![]() Quite the opposite: despite the album’s many layers, this is as taut and focused as Trivium have ever sounded. Despite the slight shift in the song-writing process – bassist Paolo Gregoletto contributed the lion’s share of the lyrics – there is absolutely no upending of balance or identity here. ![]() ![]() ![]() Where The Sin And The Sentence set things right by taking Trivium back to basics, What The Dead Men Say simply ripsped The title track sets the tone: riffs, riffs and more riffs tight, muscular drum work and enough hooks to snare Cthulhu. Never the band to play it safe, the stylistic flourishes of Dragon feel like Trivium re-asserting themselves as one of modern metal's key players and most reliable creative forces. Far from being unwieldy, the record feels like a perfect amalgam of What The Dead Men Say/The Sin And The Sentence's direct, heavy metal bombast and the technically progressive inclinations of Shogun. But while most of the industry wanted them back with Ascendancy II, the band had other ideas. After the enormous success of Ascendancy, the pressure was on for the band to dive right back in with an equally stellar follow-up. If their previous two records had pushed Trivium to strip their sound down to the bare essentials of heavy metal, In The Court of The Dragon was the sound of a band rapidly building back to the grandiose structures of their past. The Crusade was 'a rebellion' against everything the band had done with Ascendancy.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |