A dozen years into its career, Thrice is still evolving. Following 2005’s experimental/atmospheric Vheissu and four-part concept album The Alchemy Index Vols. I & II (2007) and Vols. III & IV (2008), the California quartet—vocalist/guitarist Dustin Kensrue, guitarist/engineer Teppei Teranishi and Breckenridge brothers Eddie (bass) and Riley (drums)—has issued the edgier, hard-rock-leaning Beggars (Vagrant). On paper, such a description might make you believe the LP is a return to the post-hardcore days of Thrice’s first three albums, though Beggars is far more mature and varied than that. Unfortunately, the record was leaked in July, forcing the band to change the release date and marketing plan for Beggars, but Thrice seems to have come out of all this extracurricular drama unscathed. As the foursome prepares for its upcoming U.K. tour, they are also guest editing magnetmagazine.com all week. Read our Q&A with them.
Dustin Kensrue: I was not aware of Talk Talk in general until a couple of years ago. If you are aware of them, I would guess you know them from one their ’80s pop hits like “It’s My Life,” which is a great song. But most people are not aware that in 1988 and 1991, the band released Spirit Of Eden and Laughing Stock, respectively. Both these records are six (longer) songs that blend the styles of rock, jazz, classical and ambient. While both albums are great, Laughing Stock definitely solidifies and fulfills the promise of Spirit Of Eden. The record is sparse and gorgeous, and I really can’t say enough about it. Definitely one of my very favorite albums, and it always will be.
One reply on “From The Desk Of Thrice: Talk Talk’s “Laughing Stock””
Laughing Stock is one of the best. albums. ever. In any genre, any period in the history of recorded music.
Spirit of Eden is no slouch, either. Even upon the umpteenth listen, the transition from “The Rainbow” to “Eden” gives me serious chills. Like Laughing Stock, it’s the sort of album that demands you wait ’til you have the time to sit down and listen to the whole thing. It just sucks you in. there is no escape until the very last note.