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Rock - Released October 8, 2013 | Roadrunner Records

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Rock - Released April 24, 2020 | Roadrunner Records

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Rock - Released October 20, 2017 | Roadrunner Records

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Rock - Released August 3, 2011 | Roadrunner Records

By and large, the heavy metal community can be counted on to listen with open ears and form individual, unbiased opinions, but some prejudices still run deep, and the members of Trivium have been on the receiving end of several of these throughout their career. Cursed by their own precociousness, musical malleability and, most problematic, their earnest ambition and self-confidence, the quartet has quite simply been blacklisted by a considerable swathe of listeners, led by self-appointed officers of the heavy metal poseur police, and helped none by their contract with leading heavy metal label Roadrunner, whose very success can ironically become an albatross around its bands' necks. As a result, Trivium have been dodging verbal barbs and metaphoric flying tomatoes ever since the modern melodic thrash of sophomore album Ascendancy (their first for Roadrunner, coincidentally), landed them on magazine covers and on stages with Metallica, who they proceeded to inadvisably clone on hit-and-miss third opus, The Crusade, before delivering a more brutal and technical sound on fourth album Shogun. But, since the latter still smacked unfairly against the immovable wall of the aforementioned prejudices, the group -- now armed with new drummer Nick Augusto -- obviously saw no other recourse than to revisit the less overwrought style of Ascendancy on its fifth studio album, 2011's In Waves. In doing so, Trivium prove that template to be their honest-to-goodness comfort zone, as song after song whips by, wedding equal doses of neo-thrash aggression and accessibility, represented by frontman Matt Heafy's alternating clean and gruff vocals as well as his and fellow guitarist Corey Beaulieu's jagged staccato riffs and tight-knit harmonies. Yes, results may vary from song to song, depending on the listener's tastes, but not Trivium's commitment to crafting fully realized, self-sufficient tracks under the stewardship of producer Colin Richardson (who stepped in for the less versatile Jason Suecof) and veteran Roadrunner A&R man Monte Conner (the man responsible for signing Sepultura, Cynic, and many more). But, naturally, despite all these merits (and, sure, imperfections, too), Trivium will probably be vilified once again for taking the same sort of creative backward step that the fans typically clamor for from Metallica, Slayer, and other bands on down; it's the essence of the Florida band's "can't win" lot in life, but there's always hope that this will change, in time. © Eduardo Rivadavia /TiVo
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Rock - Released August 3, 2011 | Roadrunner Records

By and large, the heavy metal community can be counted on to listen with open ears and form individual, unbiased opinions, but some prejudices still run deep, and the members of Trivium have been on the receiving end of several of these throughout their career. Cursed by their own precociousness, musical malleability and, most problematic, their earnest ambition and self-confidence, the quartet has quite simply been blacklisted by a considerable swathe of listeners, led by self-appointed officers of the heavy metal poseur police, and helped none by their contract with leading heavy metal label Roadrunner, whose very success can ironically become an albatross around its bands' necks. As a result, Trivium have been dodging verbal barbs and metaphoric flying tomatoes ever since the modern melodic thrash of sophomore album Ascendancy (their first for Roadrunner, coincidentally), landed them on magazine covers and on stages with Metallica, who they proceeded to inadvisably clone on hit-and-miss third opus, The Crusade, before delivering a more brutal and technical sound on fourth album Shogun. But, since the latter still smacked unfairly against the immovable wall of the aforementioned prejudices, the group -- now armed with new drummer Nick Augusto -- obviously saw no other recourse than to revisit the less overwrought style of Ascendancy on its fifth studio album, 2011's In Waves. In doing so, Trivium prove that template to be their honest-to-goodness comfort zone, as song after song whips by, wedding equal doses of neo-thrash aggression and accessibility, represented by frontman Matt Heafy's alternating clean and gruff vocals as well as his and fellow guitarist Corey Beaulieu's jagged staccato riffs and tight-knit harmonies. Yes, results may vary from song to song, depending on the listener's tastes, but not Trivium's commitment to crafting fully realized, self-sufficient tracks under the stewardship of producer Colin Richardson (who stepped in for the less versatile Jason Suecof) and veteran Roadrunner A&R man Monte Conner (the man responsible for signing Sepultura, Cynic, and many more). But, naturally, despite all these merits (and, sure, imperfections, too), Trivium will probably be vilified once again for taking the same sort of creative backward step that the fans typically clamor for from Metallica, Slayer, and other bands on down; it's the essence of the Florida band's "can't win" lot in life, but there's always hope that this will change, in time. © Eduardo Rivadavia /TiVo
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Rock - Released October 20, 2017 | Roadrunner Records

