Album/EP

Thrice – Horizons / West (Album Review)

Will Oakeshott

/10

Sep 30, 2025

7 min read

Thrice – Horizons / West
Released: 3^rd October, 2025

Lineup

Dustin Kensrue // Guitars, Vocals
Tippei Teranishi// Guitars, Keyboards
Eddie Breckenridge // Bass
Riley Breckenridge// Drums‍

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“Every spark returns to darkness. Every sound returns to silence. Every flower returns to sleep with the earth. The journey of the sun and moon is predictable. But yours, is your ultimate art.” – Suzy Kassem.

This writer cannot confirm if the above quoted acclaimed Ohioan writer, poet, and philosopher is actually aware of California’s experimental post-hardcore luminaries Thrice. The situation is mirrored for the band, and whether they are in fact, acquainted with Suzy Kassem’s writings.

However, whether the observers of this publication are reading this article because they are long-time followers of the quartet, or perhaps they are encountering the four-piece for the first time, an interesting feature to take notice of is the connection between the two. Especially, from the lyrical standpoint of Dustin Kensrue.

For example, the outfit’s 2018 LP Palms contains a track entitled ‘Everything Belongs’, within the lyrics read as: “There's a darkness that is brighter than our light...”.

Furthermore, on the Alchemy Index EP series, Vol. IV, which was released in 2008, that volume was splendidly called Earth. Remarkably, there is even a Frodus cover entitled: ‘The Earth Isn’t Humming’ that was released as a single.

Believe it or not, the similarities actually extend onwards from this, but this is a review, not a thesis (possibly to come at a later date for this scribe). Nevertheless, one could argue that for Thrice’s 12^th studio album Horizons/ West, the sequel to Horizons / East (2021) could reflect the very notion suggested with: “The journey of the sun and moon is predictable”.

They both rise in the East and set in the West. So, if the sun and moon rise on the East horizon (Horizons / East), suggesting light, is LP #12 therefore suggesting darkness with the sun and moon setting on the West horizon?

Read on.

An eerie avant-garde electronica soundscape creeps in to commence opener ‘Blackout’ that has a reminiscence of Björk’s latter wonderful work; Mr. Kensrue then tenderly eases in with his infamous honey-soaked-smoky-whiskey croon that entrances the listener into a soothing oblivion.

“We’ll find its light inside each breath, behind our eyes, beneath the west.”

At one-minute-10-seconds, drummer Riley Breckenridge thunders in, excellently escalating the energy into a cinematic rock escapade, which would flawlessly suit the trailer to the next Christopher Nolan epic.

“We’ll find its light inside each breath, behind our eyes, beneath the west.” Dustin poetically serenades again, but with an incredible inference that an eruption is about to happen…

The guitars now elevate the vitality of the atmosphere – “Blackout the moon, blackout the stars, blackout the sun” is repeated in a gang-vocal theatrical chant, where Kensrue responds with “the sea would shine” in a harmonious dreamy effect to the vigorous “blackout” howling. Suddenly, every aspect of the song ramps up, and a recall to Vheissu’s ‘Image Of The Invisible’ shines through, it bonds together in an astonishing amalgamation of calm and chaos, with the last nine words “blackout the moon, blackout the stars, blackout the sun” ringing out.

“Every spark returns to darkness”.

An electro-post-punk introduction that IDLES would be envious of begins ‘Gnash’, which quickly transforms into a delightfully devastating post-metallic-hardcore pulverisation evoking the Fire EP from the Alchemy Index. Phenomenally, the sonic landscapes interchange in a breathtaking demonstration of musical magic and madness. To close out this remarkable rockin’ recklessness, a monstrous electro-punk metalcore breakdown that is exceptionally unique stamps an above last impression of exhilaration.

Thrice are unequivocally, charismatic connoisseurs of musical experimentation.

‘Albatross’ is a beautiful love song that would fit faultlessly on any of the quartet’s albums from Beggars (2009) until now, but especially that record. Did you know that the albatross mates for life, lives for up to 60years, has the largest wingspan of any bird, and can be a sign of both good and bad luck? Spotting the bird flying overhead could mean that the soul of a lost sailor was present for protection, or it could signify that winds, especially for a ship’s sails, were soon coming. Although, it could also speculate an imminent death, or an oncoming storm in a turn of metaphoric imagery.

In this feathered creature, there is an undeniable tale of poetry. Fascinatingly, this tune encompasses the ultimate art of its narrative, stunningly.

‘Undertow’ is expertly a nod of respect to known heroes of Thrice being the luminous Radiohead, with its outstanding oddity of electro-folk and alternative rock. The sensationally switching soundscapes works particularly well with Vol.II of the Alchemy Index series, being Water, but the musical explorations brilliantly incorporate every one of those EPs in a perfectly prestigious manner. ‘Holding On’ is an indie-punk inspiration that will unquestionably become a favourite with its heart-rendering magnificence. The composition prompts reflection impeccably, and best of all, it encourages hope.

‍‘Dusk’ is an uncanny and glitteringly ghostlike electronic interlude that feels nearly paranormal. ‘The Dark Glow’ carries on this marvellous mystical complexion, yet it seems to revisit The Alchemy Index, but every dazzling part of the four EPs again. ‘Crooked Shadows’ moves towards a jangly-punk motif, with wonderful wanderings into the grunge genre.

‘Distant Suns’ is in-all-probability, a composition MuteMath wish they had composed, with its jazz percussion refinement and math-rock entrancement, it is simply, bewitching. The post-rock embellishments though, are without doubt, beyond description in their illustriousness.

‘Vesper Light’ is that artistic archetype of virtuosity. At its commencement, The Alchemy Index Vol. IV: Earth appears to be the canvas. The folk, soul, and roots rock ambience which awakens warmth and opulence, are intrinsically, the colours on this artwork. However, the song goes above this supernaturally; a soulful enlightenment occurs when Mr. Kensure sings – it is spellbindingly reminiscent of Thom Yorke. The adventure spectacularly progresses, moments of latter day aggressive Alexisonfire strikingly infiltrate, as well as Cave In. In a tremendous turn, a Tool musical effervescence emerges, before building into yet another post-rock exhibition of grand eloquence.

This surprisingly, is not the conclusion to Horizons / West.

‘Unitive/West’ broadcasts a modernised neo-folk journey of earthly sounds – chimes and ethereal vociferations emit a spirituality that is outstandingly overwhelming. This journey eventually converges to a white noise of sorts, as if auditorily visualising the almost timeless moment where the sun has set, and darkness envelopes the world. Or possibly when the moon has vanished, and light was about to bloom enlivening Planet Earth.

If the sun and moon rise on the east horizon suggesting "light", is Horizons / West therefore suggesting "darkness" with the concept that the sun and moon set on the West horizon?

In summation, Horizons / West is a venture into all colours. A kaleidoscopic spectrum of magical artistic sound exploration, as well as poetic radiance, around the realm of experimental post hardcore.