Thrice

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EPITAPH TOUR 2018

OPENING ACT(s): The Bronx

Sat 10/6

Doors 6:30 / Show 7:30
Electric Factory
— $24.50 ADV - $30 DOS | All Ages
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Biography

When a band announces a hiatus, the news is generally met with a sigh from the fans and the sinking feeling that this is it; it’s all over. Perhaps the next time you see your favorite band will be years later during the now inevitable nostalgia tour cash-in. No new tunes, passion wrung dry. But back in 2012 when Thrice pressed pause on their collective career there was little doubt in singer Dustin Kensrue’s mind that this was the respite he needed personally, and that this would mean the band could eventually continue creatively. By this stage the quartet, who formed in Orange County, California back in 1998, were in a very different place to when they were kids in high school bonding over skateboarding and punk rock. “My third daughter was on the way and I was really feeling like my family needed some time away from the kind of touring we were doing,” explains Dustin. “On top of that we had been touring, writing, recording; touring, writing, recording, non-stop, for 14 years or so, and I wanted a break from that and the space and time to pursue other things.” So after eight albums including their emotionally resonate, pulverizing breakout third record, The Artist in the Ambulance, and the 2007/8’s ambitious duo of concept LPs, The Alchemy Index: Fire and Water and Earth and Air, Dustin called curtains, but no one in Thrice felt blindsided. It was during Major/Minor that the rst suggestion of a break began to lter through, then came a heartfelt letter from the singer explaining his reasoning, and in turn the guys adhered to their unspoken pact: if one of them wasn’t in, none of them were. There would not, and could not, be any replacements. “Thrice is the four of us, and if we’re not all into it, there’s really no point in doing it,” explains drummer Riley Breckenridge. “Even so, when we stopped doing stuff, it was tough.” Apart from focusing on fatherhood, Dustin, who at this point was living up in the Pacific Northwest, released a couple more solo records, while the rest of the band engaged in a range of pursuits, musical and otherwise. Guitarist Teppei Teranishi (who’d also relocated near Dustin) launched a successful leather and canvas goods design company, not to mention continuing to be a father to his three boys. This year Riley also became a dad, but spent the time apart writing about sports and music as a freelancer, teching for Weezer and Jimmy Eat World, and in the most random of career segues, for a year he entered the corporate world and wore a three-piece suit as a sales rep for a high-end bespoke tailor—“I’m just not cut out for that world. It was a soul-sucking experience.” Meanwhile his brother, bassist Eddie Breckenridge, played with a few bands, and got back into furniture making, helping build the interior of Woodcat in LA’s Echo Park. (Which apparently boasts a revolving cast of touring musicians serving up your daily dose of caffeine). It wasn’t till around Thanksgiving 2014 that Dustin red off a group text that would start to bring their lives back together. Sent after he and Teppei caught a particularly inspiring Brand New concert, the wheels were slowly set in motion. Due to their disparate living locales, the quartet began to share scraps of songs and ideas online, a process that’s commonplace for many, but somewhat foreign to a group used to thrashing out the majority of a record together in one room—and of course, they eventually did. In January and February 2016 Thrice reconvened in Southern California for a period of six weeks to lay down their ninth album, To Be Everywhere Is to Be Nowhere, with the help of producer Eric Palmquist, who Dustin says “gave a just the right amount of feedback on the songs as we were writing; enough to challenge you but not sti e.” He continues: “We were pretty free in the studio. We built up the songs, but we hadn’t meticulously nailed everything down, so it was a good mix of preparation and spontaneity. It was a breath of fresh air.”

Videos

  • The Bronx

    Artist Links >

    Fifteen years ago, The Bronx appeared in a storm of attack-mode guitars, apocalyptic rhythms, screaming aggression and sneering disdain for the status quo. In 2017, as The Bronx resurface with their fifth eponymous album (and first in four years), the Los Angeles-based quintet has lost none its pugnacity. “The Bronx V,” as it is destined to be known, is as hard-hitting, confrontational and relevant as ever. And while it may or may not sound more grown-up than their vein-bulging early releases, they will not apologize either way. “It has the angst and social commentary that has characterized us from the beginning,” guitarist Joby J. Ford says, “only now the angst is aimed at more than just superficial things and the social commentary is directed at more than just people who like different music than us.” Says singer Matt Caughthran: “We still have a lot to prove to ourselves.” Coming from a band that has persevered for a decade and a half, that sounds outlandish. Moreover, they've led dual lives for the past eight years, maintaining an alter ego as Mariachi El Bronx that as is as true to that form of music as their hardcore is to the punk ethos. Prove themselves? Yes, that’s the way the Los Angeles-based quintet thinks and works. “The Bronx V” is out Sept. 22. The band — Ford, Caughthran, guitarist Ken Horne, bassist Brad Magers and drummer David Hidalgo Jr. (replacing Jorma Vik, who departed the band in 2016) — recorded the album over five weeks with renowned producer Rob Schnapf, whose wide array of gear allowed them to add considerable nuance to their blistering guitar volleys. “Instead of having one thick wall of guitar, there are a lot of different colors, different sounds, the result of using a variety of guitars and amps,” Horne says. “Overall, it’s still heavy but catchy.” Adds Magers: “He was perfect for us. Somehow, we sound clean yet dirty.”

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