The Florida-based decibel pushers continue their sonic metamorphosis from thrash-blasted metalcore to melody-driven (almost) trad-metal on Sin and the Sentence, their eighth full-length effort and first studio outing with touring drummer Alex Bent. If 2015's Silence in the Snow marked Trivium's deep dive into arena rock, then Sin and the Sentence is the free fall; a perfectly formed horned hand framed by a smoldering wall of pyrotechnics. It may have taken eight albums to get there, but the band has never sounded more confident, delivering a positively lethal 11-song set that strikes the perfect balance between unhinged and meticulously crafted. The addition of Bent, a powerhouse, hammer-of-the-gods-style kit man, and the newfound conviction of vocalist Matt Heafy, seem to have put a charge into the group. The riffage is meaner and leaner, and the songs themselves -- especially the singles "Heart from Your Hate" and the combustible title track -- feel both lived-in and visceral, with highlights arriving via the serpentine, gang-vocal-led "Beyond Oblivion" and the throat-mangling closer "Thrown Into the Fire." Produced with significant sonic heft by Josh Wilbur (Lamb of God, All That Remains), Sin and the Sentence is the perfect distillation of Trivium's myriad attempts at bending the genre to their will. It's vintage Metallica by way of System of a Down, with enough Maiden-esque melodies percolating underneath to please even the most ardent old-school headbanger, but what's most impressive is that, despite all of the obvious influences, it finally sounds like them. The band's detractors jumped ship years ago, but for those who have stuck around for the long haul, Sin and the Sentence is here to pay some dividends. © James Christopher Monger /TiVo
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Rock - Released January 1, 2006 | Roadrunner Records

Upon listening to Trivium's The Crusade for the first time, it seems remarkable that this is the same band that recorded Ember to Inferno a scant three years ago. While last year's Ascendancy hinted at what was to come, it still doesn't prepare the listener properly. The former thrash metal band from Ember to Inferno disappeared and was replaced by this insanely talented quintet that plays an aggressive form of syncopated, intense progressive metal. With vocalist/guitarist Matt Heafy, drummer Travis Smith, guitarist Corey Beaulieu and bassist Paolo Gregoletto, Trivium should be ready for the world stage at this point, and this album should clue in those who think is speed metal is some passé form of rock music. Check the twin guitars in "Detonation" as Trivium weave dynamic, melodic passages around a crunching riff. Or the vocal chorus that opens "Entrance of the Conflagration," before it erupts into kick drum-driven mayhem without ever delving into cliché. Sure, early Metallica are an influence on Trivium (the Metallica who released Ride the Lightning and Master of Puppets, not the current incarnation who left those guys in the dust to become a respectable rock band). This is not to say that thrash doesn't have its place in the mix -- check "To the Rats." Never has a drummer sounded so crisp and so completely in control of the beat than Smith does here. The quick yet devastatingly tasty guitar riffs that Heafy and Beaulieu concoct are creative, knotty and canny. Other notable cuts on this fine outing are "Becoming the Dragon," "The Rising," and the eight-plus-minute title cut that closes the set. Let's face it, though it's made and listened to primarily by the young, as a genre, metal has grown up and become far more sophisticated than it's given credit for. If anything, it's the only place in rock & roll music where innovation and creativity are flourishing because other than electricity and volume, there are no rules; the musicianship is top-notch, the writing gets better all the time, and production techniques are not the focus, music is. Trivium's The Crusade is a perfect example of what's possible. Along with other American bands like Mastodon and Slayer -- and an entire slew of groups from their home state of Florida -- Trivium are redefining the genre. © Thom Jurek /TiVo
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Rock - Released May 17, 2019 | Roadrunner Records

