TRIVIUM

Melodic Metalcore / Thrash Metal / Heavy Metal / Non-Metal • United States
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Trivium is a melodic metalcore / heavy metal band from Orlando in Florida, formed in 2000.

Trivium draws on a variety of metal styles, including metalcore, thrash metal, groove metal, traditional heavy metal, progressive metal and melodic death metal.

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TRIVIUM Discography

TRIVIUM albums / top albums

TRIVIUM Ember To Inferno album cover 3.25 | 12 ratings
Ember To Inferno
Melodic Metalcore 2003
TRIVIUM Ascendancy album cover 4.32 | 24 ratings
Ascendancy
Melodic Metalcore 2005
TRIVIUM The Crusade album cover 3.31 | 21 ratings
The Crusade
Thrash Metal 2006
TRIVIUM Shogun album cover 4.21 | 27 ratings
Shogun
Melodic Metalcore 2008
TRIVIUM In Waves album cover 3.75 | 14 ratings
In Waves
Melodic Metalcore 2011
TRIVIUM Vengeance Falls album cover 3.23 | 7 ratings
Vengeance Falls
Melodic Metalcore 2013
TRIVIUM Silence In The Snow album cover 3.85 | 9 ratings
Silence In The Snow
Heavy Metal 2015
TRIVIUM The Sin And The Sentence album cover 4.34 | 12 ratings
The Sin And The Sentence
Melodic Metalcore 2017
TRIVIUM What The Dead Men Say album cover 4.56 | 4 ratings
What The Dead Men Say
Melodic Metalcore 2020

TRIVIUM EPs & splits

TRIVIUM Trivium album cover 0.00 | 0 ratings
Trivium
Melodic Metalcore 2003
TRIVIUM Anthem (We Are The Fire) album cover 0.00 | 0 ratings
Anthem (We Are The Fire)
Thrash Metal 2006
TRIVIUM I Don't Wanna Be Me album cover 0.00 | 0 ratings
I Don't Wanna Be Me
Melodic Metalcore 2018

TRIVIUM live albums

TRIVIUM demos, promos, fans club and other releases (no bootlegs)

TRIVIUM Ember To Inferno (2 Song Promo Sampler) album cover 0.00 | 0 ratings
Ember To Inferno (2 Song Promo Sampler)
Melodic Metalcore 2003
TRIVIUM Anthem (We Are The Fire) album cover 0.00 | 0 ratings
Anthem (We Are The Fire)
Thrash Metal 2006
TRIVIUM The Rising album cover 0.00 | 0 ratings
The Rising
Thrash Metal 2007
TRIVIUM Built To Fall album cover 0.00 | 0 ratings
Built To Fall
Melodic Metalcore 2011

TRIVIUM re-issues & compilations

TRIVIUM singles (34)

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Pull Harder on the Strings of Your Martyr
Melodic Metalcore 2005
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Like Light to the Flies
Melodic Metalcore 2005
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A Gunshot to the Head of Trepidation
Melodic Metalcore 2005
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Dying in Your Arms
Melodic Metalcore 2005
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Entrance Of The Conflagration
Thrash Metal 2006
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Detonation
Thrash Metal 2006
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The Rising
Thrash Metal 2007
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To the Rats
Thrash Metal 2007
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Becoming The Dragon
Thrash Metal 2007
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Kirisute Gomen
Melodic Metalcore 2008
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Into The Mouth Of Hell We March
Melodic Metalcore 2008
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Down From The Sky
Melodic Metalcore 2008
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Throes Of Perdition
Melodic Metalcore 2009
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Shattering the Skies Above
Melodic Metalcore 2010
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Slave New World (Sepultura Cover)
Thrash Metal 2010
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Black
Melodic Metalcore 2011
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In Waves
Melodic Metalcore 2011
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Built to Fall
Melodic Metalcore 2011
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Brave This Storm
Melodic Metalcore 2013
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Strife
Melodic Metalcore 2013
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Silence In The Snow
Heavy Metal 2015
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Blind Leading The Blind
Heavy Metal 2015
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Until The World Goes Cold
Heavy Metal 2015
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The Sin And The Sentence
Melodic Metalcore 2017
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The Heart From Your Hate
Melodic Metalcore 2017
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Betrayer
Melodic Metalcore 2017
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Pillars Of Serpents (2019)
Thrash Metal 2019
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I Don't Wanna Be Me
Heavy Metal 2019
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Drowning In The Sound
Heavy Metal 2019
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Kill The Poor
Non-Metal 2019
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Coração Não Tem Idade (Vou Beijar)
Heavy Metal 2019
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Catastrophist
Melodic Metalcore 2020
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What The Dead Men Say
Melodic Metalcore 2020
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Amongst The Shadows & The Stones
Melodic Metalcore 2020

