Dustin Kensrue – Carry The Fire

As someone that never truly warmed up to Thrice save for the folk-toned Earth volume of the four part Alchemy Index, I’ve always maintained that frontman Dustin Kensrue’s post-hardcore association has overshadowed his immense creativity and potential as a songwriter.  Much like how Dallas Green outgrew Alexisonfire and blossomed under The City And Colour, the scope and freedom of Dustin Kensrue’s solo output vastly eclipses that of Thrice’s traditional focus (ignoring Major/Minor’s breakthrough divergence).

But it has also been somewhat scattered.  Having recorded an acoustic mini-album back in 2006, a Christmas album in 2008, and a Christian worship album in 2013, his previous projects all satisfied particular niches rather than presenting a holistic portrayal of Kensrue.  That’s where Dustin’s fourth offering and latest full length, Carry The Fire, isn’t afraid to shine the spotlight on the man behind the music and reach for previously unexplored heights.

Carry The Fire marks Kensue’s most widely relatable product to date.  With a swanky hopping piano and an almost jazzy instrumental smoothness, opener “Ruby” presents Dustin in grand fashion.  Kensrue’s vocal finesse flows from warm rasp to exquisite detail and substantial force.  It’s a familiar and comforting voice that balances elements that would doubly satisfy the underground and mainstream.  Tracks like “Back To Back” dip slightly into 90’s alternative (dare I drop a Chris Cornell comparison?) territory whereas Kensrue’s folk heart emerges in “There’s Something Dark’s” light acoustic plucking (Twin Forks anyone?) with quivering vocal vulnerabilities that seep out in his confession that “there’s something dark inside of me.”  Nuances like slight vocal cracks and emotive harmonica solos elevate such performances beyond their simple elements.

But many of Carry The Fire’s furthest reaching arms could also easily fill a stadium.  For instance, “Death Or Glory” channels the old school alt/country confidence of Lucero and Arliss Nancy with particular attention flowing from an invigorating and engaging chorus anthem.  Meanwhile, “In The Darkness” taps into something of an 80’s jangle with a few guitar distortion tricks and fast pulsing riffs (this one brings to mind The Ataris’ iconic cover of “Boys Of Summer”).  Even the largely instrumentally vacant, piano driven “Of Crows And Crowns” could captivate inspire an audience of melodically swaying smartphone screens.  

And the list of knockouts goes on.  Carry The Fire is one of those rare albums in which every song inspires, connects and transcends.  For all of the generational and stylistic diversity, Kensrue creates his most successfully and cohesive statement to date.  As an aside, Kensrue’s core Christian values shape much of the imagery and hint at his beliefs, but the album’s core themes are much less direct and more universally applicable, ensuring that fans from all walks of life can connect and fall in love with Carry The Fire.