Thrice - Major/Minor

Thrice are a difficult band to pin down. Every album they evolve, leaving their fans absolutely clueless as to what they can expect next. Ever since the radical departure from their aggressive, metal-influenced breed of hardcore they took on Vheissu, they have been taking the types of risks only bands like Radiohead are brave enough to make. While the transition from 2009’s Beggars to Major/Minor is less dramatic, it is still a clear step forward for a band that refuses to tread water.

The album opens with “Yellow Belly,” which offers a hint of familiarity, recalling the type of peculiar guitar familiar to that seen on The Alchemy Index I: Fire. The song differentiates itself from Fire, however, in that it never really reaches the type of Isis-like heaviness that typified that EP. Instead, Thrice explores a new form of epic indie-rock that is exciting in its own way. Gone are the days when vocalist Dustin Kensrue used to release guttural screams at the climax of every song, instead replaced with triumphant, soaring vocals.

If The Alchemy Index was Thrice exploring every aspect of their band’s personality, then Beggars was the band synthesizing those ideas. This album sees Thrice finally perfecting the blend of indie, post-hardcore, and ambient music that they desired to create. Songs like “Call It in the Air” are brooding and intense, while “Words in the Water” is spacious and filled with hopeful melodies. The genre exploration the band has done in the past pays off here, as it allows them a set of tools with which they can build a song to fit any mood, while still sounding like a cohesive album.

What is most exciting about Thrice is that they continue to be the band they want to be, regardless of what fans or critics expect them to do. While it may mean they lose fans along the way, those who stick with the band are rewarded with a rich experience on every album, full of surprises and unexpected turns.

There are a couple things that remain constant through the band's progression, and they’re all positive - Kensrue’s lyrics are just as well-crafted as ever, drawing from poetry and Christian allegories to create moving verses that fit perfectly with each song. Teppei Teranishi’s guitar work is slightly more restrained than it was on earlier albums like Artist in the Ambulance, but his ability to create a perfect lead riff hasn’t diminished in the slightest.

Make no doubt about it, Major/Minor is a challenging listen. While the song structures remain fairly traditional, the melodies and ideas within each track are anything but. Thrice’s tendency to experiment with odd time signatures and non-traditional sounds is still present, although executed so effectively you might not even notice they’re there on the first listen. However, this only means the album demands repeated listening to unearth all its mysteries, and it becomes more rewarding every time you hit play.