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Rock - Released October 8, 2013 | Roadrunner Records

Possessing a feeling of intense focus, melodic thrash outfit Trivium delivers one of their tightest and most cohesive albums in years on their sixth studio outing, Vengeance Falls. With songwriting that emphasizes quality over quantity or complexity, the album feels more precise in its execution, with every moment expertly placed in order to serve the songs rather than show off the band's musicianship (which is, as always, considerable). A lot of this can be attributed to the work of producer David Draiman of Disturbed and, most recently, Device. Sharing the band's ear for melody, Draiman provides Trivium with a more mainstream perspective. Depending on your view of Draiman's work, that might sound like a bad thing, yet the reality is anything but. Rather than water down their sound, Trivium have refined it, doing away with anything that doesn't serve the song. Because of this, Vengeance Falls comes off as a rock-solid blast of melodic metalcore that manages to be technically impressive without needing to show off. While this might not be the album that will make believers out of their haters, Trivium have put out an album that, with its impressive blend of melody and scorching riffs, feels capable of luring more than a few post-grunge and hard rock fans over to the heavier side of the dial. © Gregory Heaney /TiVo
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Rock - Released October 15, 2013 | Roadrunner Records

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Rock - Released February 27, 2020 | Roadrunner Records

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Rock - Released May 17, 2019 | Roadrunner Records

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Rock - Released July 17, 2020 | Roadrunner Records

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Rock - Released July 31, 2015 | Roadrunner Records

For better and worse, Trivium haven't made the same album twice since 2005's Ascendancy. In keeping with their own tradition, they tossed out plenty to reinvent themselves on Silence in the Snow. Drummer Nick Augusto has been replaced by drum tech Matt Madiro, and producer Michael "Elvis" Baskette takes the chair previously inhabited by David Draiman on Vengeance Falls. Vocalist/guitarist Matt Heafy makes great strides in his quest to become a rock singer. It's true that he's been moving in this direction since Shogun, but for this date he worked with vocal coach Ron Anderson. His voice is enormous and his delivery clean throughout. In the past, the guitars provided the melodic focus in Trivium's songs, but here Heafy's singing claims that role. The first single and title track was demoed for 2008's masterpiece Shogun. It was left unfinished because it didn't fit the record's vibe. The nearly processional riff, the sweeping power metal bridge, and the hyperkinetic rolling tom-toms and bass drums, lay the groundwork for Heafy's soaring, storm-gathering voice. The chorus and hook are infectious and heavy. There's an urgent, almost straight-ahead stadium rock vibe to second single "Blind Leading the Blind," but the dual lead work and melodic tension in the vocal add contrast; Madiro's drums alternately swing and pummel, creating force and friction. "Pull Me from the Void" is slower, with its melodic breakdowns and galloping drums opening a space for Heafy's vocal to deliver a near pop melody. Third single "Until the World Goes Cold" is, despite a metal riff in the intro, melodic hard rock. Corey Beaulieu's and Heafy's formidable dual leads, thrumming bassline, and machine-gun drumming in the instrumental passages add heft to the hypnotic melody. "The Ghost That's Haunting You" offers the most emotional lyric and catchy chorus on the set even as the downward bang of the guitars and Paolo Gregoletto's single-line bass plays the changes. Two songs, "Dead and Gone" and "Beneath the Sun," contain virtually the same chorus -- an unthinkable notion on earlier records. But it isn't due to lack of imagination, but rather the pursuit of a single-minded creative focus. On Silence in the Snow, Trivium seem to have (finally) decided to become the arena rock band they've been inspired by and had in them. (Your own particular prejudice will decide if this is good or bad.) Every other record in their catalog hinted at their further development as a metal unit; this one doesn't. Trivium are using the building blocks of metal to pursue a wider, more nuanced, musical direction. © Thom Jurek /TiVo
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Rock - Released March 26, 2020 | Roadrunner Records

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Rock - Released April 26, 2019 | Roadrunner Records

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Rock - Released April 26, 2019 | Roadrunner Records

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Rock - Released August 24, 2017 | Roadrunner Records

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Rock - Released April 16, 2020 | Roadrunner Records

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Rock - Released March 22, 2019 | Roadrunner Records

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