The Artist in the Ambulance is the third studio album by American rock band Thrice. It was released on July 22, 2003 through Island Records, becoming their first release on a major label. The band released their second studio album The Illusion of Safety in February 2002; by July of that year, they were writing material for their next album. Recording sessions were held with producer Brian McTernan at Bearsville Studios in Bearsville, New York; Salad Days Studios in Beltsville, Maryland; and Phase Studios in College Park, Maryland.
Following tours of the United States and Europe—the latter as part of the Deconstruction Tour—"All That's Left" was released as the lead single from The Artist in the Ambulance. Thrice briefly appeared on Warped Tour before the track "Under a Killing Moon" was released on a split seven-inch vinyl single with a track by Thursday. Thrice appeared at the Reading and Leeds Festivals in the United Kingdom before embarking on a European tour supporting co-headliners Rancid and Alkaline Trio. Thrice closed 2003 with another UK tour, and a US tour with Thursday and Coheed and Cambria. Thrice also toured Japan, Australia and Europe in 2004, leading into US tours; one with Poison the Well and Darkest Hour, and one supporting Dashboard Confessional on the Honda Civic Tour.
The Artist in the Ambulance received generally positive reviews from music critics, many of whom highlighted Thrice's musicianship and the quality of the songwriting. The album peaked at number 16 on the Billboard 200 chart, becoming Thrice's first entry on that chart. It topped the Top Internet Albums chart, and peaked at number 109 on the main UK Albums Chart and at number nine on the UK Rock Albums Charts. "All That's Left" appeared on three Billboard component charts; its highest peak was number 24 on the Alternative Airplay chart, on which "Stare at the Sun" reached number 39. A re-recorded version, featuring various guest vocalists, appeared in 2023.
Background In June 2000, Thrice released their debut album Identity Crisis through independent label Greenflag Records. Sometime afterwards, Louis Posen of Sub City Records took an interest in Thrice and re-issued the album. The band's second album, the Brian McTernan-produced The Illusion of Safety, followed in February 2002. Prior to this, Island Records' A&R member Robert Stevenson became interested in Thrice and saw them perform at Chain Reaction, a venue in California. The members of Thrice liked Stevenson's appreciation of the punk rock scene; he had grown up listening to New York hardcore bands and had previously signed Rival Schools. Thrice came to the attention of major labels such as Capitol, Columbia and MCA Records. Thrice toured with Anti-Flag; before or after every show on the tour, Thrice had a meeting with a representative of one of those labels. Around this time, the band was also being courted by music producer Rick Rubin.
Thrice's manager Nick Bogardus spent time at Time Bomb Recordings, which helped him make contact with Epic Records A&R member Pete Giberga. Giberga, who also enjoyed New York hardcore, said while Epic had no interest in signing Thrice, he advised Bogardus and the band which A&R people were worth talking to. In June 2002, Thrice signed to Island Records and formally announced the signing the following month. Their recording contract was for up to three albums; vocalist and guitarist Dustin Kensrue said they "felt it was the right move" for the band and would allow them to "make better music and be on the road more". Bassist Eddie Breckenridge said the label had bought the rights for the band's next album from Sub City. The same month, Thrice spent time at home writing material for their next album. The band then performed on the main stage at Warped Tour before playing club shows in October and November 2002.
Recording Thrice were adamant about working with McTernan again, whom they had enjoyed working with on The Illusion of Safety. The Artist in the Ambulance marked the first time McTernan worked on a major label release, which Eddie Breckenridge said made it "really stressful" for him. Drummer Riley Breckenridge said the band did not have much time to write new material after The Illusion of Safety because they were constantly on tour. They were under pressure to write new songs, having only brief ideas by this point, and were given two months to write material for their upcoming major-label debut. McTernan visited the band at lock-outs in southern California for pre-production work on material. Thrice wanted to expand their musical palette but were unable to experiment due to the rushed nature of the process, since they were on tour constantly and did not have enough time to write. For two weeks, drums were recorded at Bearsville Studios in Bearsville, New York, with engineer Michael Barbiero and Pro Tools operator Matt Squire; Bill Synan assisted the pair.
Thrice then went to Salad Days Studios in Beltsville, Maryland, for six weeks across March and April 2003 to record the rest of the instruments.Recording timeframe for The Artist in the Ambulance:
Breckenridge felt they were not prepared upon entering the studio, saying that he would often be writing his bass parts as he was recording them, which increased the pressure for McTernan. Kensrue had a few disagreements over lyrics with McTernan, who felt "really maxed out" while in the studio because he wrote most of them there. Having no time to rest, whenever Kensrue came up with a lyric, McTernan "would know that it wasn't the best I could do, and he would tell me". Guitarist Teppei Teranishi said they used to "just throw songs together", but for this album they spent more time on arranging the songs. Thrice struggled to record guitars for "Under a Killing Moon" because of problems with tuning, resulting in them re-recording the guitars.
