Thirstier - Torres: Review
is the moniker of singer-songwriter Mackenzie Scott. After her first two records gained significant attention in the indie scene she signed to 4AD and released a more experimental third record which wasn't as positively received. This resulted in Torres being publicly dropped from the label, which she returned from with her 4th album Silver Tongue on Merge Records in 2020. Thirstier is a quick follow-up that comes off the back of 3 very acclaimed singles earlier this year.
Review By Lav:
It's no secret that I've been quite a bit fan of Torres output throughout her career thus far. While a lot of fans from the notoriously homogenized singer-songwriter genre adore her first two albums and haven't kept up since, I feel the opposite. Not that I don't like Torres or Sprinter I think they're quite solid records for the genre with Sprinter in particular containing some major highlights. But it was 2017's Three Futures that I really fell head over heels for Torres. The combination of chamber aesthetics, rough mixing and electronic interpolations made for a fascinatingly unique sound that paired fantastically with her knack for rewarding songwriting. This was delivered again last year where she really slowed it down for Silver Tongue which I also enjoyed. Without context I would have expected her to continue in this direction going forward, but after three singles I really wasn't sure what to expect from this record. There was an excitement and sonic variety to the tracks that didn't quite resemble anything I've heard Mackenzie do before. This is essentially the thesis statement for the record, and Torres doesn't disappoint.
The singles definitely did their job of building up excitement for the record, primarily the first and third. The lead single Don't Go Puttin Wishes In My Head seemed to come out of nowhere but immediately drew praise from pretty much everyone that heard it, me included. It has a conventional indie sound but with a hazy wall of keys that make up the dense mix. This comes paired with a driving guitar riff that gets increasingly harrowing with each return to the hook. The song has a fantastic progression that makes every moment more exciting than the last. The third single and title track Thirstier was somehow even more exciting with softer vocals sounding like something from the prior Torres album that eventually erupt into a triumphant spectacular chorus. The songwriting is a big highlight setting up one excellent punch after another with a great lyrical metaphor and compelling instrumental progression.
The opening track Are You Sleepwalking? is a jolting start to the record with a ripping lead guitar riff and eerie hook. It gets the album absolutely revving with a murky mix and high energy vocal performance from Mackenzie all in just two and a half minutes. Big Leap takes a mostly opposite approach as a quieter and more contemplative track that serves as a major lyrical highlight. It takes the concept of a "big leap" literally resulting in quite the devastating song and a striking change in tone. The refrains are very loose but sound so powerful as they echo off into the background of the tracks dense atmosphere, every time I hear it I enjoy it more and more. Hand In The Air is yet another track I really enjoy and one that sounds reminiscent of Torres' first two albums with both its songwriting and personality soaked lead vocals. The instrumental of the song however takes a different approach pairing the records uncompromising rock sound with some absolutely icy synths that slowly take over the entire instrumental. It's yet another compelling instrumental palette and a big highlight for the back half of the record.
Those are the best of the best songs, but the record largely avoids major duds and nearly every song has a reason to listen. Hug From A Dinosaur was the 2nd single and I've gone back and forth on it quite a bit. It really is rocking pretty hard though I can't help but roll my eyes at some of the quirkier vocal moments particularly on the hook. It sort of sounds like the vocals aren't necessarily meant to be taken 100% seriously, particularly when the backing chorus of vocals come in, I feel like it's another weird emotional shift for the record. There are definitely things I really enjoy about the track but overall it's a bit mixed. The closing track Keep The Devil Out mostly lives up to the promise of a triumphant closer. It kicks off with rumbling deep drums but ends up returning to a pretty typical sonic form for Torres. She makes use of an old songwriter cliché of wanting to go to heaven but not wanting to die and while she certainly breathes life into it I wouldn't say it has the highest impact. The best part of the song for me are the quietest where the muddling instrumental starts to fold over on top of itself and make for some spectacularly weird sounds.
There are a few songs on the record that start off really interesting but sort of taper off towards the end, or sometimes slow down in the back half entirely. Constant Tomorrowland channels some 2000's indie music with flavors of Wolf Parade or even Clap Your Hands Say Yeah in the instrumental palette. Torres goes for a bit clearer and more focused mix but it first with the songs ballad like structure. Aside from the slow fade out I like the track. Kiss The Corners is the opposite issue. It kicks off with a drum machine because why not Torres can do anything at this point. I'm surprised by how good Torres' reserved style sounds over the drums but the two coexist mostly without worry. The refrains on the track can be a little inconsistent with verses that feel longer than they are but the hook ties up everything really nicely making for a second half that is much more compelling than the first.
The one song on the record I don't care for much at all is Drive Me which features some classic rockisms like rumbling heartland guitars and anthemic drums. Unsurprisingly it has a pretty underwhelming second half but I'm really not that excited by the track in the first place.
Thirstier is good, like really good. It might be my favorite Torres album so far and at the very least stands up to Three Futures in terms of exciting sonic versatility and compelling songwriting. The record largely avoids any true low points and nearly every song brings something unique and compelling. While Torres' sound is still firmly based in the world of singer-songwriter music she is continuing to expand its scope, which is why I fear she once again won't be rewarded with the level of acclaim she deserves from fans of the genre that are reluctant to change. Regardless of how the general consensus of the album develops I have to say I like it quite a bit and I continue to see Torres as one of the best and most exciting voices in indie music. 8.5/10
I like this cover but it has some let downs. The colors are great and I love the analogous palette alongside the detail achieved through painting. The yellow bars on the sides are a little distracting and I think that if the painting was made to fill to the sides then the bar of yellow at the top would highlight it better. The text is legible and not a basic typeface which I also like a lot. 7/10
For more singer-songwriters check out my review of Juline Baker's Little Oblivions here
