By Bailey Barnson
The Sin and the Sentence
If you’re a long-time Trivium fan and you’re disappointed with the direction Silence in the Snow went, you might want to pick up their eighth studio release, The Sin and the Sentence. Most of their albums before Silence in the Snow were heavy enough to force you into a mosh with the majority of vocals being either screams or growls, but Silence in the Snow was more atmospheric and melodic with exclusively clean vocals. This album is a beautiful mix of their previous release and the influences of their older sound. It opens with the title track which begins with an incredibly fast beat before Matt Heafy’s voice booms in with his gorgeous baritone. The track ebbs and flows, mellowing out for the chorus only to pick up again for the ear-splitting solo. While Heafy is still singing melodically in the majority of the songs, he’s also screaming like a demon for an even mix his spectacular voice.
Neither of the early singles they chose to release really do this album justice, their third single, “Betrayer,” is where the beauty lies. “The song displays absolutely everything that Trivium is fantastic at; it ranges from making you want to punch your buddy in the face to wanting to serenade them. It’s unbelievably fast, yet melodic, and it has one of Trivium’s famous solos. Luckily, it’s only one of many songs that kick ass on this album. “The Wretchedness Inside” is another standout, except it’s bouncy as hell with a slamming bassline to break your neck to. The Sin and the Sentence proves that Trivium still has what it takes to slaughter the mainstream metal scene.Record Review, Roadrunner, The Sin and the Sentence, Trivium