Review Summary: Evolving To Progress
Isn’t it strange when you realise how far Trivium have come compared to how long they have been around? In 1999, 3 metalheads formed Trivium after singer Matt Heafy performed a cover of Metallica’s No Leaf Clover at college; 16 years later they have supported the biggest names in metal, toured the world, headlined outdoor festivals and released 7 studio albums. The latest opus: Silence In The Snow is probably the biggest development the band have produced in their career.
Matt Heafy addressed the increase in clean vocals over the last 5 years by saying “Screaming is easy, singing is hard. I’ve always been a fan of what’s harder... We do what we want to do every time.” Truer words where never spoken as throughout these youthful years, the Florida quartet has constantly pushed themselves in an exploration of their own musical limits. One minute trying to reignite the thrash sparks in the modern era, the next producing progressive tracks that are long enough to equal the average length of a Dream Theater song and now the latest focus for the band is vocal variation.
Anyone who listened to their previous album Vengeance Falls would have noticed an obvious change in vocal dynamics to the usual coarse growls. There was a distinct focus on clean singing and we all thought it was just because David Draimen (Disturbed) was producing the album. Now we know for sure that this growth was intentional by the band. Clean singing is included in every song of Silence In The Snow as Matt blew his voice in 2014 and proves most effective in songs such as the title track where he showcases how well Trivum can produce emotionally swelling and catchy choruses. ‘Until The World Goes Cold’ is probably the most ballad-y song on the album as the sensitive tone packs a passionate punch above the intermittent sprinklings of guitar harmonies and sombre bass.
As with all album releases by Trivium, there are shameless influences from bands that are significant to them. Gothenburg grooves that bands like In Flames can naturally fabricate are toyed with in songs such as ‘Silence In The Snow’ and ‘Rise Above The Tides’. Trivium is also a great band if you want to hear what old metal sounds like in a modern age as eerie Heaven & Hell/ Black Sabbath riffs emerge in ‘Pull Me From The Void’ that create a sinister nature to the jubilant song. The ebbing intro track, ‘Snøfall’, was even composed by Sensei Ihsahn (Emperor, Ihsahn) himself who Heafy declares is a tutor to the band.
The vocal deliverance does dominate the majority of the album but the remaining Trivium members are extremely talented individuals. Corey Beaulieu curves his lead grooves around the microphone in ‘Blind Leading The Blind’ with enraged direction. The guitars also seem to evolve in this album as much as the vocals- some features even seem completely new and fresh to the band like the contorting riffs, that could get away with a Djent tag, in ‘Dead And Gone’ and ‘Beneath The Sun’. The typical Metallica-loving speedy thrash is a prominent feature in album closer: ‘Breathe In The Flames’ where newbie drummer, Mat Madiro, finally gets a chance to prove his wrath and worth.