TRIVIUM movies (DVD, Blu-Ray or VHS)

TRIVIUM Reviews

TRIVIUM Ascendancy

Album · 2005 · Melodic Metalcore
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adg211288
A Journey Into Metal Part II

The tale of how I first became a metalhead through the most unlikely of sources, Metallica's St. Anger, has now been told. It is advisable that you if haven't read it that you do so now, so that this next chapter of the tale may be taken in context. And if you have read it, possibly read it again as I revised the first part quite considerably before starting this next piece of work, as many memories flooded back to me.

Okay, all caught up?

One can become a metalhead through just the one starting album. But that hardly completes our tale. Much like metal itself was started by Black Sabbath, it later become refined by the likes of Judas Priest and Rainbow with albums like Sad Wings of Destiny and Rising respectively. It was perhaps only by the time of the New Wave of British Heavy Metal that we might consider metal to have been fully formed as a genre. Or at least, the first genre of it, heavy metal itself. An individual metalhead can form much the same way. Although many will probably cringe at the comparison, St. Anger was to me what Black Sabbath was to the formation of the genre. Which means the second chapter of the story into metaldum is the refinement stage. The turning point, if you will, before one can consider themselves the person and metalhead they are today.

But first, it's important to get caught up.

I gradually picked up the rest of the Metallica albums. And my view of Metallica basically went that the first five were excellent. I did not know enough about metal at this point in my life that I even realised that the Black Album was considered a different genre to the first four. I knew all five sounded a lot better than St. Anger though, so I wasn't listening to that album too much. I did not think much of either Load or ReLoad, but I liked the covers album Garage Inc. I thought that was pretty fun. I think I may have listened to S&M once and have not bothered again to this day.

In the wider metal world Dimebag Darrel had been murdered on stage in 2004, which was a rather Earth shattering experience for both my best mate 'C' and myself who'd both got heavily into Pantera in this time. That kind of thing just didn't happen to metal guitar idols in our world. Looking back I believe we took his death quite differently. I seem to recall that 'C' started listening to Pantera more, especially poignant tracks like Cemetery Gates and Hollow. I, on the other hand, found it difficult to listen to Pantera's music with the same enthusiasm for a long time. Every time I put it on I just imagined Dimebag getting gunned down while playing. My young mind could not handle it. And so Pantera never really had the chance to become the stepping stone band that they really could have been for me. They were certainly the most extreme thing I was listening to at the time. They were the spark, at least, but not the true turning point. That was to come soon though.

The year was now 2005, almost two whole years since the release of St. Anger. This was my last year in secondary school. One thing that did happen when that school year came to a close is that a lot of the group mentioned in Part 1 drifted apart. I still see 'C' to this day, but sadly have lost touch with some of the others. I was glad to see the back of 'L' though. 'L' really took things too far in 2005 by taking the piss out of the Dimebag murder. I'd never given a fuck about what 'L' thought of the music I liked but that crossed a line. I like to think that a few others realised what a dick he was by that point, but probably not. 'L' was just one of those people that others gravitated toward and became sycophants to. I have no idea what happened to 'L' after school finished. And I don't much care. Wherever he is I don't expect his taste in music has improved.

