{"id":69662,"date":"2018-09-13T15:00:42","date_gmt":"2018-09-13T14:00:42","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=69662"},"modified":"2018-09-12T19:54:20","modified_gmt":"2018-09-12T18:54:20","slug":"review-thrice-palms","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/review-thrice-palms\/","title":{"rendered":"Review: Thrice – Palms"},"content":{"rendered":"

\"Thrice_Palms_Album_Cover\"Where some of their peers have failed to evolve, Thrice<\/strong> have become a tremendous, versatile band specialising in intriguing lyricism and compelling song craftsmanship. 2016\u2019s ‘To Be Everything Is To Be Nowhere\u2019<\/em><\/a> is an acute example of this, showing a band reinvigorated after a hiatus. Considerably its follow-up, ‘Palms’<\/em>, has a lot to live up to. Nevertheless, it maintains the momentum its predecessor has provided.<\/p>\n

Buzzing synths seep in on ‘Only Us’<\/em> with the gradual build paying off with thick, slabbing bass lines. While Dustin Kensrue sets the lyrical tone for the remainder; contemplating our place in life and the responsibilities we have.<\/p>\n

This is epitomised by ‘The Grey’<\/em> and ‘The Dark’<\/em>. The former is classic Thrice<\/strong>\u00a0yet with a more vivid delivery. Notably, Teppei Teranishi\u2019s guitar work creates a sonic soundscape that is preserved throughout. While\u00a0Kensrue finds clarity in realising not everything is black and while. As for ‘The Dark’<\/em>, a scaling bass line trods along as Kensrue declares he\u2019s \u201cnot going to sit in the dark anymore\u201d<\/em>, complemented by a haunting choir made up of fans.
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