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Rock - Released October 8, 2013 | 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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Metal - Released October 2, 2015 | Roadrunner Records

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Metal - Released September 24, 2008 | Roadrunner Records

Trivium never asked to be described as "the next Metallica" by a hyperbolic British magazine or two, but because they tried to make the best of the opportunity instead of wilting away with apologetic shouts of "We're not worthy!," they've taken a hell of a lot of guff from radical heavy metal fans, already stirred up over the group's signing to the closest approximation to corporatism in their world: Roadrunner Records (who actually dare work with non-metal bands -- curse them!). Admittedly, the youthful Floridian quartet (whose confidence has been frequently misconstrued as arrogance) didn't help matters when the band followed its impressive sophomore album, Ascendancy, with an undisguised bid for wider commercial appeal via its inconsistent third album, The Crusade. Thus came something of a backlash even among their supporters, bringing, in turn, the stylistic retreat toward more uncompromising metallic terrain embodied by the group's fourth album, Shogun. On this outing, Trivium elevate their new millennium thrash to -- by their standards -- largely unprecedented heights of intensity and complexity, stacking riff upon riff (really good ones, too) into densely structured highlights such as "Down from the Sky," "Throes of Perdition," and the especially devastating "Kirisute Gomen" (which supposedly means "Pardon me while I cut off your head off" in Japanese). Corey Beaulieu and Matt Heafy's shred-intensive guitar solos also pepper every track, flying every which way like vengeful hornets, and the latter's always varied vocalizing once again prizes Hetfield-ian growls and guttural screams over more sparsely distributed (and therefore more impactful) melodic singing. Certain cuts may feel like they're jammed with a few too many different hard/soft/harder personalities for some listeners' tastes (e.g. "Torn Between Scylla and Charybdis," "Into the Mouth of Hell We March"), but most headbangers are bound to appreciate these very contradictions, which the band extrapolates to a monumental climax on the multifaceted 11-plus-minute album-closing title track. As for the lyrics: if these song titles didn't make it obvious already, Heafy's penchant for untowardly bookish vocabulary and obscure mythological references remains intact (see also "Of Prometheus and the Crucifix" and "Like Callisto to a Star in Heaven"), and will probably delight as many metalheads as it irritates, but at least he's no longer forcing unrelated words together as though he were simply reading the dictionary every night (which certainly seemed to be the case on The Crusade's confusing "Entrance of the Conflagration," for example). And yes, Trivium still show no qualms or remorse about emulating both the sounds and epic scope of vintage Metallica, but what's so wrong with that? After all, Metallica tried to do the same thing on their own 2008 return to form, Death Magnetic. In short: Shogun is easily Trivium's most challenging and ambitious album yet, and even though it isn't likely to spawn any hit singles, it was clearly the album Trivium had to make in order to get unduly prejudiced metalheads off their backs and finally silence undue suspicions over their abundant talent and devotion to heavy metal. © Eduardo Rivadavia /TiVo
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Metal - Released January 1, 2006 | Roadrunner Records

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Metal - Released October 2, 2015 | Roadrunner Records

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Metal - Released October 2, 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 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 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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Metal - Released October 2, 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