Things had changed at home with the arrival of a computer with the Internet the previous year, but I hadn't yet discovered YouTube, which first launched in early 2005. I expect that discovery came in 2006, which I see as the pivotal year as that's when my household first got Sky TV and I found the Scuzz station that led me to many early interests in metal. But in 2005 itself things hadn't improved much. 2006 would also be the year I subscribed to Metal Hammer, so the amount of progress made between St. Anger and then was pitiful. Foo Fighters and Nickelback were still in heavy rotation. The former had released In Your Honour (which I know I'm spelling wrong but sue me I'm English and we invented the language!) and the other had released All the Right Reasons. It had a pretty angry song on it about Dimebag's murder that really resonated. The late guitarist even played on it by virtue of a sampled guitar solo. Both albums were well liked by yours truly at the time, so that's evidence that my taste hadn't really moved on all that much. I look back more fondly on one of those albums today than the other. See if you can guess which one. 2006 would also mark my discovery of Iron Maiden, who at the end of that year became my first proper concert. But for now we're stuck in 2005 and the album that is the ultimate subject of this story was released. Ascendancy by metalcore band Trivium.

Before Metal Hammer, Scuzz and YouTube changed everything, it was actually a guitar magazine, which wasn't supposed to be metal specific but often did seem to focus on it, that provided the much needed resource that my younger self required. 'C' also benefited from this. It is how we found Pantera. We liked the guitar track the magazine had put on the CD for Cemetery Gates so much that I bought Cowboys From Hell without ever hearing Phil Anselmo's vocals. Total Guitar's free CDs though were also notable for sometimes including album tracks and this was how I got my first taste of growling vocals. I don't recall if it was Avenged Sevenfold or Arch Enemy I heard first, but both were among such bands featured. However the first such album I bought was Ascendancy. I do not actually remember when or how I first heard Trivium proper. I suspect they were featured as an album track with Total Guitar, or else maybe I'm misremembering the dates of all this and I didn't discover this album until it had been out a while. It was about fifteen years ago after all. Either way, Total Guitar was certainly how I first became aware of Trivium. There was a lot of Trivium hype going around at the time which carried over into Metal Hammer and online, as those avenues were opened up to me. They got airplay on both Kerrang and Scuzz. An important factor that piqued my interest was their branding as the next Metallica. 'Next Metallica' quickly became apparent as something that people in the media just liked to say. Mastodon got saddled with it as well around the same time.

Ascendancy remains one of only a few metalcore records I ever bought. The others mainly either being also by Trivium or were bought in second hand shops for no other reason than they were that cheap, the best result of such pot luck being the discovery of Protest the Hero. I'm sure there's probably stuff of more worth out there than I've heard, I have in fact in more recent years been drawn to a couple of acts like Converge and Erra. There's something very different about those bands though than the kind of metalcore played by Trivium and other more household metalcore names of the time though like Bullet for my Valentine, Caliban and Killswitch Engage. And in general it became a genre I don't hold much love for. Much like with St. Anger and it's sound that most accept as alternative metal, which was the genre a lot of my early metal bands belonged to, discovered both before and after this album. But although I don't much care for these genres these days and don't actively seek them out, they were both very crucial stepping stones for me. Which is why like with St. Anger I still hold a lot of appreciation for Ascendancy.

There's a big difference with this album to that one though. It is actually really fucking good.

My metal peers of the time, by then not generally people I grew up with but people I was encountering online, on the then very new YouTube (which was a much different website much then with much better community features including groups that served as a minimalist forum (my first experience with such a platform)), heavily disagreed with the hype of Trivium. In fact they were so put out by Trivium (like they'd been personally offended by their existence) that they'd start dedicated hate channels for the band on YouTube and take every opportunity to dish dirt on them, about where they'd stolen this or that riff from and so forth. Yeah, the spirit of metal wasn't doing too well in them days. While the 'experienced' metalheads were bashing bands like Trivium for all they were worth, the kids were starting rap verses metal flame wars and shouting about TR00 Trash Metal (accurate spelling of the day). All in all it was a much more toxic community than was really healthy for the developing metalhead.

