The fifth TORRES album, Thirstier, finds indie artist Mackenzie Scott breaking new ground, expanding her territory into a more excited and positive place. The quiet, contemplative sound that made up a large part of earlier TORRES work is still there in smaller doses. As a whole, Thirstier is louder and more vibrant, with more upbeat tracks and a greater reliance on guitar riffs.
Recorded in the fall of 2020, the album responds to the isolation and terror of the global pandemic with a new appreciation for life, a celebration of the little things once taken for granted.
Screeching feedback opens the album, the first few seconds of “Are You Sleepwalking” announcing a different kind of TORRES album. Scott layers crunching guitars as she sings of a desire to rekindle what was lost. “Some things have gone missing; I promise we’ll find them again,” she sings. In the choruses, the wall of distorted power chords dissipates, replaced by an electronic synth groove. Such dynamic shifts appear throughout the album, a common TORRES trait owed to her appreciation for the drama of musical theater.
There is a sense of optimism throughout Thirstier, Scott focusing on what has been achieved and celebrating progress rather than dwelling on areas where her life, and the world, falls short. “It’s not that we’re there but we’ve nearly arrived, a future before us of highest design,” she sings on the shimmering pop of “Constant Tomorrowland.” The title track is a power ballad that flows from quiet arpeggiated chords to booming choruses. “The more of you I drink, the thirstier I get,” Scott croons.
The album was co-produced by Scott along with Rob Ellis, beset known for his work with PJ Harvey. Scott plays a number of instruments, including all the guitars, much of the synthesizers, and even some appearances on flute, mandola, bouzouki, and autoharp. The sound is fleshed out by several session musicians, most notably Rob Ellis on drums, percussion, and backing vocals.
Even with the more rock-oriented sound, Scott weaves catchy melodies into heavier moments. The heavy alternative guitars of “Drive Me” are met in the choruses with piano, acoustic strumming, and Scott’s melodic sing-along vocals. “There’re so few like you,” she sings. “Better than a muse; burns slower than a fuse.”
“Hug From a Dinosaur,” with its loud-soft dynamics, driving baseline, and aggressive guitars, has a strong grunge influence, though that is undercut by a saccharine synth line. Soft verses in “Keep the Devil Out” explode into furious choruses of abrasive guitars, pulsing bass, and industrial synth.
Such a combination of rock and melody could be a detriment — Thirstier is too melodic and hooky for a good heavy album and too heavy for a good pop album. But viewed as a hybrid album devoid of any specific genre, it’s a solid alchemy of Scott’s influences.
