Vheissu

Kensrue found the phrase Vheissu in the book V. by Thomas Pynchon. Breckenridge explained that Kensrue "thought it was a really pretty sounding word ... It's just kind of thrown out there".[1] Breckenridge said the title was also the name of a "gateway at the bottom of Mount Vesuvius to a bunch of tunnels into the underworld."[13] The album is a song cycle revolving around the themes of optimism and hope, despite continuous darkness.[2] Almost half of the record features direct quotations from the Bible; heavy usage is heard in "For Miles".[15] The record is characterized by many critics as being a rather experimental deviation from Thrice's post-hardcore roots, with the implementation of elements such as piano melodies ("For Miles") and electronica ("Red Sky").[6] Parts of it recalled the post-hardcore stylings of At the Drive-In,[16] with Radiohead-esque atmospheric transitions[17] and guitarwork in the vein of Denali.[18] Some of the tracks have mid-tempo arrangements[19] with the loud/quiet dynamic of Thursday and Deftones,[20] and brooding mood of the Cure.[2]

Kensrue made a conscious effort to scream less during the tracks, doing so only when he felt singing wouldn't convey the feeling as intended.[2] Breckenridge said they incorporated the use of various keyboard and synthesizer instrumentation. He added that they were "work[ing] on the dynamic between a really mellow part and a really heavy part."[6] Despite the album's heavy sound, the members no longer listened to music in that vein. They dove deeply into the final two albums from Talk Talk, and a substantial amount of Radiohead.[2] Over the previous years, the members had been expanding their musical tastes: Riley Breckenridge with electronic artists such as Squarepusher and Aphex Twin, Teranishi and bassist Eddie Breckenridge getting into jazz, and Kensrue listening to Tom Waits.[6] As all of the members contribute music, the parts are influenced by different forms of music. Riley Breckenridge said it was a "really cool challenge" trying to make these separate parts into cohesive pieces of music.[4]

"Image of the Invisible" features Morse code, which spells out the album's title,[13] done by Kensrue.[12] Breckenridge said the song was written before they had the idea of adding Morse code. After looking into incorporating it with programming, they found out it had "a really cool syncopation with the beat" in the song.[13] The track is led by gang vocal,[21] in the style of Comeback Kid,[22] which are heard throughout it.[21] Though the track continued to the sound of Artist,[23] it was compared to an Ian MacKaye-fronted Linkin Park.[20] "Between the End and Where We Lie" sees Kensrue toy with programming, Teranishi with a Rhodes piano and Breckenridge with a synthesizer.[12] "The Earth Will Shake" starts off as an acoustic blues track,[23] complete with a Hammond organ played by Teranishi,[12] before shifting into loud guitars, with Kensrue's vocals breaking into screams.[23] The song's breakdown features an a cappella[18] chain gang chant. The group used the upstairs living area of the recording studio, by stomping on the floor and yelling, to recreate the chants.[13] The track sees the group playing with different time signatures, reminiscent to a darker iteration of Oceansize[15] and tonality of "Big Riff" by Cave In.[18] It tackles the theme of prison inmates yearning for a jailbreak; it drew influence from poetry by C.S. Lewis and the field recordings of musicologist Alan Lomax.[24]

"Atlantic" begins with the sound of a Rhodes piano, played by Kensrue and Teranishi,[12] with Kensrue crooning over a soft electronic beat,[17] which is done by Teranishi and Breckenridge (the former on a synthesizer; the latter on a bass synthesizer).[12] The chorus incorporates acoustic guitar, synthesizers and a glockenspiel.[17] The track is the only one on the release not to feature Teranishi playing any guitar.[12] "For Miles" starts with a piano part[21] played by Teranishi[12] and Kensrue singing,[23] which drew influence from Miles Davis.[18] Programming by Teranishi is heard[12] as it transitions into a post-hardcore number[17] with progressive elements.[23] A portion of "Hold Fast Hope" makes reference to the Bible story of Jonah;[21] it includes a Moog synthesizer part played by Osbourne.[12] While on tour in Japan, Teranishi bought a music box. He subsequently wrote the song "Music Box" based on musical notes made by the box, which can be heard throughout it.[13] He added a Rhodes piano, Hammond organ and synthesizer alongside it.[12]

"Like Moths to Flame" opens with a piano intro[25] played by Teranish,[12] before shifting into a heavy track in the vein of Isis.[25] It featured synthesizer parts from both Eddie and Riley Breckenridge. Teranishi also incorporated the music box in "Of Dust and Nations", which also saw him add synthesizer, alongside Eddie Breckenridge's bass synthesizer.[12] On "Stand and Feel Your Worth", Kensrue's vocal was compared to Further Seems Forever frontman Jason Gleason.[25] It saw Teranishi incorporate Rhodes organ, a synthesizer, and programming, which was also done by Riley Breckenridge.[12] Kensrue said "Red Sky" was about how people deal with issues, "but in the end things are redeemed and there's a resolution".[26] It is driven by piano,[15] which is played by Teranishi,[12] and drums during the verses, with delayed guitar parts[15] and programming by Osborne.[12]

The album peaked at number 15 on the Billboard 200 chart.[48] It also charted at number 17 on the Digital Albums chart.[49] Outside of the US, it charted at number 119 in the UK.[50] By late 2005, it had sold over 90,000 in the US[38] By February 2006, the album had sold over 160,000 copies in the US,[39] and over 184,000 copies since May.[44] "Image of the Invisible" charted at number 24 on the Mainstream Rock chart.[51]

Vheissu received highly positive critical reviews and is now commonly referred to as Thrice's best album due to its complexity and experimentation.[52][53] Noisey referred to it as "the sound of a post-punk band, once preferred by SoCal mall rats, attempting to thwart expectations and break free by incorporating piano melodies, atmospherics, chain gang chants, Japanese folk, and high-concept Pynchon-inspired artwork from Dave Eggers."[54]

Sputnikmusic listed it at number 28 on their list of the Top 100 Albums of the 2000s.[55] It was listed at number 20 on Paste's list of the 25 Best Punk Albums of the 2000s.[52] Kerrang! placed it at number 10 on their Top 20 Albums of 2005.[56]