Much like with the initial disapproval of my folks and peers over starting to listen to metal with St. Anger, this reaction from the supposedly more in the know metal crowd only fuelled me to stand against them. Hey, I was a teenager, we're supposed to rebel against our elders and their beliefs. Trivium was a band that allowed me to do that. It also in hindsight scratched an itch for more extreme music that proved a catharsis over lingering anger over Dimebag's murder that even Metallica's early thrash couldn't scratch.

But I'm in my thirties now and I have say that I think those 'in the know' metalheads of the time were wrong about Trivium, especially over this album. While it's true that Trivium is not a band I return to often, I still think that Ascendancy is a very accomplished album from the then young band, perhaps even a classic of its era. An album that does possibly show adolescence in its song-writing, but honestly it's more forgivable here considering the age of the band at the time. Matt Heafy was only 19 at the time of the album's release and that was only a couple of years older than I was! Old school metalheads of the time probably thought the kids should be looking up to the same bands as them (and maybe now it's our turn we do the same to the next generation and don't even realise it) and so vehemently rejected Heafy and his band Trivium, but to us who were of that sort age he was a figure to look up to.

Tracks like Rain, A Gunshot to the Head of Trepidation and Like Light to the Flies still find their way into regular random rotation from my PC media player and other tracks less frequently so. Because the YouTube haters of the day I'm afraid I can't listen to Pull Harder on the Strings of Your Martyr with a straight face any more because of a rather infamous misheard lyrics video which last time I checked could still be found on YouTube.

Unfortunately Trivium probably took the whole 'next Metallica' thing to heart, so their next album was The Crusade and it seemed designed to imitate Metallica as much as possible, which ultimately just gave fodder to their haters. But for me personally Ascendancy was the album that opened me up to extreme metal, broadened my horizons and opened the floodgates for all kinds of exciting new genres of metal that I began getting exposed to the following year during my gap between school and college. Like with St. Anger, I'll always hold a special place in my heart and collection for it. If it wasn't for this particular would I have become interested in other metal genres like death metal and black metal? Well probably eventually, but this album sure seemed to speed up the process. I was certainly starting to check those out on that first computer at home soon after this. It was the album that spurred me onward. I found genre after genre from that point on. Progressive metal through Dream Theater. Folk metal through Cruachan (one guy I met on YouTube was so insistent that I listen to Cruachan that he emailed by every song from Folk-Lore track by track - highly illegal of course, but Cruachan remains my favourite folk metal band and I own every album they've made so I think they'll forgive us). Black metal through Immortal. I could list every genre with a key band and it all branches out from Ascendancy, another album that was often maligned, although not to the extent of St. Anger.

This concludes the second chapter of this tale and I think it also has to be the last. The branching out starts here. I began to become fully formed as a metalhead. I'm still living the third chapter of this trilogy. Some probably thought I'd grow out of metal music and that would bring the story to a close.

I don't think it's going to happen.

TRIVIUM What The Dead Men Say

Album · 2020 · Melodic Metalcore
Cover art Buy this album from MMA partners
Kingcrimsonprog
Florida’s Trivium have been on a bit of a career high recently, with their album-of-the-year worthy previous album The Sin & The Sentence introducing the best drummer of their career and being the best collection of songs since their breakthrough. Momentum was high, as were expectations for their ninth album, 2020’s What The Dead Men Say.

For me, The Sin & The Sentence is basically the best album the band have ever released, and not even by a slim margin. It was a highlight of the whole subgenre. This album, while maybe not just as vital, breath-taking and relentless as that was, is definitely a worthy follow-up. Like the previous album, it has an absolutely perfect production job from Josh Wilbur, tasteful minimalist artwork, jaw dropping drums from Alex Bent and a musical direction that combines all the various aspects of all the different things they’ve tried over the years and pushes it in new directions too.

Whatever era of Trivium you like, be it the melodic and classic metal sounding Silence In The Snow style, the commercial Crusade style, the catchy and simplified Vengeance Falls style, the heavy Ascendancy & In Waves style… there’s a bit of everything, with all the good points and none of the bad. Its smooth, flowing, tasteful, and punchy. Its not cheesy, disjointed or boring. Basically, it’s a continuation or the absolute rage and perfection of the Sin & The Sentence style (although maybe a bit more melodic, with a few less blast-beats. I saw someone on social media call it Silence In The Sentence and I think that fits quite nicely).

