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Review: Thrice – Beggars

Thrice Beggars
Adam Grundy

The praise and allure surrounding the seventh studio album from Thrice is one that I initially didn’t fully grasp at my first listen, nearly ten years ago to the day. Maybe I was in a bad mood that day or was distracted during my listening experience, because as I revisit Beggars now, I can’t fathom how I would have felt anything but pure astonishment and wide-eyed wonder at this pre-hiatus masterpiece by the California rockers. Beggars was released digitally a full month before the physical release date of September 15th, 2009, which gave eager fans a chance to absorb the new sounds from Thrice before rushing out to their local record store the month after. From songs as immediately gratifying as “All the World is Mad” to the progressive-rock elements of “Circles,” Beggars had a little bit of everything from all phases of Thrice’s expansive discography. The self-produced record (with a specific and well-deserved credit to lead guitarist Teppei Teranishi) is a wonderful snapshot of what the band was capable of making when firing on all cylinders.

A look back at this record brings back many emotions for me from hearing these songs live as recently as their spring tour, and now that I have the foresight of seeing where Thrice would eventually take their sound, one can’t help but praise this album as being one of their best.

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The 1975 Have Nowhere to Grow But Up

Jason Tate

Larry Fitzmaurice, writing at Fader:

And she won’t be the last: Healy intends to log studio time with indie-centric artists like Phoebe Bridgers, as well as Dirty Hit-signed artists beabadoobee and The Japanese House, when the band returns to the studio later in the year to finish Notes. The ostensibly 22-song album is very much still in the early stages of creation, with four songs total in completion or close to it; besides “The 1975” and “People,” there’s the dusky, acoustic “The Birthday Party,” and “Frail State of Mind,” a 2step-driven slice of pop recalling UK producer Burial with Healy’s gorgeous, cloudy sigh weaving in and out of the beat.

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Fall Out Boy
Jason Tate

Chris Payne, writing at Billboard:

Masterminding the operation is Crush Music, the New York- and L.A.-based company that manages all three acts: Fall Out Boy since 2002 (the band has helped Crush grow as much as Crush helped it), Weezer since 2016 (Crush’s label arm has released the band’s last four albums with Atlantic) and Green Day since 2017 (when the group parted ways with its manager of 21 years, Pat Magnarella). “I asked Green Day what their goals were because they have already achieved almost every goal a band has,” recalls Crush co-founder Jonathan Daniel. “And Mike said, ‘Well, we want to play stadiums.’”

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