ALBUM REVIEW: Palms – Thrice

It’s been over two decades since Californian stalwarts THRICE formed, and although they should need no introduction, in that time have released a hefty nine studio albums, proclaimed their faith to the wider world, been on hiatus and returned to their former glory with ease. Now, on their tenth record Palms, the quartet have merely followed-up where 2016’s To Be Everywhere Is To Be Nowhere left off; decidedly honing their multi-faceted craft that relies heavily on brazen atmospheres and vivid, lyrical imagery.

Opener Only Us offers the addition of synths that throb to life with a sense of foreboding, easily drawing comparisons to soundtracks written by Kyle Dixon and Michael Stein, or beautifully haunting tones found on LORN‘s Acid Rain. Riley Brekenridge‘s drums finally crash to the surface, bringing with him the same echoing promise from 2016s opener Hurricane. For those seeking a glimpse at new sonic structures, or even a walk down memory lane, from here on in you’ll be disappointed. All ten tracks rip-roar to life with a familiarity; Dustin Kensrue’s time weathered rasping sets the pace for riffs that race far ahead of him in The Grey and A Branch In The River.

There’s also an air of melancholy that runs through the latter half of Palms. Kensrue‘s inherent vocal yearning found in the choruses of My Soul and Blood On Blood leave scope for lyrically matched questioning, the delicate coupling of Emma Ruth Rundle‘s harmonies in Just Breathe exude an atmosphere that teeters on the edge of depressing, while incessant slow build of drums inevitably boil to thunderous heights all make for a rather crushing listen.

THRICE haven’t gone easy on the lyrical imagery steeped in existential metaphors. “And my hands are open, reaching out / I’m learning how to live with doubt / I’m learning how to lean into the grey / ‘Cause I’ve had enough of black and white…” sings Kensrue on The Grey, while on The Dark, THRICE attempt to tackle their past: “You’re always turning back the clock, but time is up”. References to the natural world suggest an inward struggle paced in the context out of human control; the ocean, the river, the sun, wind, forests and an omnipotent voice all play their part on this record, exactly as they did on the last album, only this time around far too seriously.

There’s scope for a little playfulness from Teppei Teranishi, whose guitar riffs ebb and flow in a battle with Eddie Breckenridge’s bass playing, and at times his bass is on top of the mix which sounds frustratingly brilliant. There’s even a harp solo in Blood On Blood, an unexpected feat of creativity at this point which leaves the rest of the record to flounder in repetitive verse and chorus formulas.

Sadly though, Palms does feel like a long slog to finally reach closer Beyond The Pines. A cinematic rock ballad that’s laden with fuzz, but by the time THRICE climb to their final coda there’s not many more feelings left to give. While their tenth record does strive to only heighten an already bristling career, Palms feels like a stepping stone to their next chapter, wherever and whenever that may be.

Rating: 7/10

Palms is out now via Epitaph Records.

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