There are some huge crunchy riffs, some excellent virtuoso solos and brilliant both harsh and clean vocals. Ever since Silence In The Snow, Matt Heafy’s vocals have been a whole other level, he’s as melodic and powerful as a Traditional Metal hero, and emotive without being cheesy or sacharine. There are some damn memorable choruses here. Its also succinct, with no filler, and the songs have complexity without overstaying their welcome.

Highlights include the harsh ‘Amongst The Shadows & The Stones’ the more direct and catchy ‘The Defiant’ and best of all, ‘Sickness Unto You’ which no Trivium fan should be without.

In the past, the band had a lot of detractors for a range of different reasons, suspicious elitists who didn’t like the youthful band wearing Overkill t-shirts and playing Thrash riffs in with their Metalcore, young fans who didn’t understand the band growing and evolving with each album, fans of one era but not another. Its really nice that now the majority of people are stopping having to be defensive about liking Trivium. When the material is of this quality, you just can’t cross your arms and deny them anymore. This album is superb, and if you don’t check it out, you really are missing out.

TRIVIUM The Sin And The Sentence

Album · 2017 · Melodic Metalcore
Cover art Buy this album from MMA partners
Kingcrimsonprog
Let me say this quickly before you stop reading. This album is a fucking masterpiece. A gigantic game-changing triumph we didn’t expect! This is hands-down the best album of their career and a new high for the subgenre. An almost from out of nowhere about-face turn, skyrocketing them from diminishing returns to champions. No, I wasn’t expecting it either, but go with me on this…

Right, still reading? Ok, with that out of the way. Lets do the review.

Trivium have had a funny old career. Their output has been really varied. They’ve done some really heavy and some really melodic stuff. They’ve done some technical progressive stuff and some simplistic groovy stuff. They’ve gone brash and brutal and they’ve gone mature and commercial. Not only has their music been really varied but so have the reactions from both their fan-base and the critics for every album. Every new album seems to sees them pick up new fans they’ve never had before and lose diehards who hate the new material or direction. Critics in one territory or from one background may hate the early stuff and love the mid career stuff and its vice versa with critics from another territory or background. Some albums are beloved in Germany but forgotten in the UK. Some are cult classics in America but underrated gems in Europe.

Me, I’ve liked every single one of the bands albums. A few of them I’ve loved. Like the majority of fans I’d say the best three are Shogun, In Waves and Ascendancy. I also have a huge soft spot for Silence In The Snow too due to its Classic Metal and Power Metal vibes but I understand how some fans of the heavier or techier stuff aren’t into that one.

This album, even with all that said, is just straight up and unarguably in another damn league. The energy in the performances; the fantastic satisfying crunchy production, the best and most diverse vocals of their career, the best drummer they’ve ever had hands-down… these are all factors that elevate this album above the rest of their discography. As are the songs themselves.

The songs are some of the most diverse, inventive and interesting songs they’ve written musically and structurally to date. They mix a vast array of styles that the band have dipped their toes into over the years and a lot of new stuff to. They have some of the band’s most interesting and memorable riffs and solos to date. They take twists and turns you don’t expect and catch you off guard. They showcase all of the musician’s talents at times but leave space for the lyrics and vocals to take center stage at other times. Sometimes they’re haunting and beautiful and sometimes they’re furious and heavy as balls, just riffing the fuck out of a big groovy riff.

Do you remember back when Machine Head were new and they were the cool new thing, and then they altered their style and tried new vocal techniques and production styles and lots of fans jumped ship but then The Blackening came out, all full of energy and anger and just plain amazing songs and suddenly tore everyone’s heads off and now Machine Head are bone-fide legends? This album is Trivium’s equivalent of The Blackening. It doesn’t sound anything like it, but that step-up in quality and energy and absolute revitalization of their career? That’s the same!

