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The Artist in the Ambulance
The Artist in the Ambulance in Bloomington, MN
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While
Thrice
's third effort bears the imprint of
Sub City
, the charitable arm of thriving L.A. indie
Hopeless
, the grandiose die-cut packaging of
The Artist in the Ambulance
also features the famous rainbow spine of
Island
, or, in the parlance of the 21st century business umbrella,
Island Def Jam Music Group
, a division of
Universal
. Following the same route as sonic compatriots
the Used
,
A.F.I.
, and the 30 or so other bands thanked in the liner notes,
makes the jump to major-label land with the aid of big-league production and mixing, sick cash flow, and the freedom to stretch both its sound and its vision (each song receives its own panel, upon which each bandmember ruminates). For
Artist
, helmsman
Brian McTernan
and mixing guru
Andy Wallace
have tightened the seams that hold together
's patchwork print of post-
hardcore
bellow, emotional bluster, and unabashed
metal
wankery, ensuring an album that teems with the urgency of
's peers' recent work.
"The Abolition of Man,"
"Cold Cash and Colder Hearts,"
and especially
"Paper Tigers"
could have easily appeared on 2002's
Illusion of Safety
; however, none would have been as tightly wound as they appear here. Indeed, the latter cut sounds like a vintage
rant bleeding through on a cassette dub of
Accept
's
Restless & Wild
. Wrapped in razor wire and glinting in the moonlight,
"Paper Tiger"
leads into the churning rhythms of
"Hoods on Peregrine."
Here,
is switched out for
emo
, but the technical
framework stays. Elsewhere, first single
"All That's Left"
drops a little too much homeroom poetry on listeners ("We tried to bleed the sickness/But we drained our hearts instead/We are the dead"), but still manages to move along at a brisk, teary-eyed clip. It's guaranteed to be the theme song to a tortured teen romance. The more traditional hook of
is welcome. Together with the album's relatively straightforward title track, it checks the unforgiving pace of
, which sometimes becomes so busy with complicated riffing, solar plexus percussion, and wordy lyricisms that it starts to implode. Certainly benefiting from the ears and editing of
McTernan
and
Wallace
is the strongest
album yet, meaning that
Island/Universal
gets its money's worth in the best way possible: with good music. ~ Johnny Loftus
Thrice
's third effort bears the imprint of
Sub City
, the charitable arm of thriving L.A. indie
Hopeless
, the grandiose die-cut packaging of
The Artist in the Ambulance
also features the famous rainbow spine of
Island
, or, in the parlance of the 21st century business umbrella,
Island Def Jam Music Group
, a division of
Universal
. Following the same route as sonic compatriots
the Used
,
A.F.I.
, and the 30 or so other bands thanked in the liner notes,
makes the jump to major-label land with the aid of big-league production and mixing, sick cash flow, and the freedom to stretch both its sound and its vision (each song receives its own panel, upon which each bandmember ruminates). For
Artist
, helmsman
Brian McTernan
and mixing guru
Andy Wallace
have tightened the seams that hold together
's patchwork print of post-
hardcore
bellow, emotional bluster, and unabashed
metal
wankery, ensuring an album that teems with the urgency of
's peers' recent work.
"The Abolition of Man,"
"Cold Cash and Colder Hearts,"
and especially
"Paper Tigers"
could have easily appeared on 2002's
Illusion of Safety
; however, none would have been as tightly wound as they appear here. Indeed, the latter cut sounds like a vintage
rant bleeding through on a cassette dub of
Accept
's
Restless & Wild
. Wrapped in razor wire and glinting in the moonlight,
"Paper Tiger"
leads into the churning rhythms of
"Hoods on Peregrine."
Here,
is switched out for
emo
, but the technical
framework stays. Elsewhere, first single
"All That's Left"
drops a little too much homeroom poetry on listeners ("We tried to bleed the sickness/But we drained our hearts instead/We are the dead"), but still manages to move along at a brisk, teary-eyed clip. It's guaranteed to be the theme song to a tortured teen romance. The more traditional hook of
is welcome. Together with the album's relatively straightforward title track, it checks the unforgiving pace of
, which sometimes becomes so busy with complicated riffing, solar plexus percussion, and wordy lyricisms that it starts to implode. Certainly benefiting from the ears and editing of
McTernan
and
Wallace
is the strongest
album yet, meaning that
Island/Universal
gets its money's worth in the best way possible: with good music. ~ Johnny Loftus
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