According to McTernan, Thrice added a megaphone to the second verse of "All That's Left" "literally 10 minutes before we had to fed-ex the song to be mixed". The strings on "Cold Cash and Colder Hearts" and "The Melting Point of Wax" were recorded at Phase Studios in College Park, Maryland. Charlie Barnett arranged and conducted the session, which involved musicians Marcio Bothello (cello), Osman Kivrak (viola), Teri Lazar (violin), Chris Shieh (violin) and Greg Watkins (double bass). Andy Wallace mixed the recordings at Soundtrack studios in New York City with assistance from Steve Sisco and Pro Tools operator Josh Wilbur. Howie Weinberg mastered the recordings at Masterdisk in New York City. The songs "Motion Isn't Meaning" and "Eclipse" were recorded during the sessions but were left off the finished album.
Composition and lyrics
The Artist in the Ambulance has been classified as melodic hardcore, post-hardcore, emo, and pop screamo. It drew comparisons to the work of Blindside. Jon Wiederhorn of MTV said the album blends "thrash metal, hardcore, emo and pop punk often within a single song". Fuse called the album a "post-hardcore landmark, one that coasted into the lanes of math-metal and, yes, even pop-punk just enough to appeal to a rainbow of fans". Teranishi called The Illusion of Safety the "anti-verse-chorus-verse record"; for The Artist in the Ambulance, they "realized that if something's good, it might be worth bringing back a second time".
Breckenridge said they felt pressured by their fans to keep the same sound as their previous album, as they were worried about alienating their listeners, which stopped them from expanding their sound. He mentioned that the biggest chance they made was writing songs around vocal melodies, instead of amalgamating various guitar parts and adding vocals over the top, which allowed them to switch between the mellow and heavy sections much easier. The album's title was taken from a short story in an issue of Burn Collector by Al Burian of Milemarker; Kensrue said it "basically [asks] the question, 'Do we, as artists, have the responsibility to do something more than ... entertain?'" Riley Breckenridge said they were reading McTernan's copy of it during their spare time in the midst of The Illusion of Safety sessions.
Tracks The Artist in the Ambulance opens with "Cold Cash and Colder Hearts", an aggressive track that showcases Teranishi's guitarwork and Kensrue's vocals. It is the result of blending two songs together; Teranishi said the "spooky" section, which refers to the part with strings and palm-muted guitars, was initially played on a guitar that was enhanced with an auto-volume delay pedal. They switched it to a heavier version that was reminiscent of the work of Isis, before settling on the final version. McTernan said Barnett's string section "really took it over the top" with the instruments doubling the sound of the palm mutes. Eddie Breckenridge originally wrote the track's section as part of an aborted 10-minute track. Thrice unsuccessfully attempted to put the section in every track before leaving it in "Cold Cash and Colder Hearts".
"Under a Killing Moon" switches between older forms of metal and hard rock. The band wanted another heavy track; Teranishi wrote the verses' guitar riff during a practice session. The song's ending guitar riff is slower in tempo because it had been played to a slow beat from Riley Breckenridge, and was later sped up and incorporated into the track. Both riffs were influenced by the sound of Killswitch Engage, to whose work Teranishi was listening on the days he wrote the parts. The lyrics initially worked well with melodic chord progressions but did not work when the band worked on the song during a practice session. Kensrue then decided to scream the words, which he felt worked better with the final song. "All That's Left" is the result of the band's desire to experiment with more-traditional song structures with The Artist in the Ambulance; its chorus section bordered on space-esque progressive rock before being reworked. Kensrue rewrote the song's lyrics around eight times and said the final version talks about the "strength we have in our youth and the things we trade for that".
"Silhouette" includes a section Kensrue wrote in time, which Eddie Breckenridge attempted to emulate. His part was in and had to be re-edited to keep it in time with Kensrue's part, facilitating the addition of extra notes. Its lyrics originate from the band's first tour; Kensrue sent them to his girlfriend on the back of a postcard. He wrote them on a painting he made for her, and later reworked them into "Silhouette". The bassline of "Stare at the Sun" was initially written in a mathy, chaotic metal style that Teranishi tried to merge with "The Abolition of Man" before spinning it off into a new track. The drums were originally played in time at 5:7 intervals before being simplified to allow Kensrue to sing over them. As a result of this, the bridge section had to be scrapped and a new one written. The beginning of "Paper Tigers" came from jamming sessions that occurred between Eddie and Riley Breckenridge following practice sessions. In its original form, the song was a metal and hardcore punk track, which was then merged with another part that became its final-chorus section. Kensrue wrote the lyrics for a piano song that was later scrapped, and added them to "Paper Tigers" towards the end of recording. "Hoods on Peregrine" is a combination of a guitar riff Kensrue wrote during practice, a 1970s-like bass part from Eddie Breckenridge, and a guitar riff Kensrue wrote during one of the coldest nights he had experienced in Omaha, Nebraska. Discussing the lyrics, Kensrue said when writing The Artist in the Ambulance, the "media was out of control. Don't take anything at face value cause everyone's got an agenda."