A lot of people online and in print have been going nuts over The Sin And The Sentence and justly so. In a recent interview Trivium mainman Matt Heafy said that the band decided they would have to write the best album of their career or else give up because they are always second guessing themselves and changing their styles and going through as many drummers as Spinal Tap. Well, Trivium ‘aint giving up now, because this is unequivocally their best ever work. Maybe its because Paolo is writing more of the songs than Matt. Maybe its because they are letting some of their Black Metal and Skate Punk influences mix into things instead of trying to purely do a mix of Groove Metal, Thrash Metal and Classic Metal like their original mission statement. Maybe new drummer Alex Bent just injected a new lease of life into them like Todd La Torre did to Queensryche. I don’t know why, but this thing is just on a whole other level.

Its quite a diverse album that really doesn’t sit in any one space for too long. ‘Betrayer’ mixes Ascendancy-era brutality with Pennywise style Punk and a happy Power Metal lead guitar sheen, but ends up with blast beats in the middle. ‘Thrown Into The Fire’ is the darkest and heaviest thing they’ve ever done at times and has undertones of Dimmu Borgir, but then at other times is just an absolute riff and solo school that…ok maybe this one does sound a bit like The Blackening actually. ‘The Wretchedness Inside’ is the kind of thing they were doing on the heavier deep-cuts from In Waves mixed with some jaunty Prong-style disco beats and a guitar effect than almost recalls Damageplan on their weirder songs like ‘Blunt Force Trauma’ or ‘Explode,’ it also has a strange midsection that remind’s me of Slipknot’s ‘Custer’ but then it has one of the most satisfying and heavy riff-out moments like Messuggah or something and that transitions into really pretty, clean Maiden-esque guitar lines. ‘The Heart From Your Hate’ is probably the most conventional song on the album, and it mixes their ‘In Waves’ and ‘Brave This Storm’ style staccato riffing with their ‘And Sadness Will Sear’ style mature The Black Album-worshiping stuff.

For fans of the band’s heavier side ‘Sever The Hand’ pretty much alternates between especially crushing groove metal riffing and pissed off Thrash Metal sections throughout. Fans of the band’s cleaner more commercial side won’t be disappointed either. Although this is one of the band’s heaviest and most progressive and technical albums yet, there’s still some stuff to get into if you prefer the heart-throb-Heafy stuff they previously showcased on ‘Dying In Your Arms’ and the like. ‘Endless Night’ for example lives in that sort of territory. Its just got a hell of a lot more energy, verve and attitude to it. The drums and background guitars give it a cool sort of Coheed & Cambria quality rather than just radio rock.

I’d try to pick out highlights but the album doesn’t sit in any one place long enough (hell the songs don’t either) to really establish a good version of it. I wouldn’t cut a single track and I’d like to see each of them live. Its all great. Its all interesting and diverse. That’s “diverse,” yet really cleverly constructed and naturally flowing though, not wacky-“diverse” were stuff that doesn’t fit is just smashed together. This is an album you can listen to over and over again and find new depths, new nooks and crannies. ‘Oh hey I didn’t notice that cool drum fill before’ sort of stuff. Not “why are they playing a bassoon over old-school Tampa Death Metal riffs during their Lady GaGa cover?” sort of stuff.

Its hard to hand out a man of the match award either. Matt’s voice is so much better than its ever been (check out ‘Beauty In The Sorrow’). Paolo’s songwriting is so much better than its ever been. Corey’s guitar solos are just as good if not better than they were on the glorious guitar-line fueled Silence In The Snow. Oh yeah, and there’s Alex Bent, whose drumming absolutely makes the album. More than the cherry on top its almost the whole goddamn cake.

Overall, the Sin And The Sentence is an utter masterpiece. If you like Trivium do not miss out on this at all. If you used to like them and stopped, don’t you dare miss out on this one either, this is the one to get back into them on, seriously. If you’ve never listened to them I strongly urge you to change that. I’d even go as far as to say “If you only get one Trivium album, make it this.” This isn’t just a good Trivium album, or a good album, this is a game-changer.

TRIVIUM The Crusade

Album · 2006 · Thrash Metal
Cover art Buy this album from MMA partners
Unitron
The best album Metallica never made?

