the playful guitar work of songs like “Of Dust and Nations” and “The Artist in the Ambulance” with the more straightforward approach of the later half of their career, creating a song that truly lives up to its name. Furthermore, “Anthology” encapsulates Major/Minor as a whole as there are moments all throughout it that harken back to the best of Thrice's past....full text |
| Killhipsters |
| I think it’s safe to say that Thrice have done it all genre wise, except maybe release a hip-hop album and lets hope they never go down that path. Major/Minor is not a step in a new direction, it’s more-so a refined Beggars meets Vheissu with minor Alchemy Index influences, but as you read on you’ll see Major/Minor is so much more than just Beggars Part II. Major/Minor is a combination of Vheissu’s post-hardcore and experimental rock sounds with Beggars’ rawness, blues groove and more structured approach to songwriting and album flow. This album as a whole feels like a natural progression in Thrice’s sound rather than a deliberate attempt to try and release something that sounds different to the last material they put out as they’ve been indirectly known for in the past. The album is a bit softer than Vheissu-esque material, but possesses similar dark atmospheric tones and melodically heavy undertones. Major/Minor is a lot more groove oriented than it’s predecessor Beggars, the bass lines from Ed and Teppei’s eerily crafted guitar parts give Major/Minor a dark, energetic 90′s post-hardcore feel. You can really hear the No Knife, Frodus, Deftone’s and Hot Water Music influence on this album. None of the songs are overly complex, but Thrice have a knack for making simplistic music sound amazing. The production on Major/Minor is refreshing to say the least. Nothing seems to be overly compressed or overproduced, the vocals have minimal treatment, the drums and guitar are mixed well and of course the bass guitar is really prominent which is great because Ed has some awesome bass lines on this album. The drum work on this album was so impressive that I had to devote an entire paragraph to it. Riley has really outdone himself on Major/Minor and is by far one of the most underrated drummers around today. Whether it be a basic ride cymbal and snare hit like the verse parts of Listen Through Me or the off-key drum rolls in Words In The Water he makes it work. Cataracts has some amazingly good drum work, it might just be one of the best songs drum wise Riley has written since the Fire EP. Dustin’s vocals on this album sound almost untreated and completely raw, it’s refreshing to hear the exact opposite of everything else being released by other artists. Comparing the vocals of Dustin’s live vocals to the vocals on the album, they sound almost identical which in my opinion makes Major/Minor Thrice’s most honest sounding album to date. What you’ve heard in the Youtube videos is basically what you get on the album. Call It In The Air is definitely going to be a fan favourite, it has a sinister darkish feel to it that makes you want to repeat it a few times, not to mention the lyrics are pretty damn catchy too, no doubt this was one of the songs Dustin was frantically rushing to complete at the very last minute. Blinded is also going to be another favourite, it’s extremely catchy and sounds like it could actually be a follow up to Beggars track In Exile, “I swore I was one of the good ones”, Dustin croons....full text |
| Reviewrinserepeat |
| Following the grand experimentation of Vheissu and the conceptual framework of the Alchemy Indexs, Thrice’s 2009 installment Beggars was a difficult pill to swallow for many. One could argue that the band’s progression since The Illusion of Safety had been propelling Thrice in the direction of a magnum opus; showcasing enough ambition and promise to make this a genuine possibility. Rather than being that record, Beggars was the release that shattered that very notion of “masterpiece,” instead serving as a collection of uncomplicated rock songs. For all of its gripe and backlash however, Beggars was the focused and “natural” album that Thrice had been seeking. Additionally, Beggars furthered the impression that the Irvine, California natives are content with crafting each of their records as an entirely separate entity; retaining the fresh edge that so many bands struggle with year-in and year-out. With seven full-length releases behind them and a bit to prove after their latest record, Thrice come thundering into our spectacle with a darker, bolder, and essentially more reinforced Beggars. For all intents and purposes, Major/Minor takes the elements present on its predecessor and scatters pieces of the band’s previous work throughout. With this said however, Major/Minor continues the band’s utilization of basic song structuring and simplicity, which is still a rather new ordeal for Thrice. This record is minimalism done right; rather than focusing on expansion and experimentation, Major/Minor channels all of its poignancy and intensity into eleven effortless rock tracks. And for the record, Thrice sounds pretty damn good in the process. Case and point with opening duo “Yellow Belly” and “Promises,” which feature grooving bass-lines and forceful riffs to complement Dustin Kensrue’s newly utilized clean vocals. “Cataracts” is quick to make this statement as well, highlighted by fiery guitar leads and Riley Breckenridge’s on-point drumming. In fact, much of Major/Minor is elevated by Breckenridge’s fantastic performance on the drum set; proving a great deal of the record’s technicality and intensity. If anything could be considered the most apparent change that Thrice has undergone throughout the past few years, Kensrue’s vocals would be that x-factor. In the Artist and the Ambulance days and even in the days of Vheissu, Thrice’s boisterous sound was counter parted with Kensrue’s screams. Yet by Beggars and now Major/Minor, the music was a bit more refined and focused, and thus finding intensity without the vocal outbursts. Kensrue’s evolution as a pure vocalist has tendered beautifully to Thrice’s new sound, discovering ways to be equally as potent and moving than before. The record’s stud of a centerpiece, “Treading Paper” showcases the Thrice front-man at both ends of the spectrum; delivering a calmly striking performance in the openings seconds and bridge, and controlling the upper register when the listener suggests he might explode....full text |
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