After releasing Ascendancy, which is now regarded as a classic metalcore album, the band decided to mostly abandon the metalcore sound in favor of thrash metal. Trivium were certainly no strangers to playing thrash, as Ascendancy featured quite a nice blend of metalcore, thrash, and melodic death metal. However, the band apparently never listened to bands that screamed so thought, "Why should we?". So, the band came to thrash.

While this is mostly thrash, the band does draw on classic heavy metal and groove metal at times. Personally, I find it best when they combine thrash with classic heavy metal or groove. A couple great examples are "Anthem (We are the Fire)" and "To the Rats". The former is a great fist-pumping metal anthem, and the latter is a groovy thrash track sounding like a mix of Metallica and Pantera. "Becoming the Dragon", despite sounding a bit too Metallica at times, is certainly also one of the best.

Now, the reason I feel like those aforementioned songs are the best is because they don't sound like pure Metallica worship, which is the majority of the album. Hell, they even have an eight-minute instrumental in the vein of Metallica's instrumentals. Now, I love Metallica and thrash metal is my favorite genre of music, but I'd be lying if I said it isn't annoying when a band sounds almost exactly like another. I kind of have the same issue with Alter Bridge, great musicians, but they just sound too similar to Ra. I'm sure if the vocals were a bit different, it wouldn't be as much of an issue, but vocalist Matt Heafy sounds exactly like James Hetfield in his prime.

However, despite the album sounding too much like blatant Metallica worship at times, there is stuff to enjoy here. If you can separate the two, there are some absolute killer tracks here, such as the more unique songs that I mentioned. If you like thrash and can take some hero veneration, this isn't a bad choice.

Hope you found this review helpful, feel free to comment!

TRIVIUM Silence In The Snow

Album · 2015 · Heavy Metal
Cover art Buy this album from MMA partners
Kingcrimsonprog
I have a lot of love and respect for Trivium; the Floridian Metal band released their seventh full-length studio in 2015, entitled ‘Silence In The Snow’ on Roadrunner Records and it is one of the best in their discography. Words that come to mind when I think of Trivium include ‘Hard Working’ ‘Consistent’ and more and more these days ‘Underrated.’

‘Silence In The Snow’ sees the band diversifying their sound a little after their previous two albums arguably started to head too much down one particular aspect of their sound. This album experiments more with dynamics, with fast and slow, with cleaner singing and changes the primary focus from rhythm to guitar heroics. The clean slick production by Michael Baskette (Slash/Alter Bridge/Tremonti), the tasteful minimalistic art direction and even the lyrics all gel into one really solid whole. On paper it should be bland, but in practice it works remarkably well.

Musically, there’s a lot of guitar solos, a lot of lead lines, a few switches to acoustic guitar. There’s a few surprises too, such as the one Djenty moment in the middle of ‘Beneath The Sun’ and a sort of Power Metal moment at one stage as well. There’s even a guest appearance from Ishan on the intro track. Highlights include the moody ‘Pull Me From The Void,’ the speedy ‘The Thing That’s Killing Me’ and the excellent single ‘Blind Leading The Blind.’

The album features some of the best and most impressive and mature singing in the band’s career, in a way that feels natural and not like a calculated move. Trivium may have received an arguably unfair bit of a backlash last time they did the ‘we’re done with growling’ thing ten years ago, but unless you’re shallow and just plain out looking for drama you wouldn’t even notice here, the only thing you’d notice is the quality of the singing. Its not an exciting selling-point in and of itself… but when you hear it in context, and consider how perfectly crafted the material is as a whole, the record ends up feeling damn pretty strong and creatively viable.

Overall; To me, there’s something about the songwriting that feels a bit more considered. A bit less auto-pilot and a bit less filler. I like everything the band have put out, but this to me is one of their better records. More than three quarters of this album I’d love to see live, and would put on any Trivium compilation or playlist. If someone said they were going to check out the band and asked me if this album was a good starting point I wouldn’t jump out and say ‘start elsewhere.’ If you like the band, this is a fine record and absolutely worth your money, your time and your attention.

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