Trivium are on a hot streak. The Florida native band has now released their eight studio album, “The Sin and The Sentence.” The newest chapter in their life’s book has been written, compacted in a 11 song set that is sure to have you standing tall, eager to bang your head up and down to the heavy madness that Trivium has put forth on a silver platter.
With each album, it seems as though Trivium has gotten better and better as a functioning band, with a stellar level of musicianship and professionalism. While Trivium have been around for quite some time now, they show that they are like fine wine, only getting better with age.
It’s been two years since their latest studio album “Silence In The Snow” was released. The new follow up to that is certainly one that holds its own against the success of the one before it. Throughout the whole album, it appears as though there are various blends in styles that bring the listener to various past albums, and the way certain songs are played, which then portray a certain album that came before it.
Some songs on the album resemble that of “Ascendancy,” “The Crusade,” and “Silence In The Snow.” The gamut runs wide with the variety of songs that Trivium puts forth.
In a recent interview with the band, some of the guys give their take on some of the tracks, and what they recall from the process of the song’s birth.
The Sin And The Sentence
Paolo: “I was really interested in the culture online of people piling on people. I was trying to think of the culture we’re in now, but using the metaphor of the witch hunts, with the line: ‘Beware those who speaks in tongues for they may call your name’. Meaning, beware being a part of this culture, because it could be you on the receiving end of that at some point. You’re one tweet away from changing your life. Coming up with the title, The Sin And The Sentence, I had to riff, and I was on a plane, listening to it over and over and over again, and that phrase came into my head. It fit perfectly.”
Paolo: “Corey was scrolling through his TV guide and he saw the phrase ‘Beyond Oblivion’ on a show, and wrote it down. I felt like I could make that work for a chorus, so I had to think of a theme of what that would be. I was listening to a bunch of podcasts about artificial intelligence, but they were comparing the idea of the coming technology to the atomic bomb – of how we created this incredibly immense, dangerous world-destructing thing in a moment when no one was really thinking of the implications. The song was viewing it from the perspective of someone that creates this sort of technology and comes to view it for what it is.”
Paolo: “The way the world’s been with all the elections, the climate, it feels like it’s ratcheted up out of nowhere over the last few years. Online, people you thought you knew well begin acting and doing things a certain way which really were uncharacteristic. And I kind of felt like that, being on Facebook. One day I woke up and I’m like, ‘Know what? Fuck this site, and fuck all these people. Why are we on here every day arguing with each other about shit?’ I was really angry so I deleted it. But it sat with me for a little bit, and that was sort of the inspiration of the song – feeling like you’re literally detached from people that you thought you know.”
The Heart From Your Hate
Paolo: “I was reading up on this backstory about these Japanese American troops in World War II that had some of the most brutal battles, and meanwhile their family was in America in Japanese internment camps. The federal government rounded them up because they looked like the enemy that they were fighting. And I’m like, ‘This is insane to think about – these guys are literally dying and fighting for a country that’s locked up their families at home.’ The whole thing is, what does it take to prove you’re one of us. And that is powerful to us. If my family was locked up, I wouldn’t fight for the country, and that was really inspiring to read about those stories. But I didn’t think it would be easy to translate that, so we boiled it down further: what would it take for you not to hate someone? Would it take them dying for you, or their family dying, or being locked up? But I think the core of it is how hard it is to change people’s minds when they hate something, or when they hate someone.”
The Wretchedness Inside
Matt: “It was originally ghost-written for another band, a modern metal band, and they ended up not using it for some unknown reason. Paolo helped me revamp it. It shows off our modern metal and metalcore, hardcore roots. It’s about being addicted to a bad situation, knowing it and not being willing to get out of it, but recognising it. Abusive relationships, abusive friendships, toxic addiction, something like that. When you pop out and have a moment of clarity and a moment of consciousness, and you’re like, ‘Why am I in this, this is terrible for me, I need to get out’, and you just hop back in. It’s the idea of Stockholm syndrome, something like that, in a song.”
Matt: “I have a friend who owns a personal training company, and he asked me to score their yearly video for their trainers. I was like, ‘Oh yeah, sure. Piece of cake.’ I had been doing scoring stuff for local businesses, local real estate companies, food trucks, these little things in Orlando. So I said, ‘What do you want?’ And he said, ‘Something like Dying In Your Arms’. Alright, that’s easy. I did this thing, sent it to him, he loved it. I showed the guys, and they were like, ‘This is really good, we should use it for Trivium.’ So again, we all reworked it together, and Paolo did all the lyrics.”
Sever The Hand
Matt: “I sent it through to Paolo, and he said it had the same structure as one of the other songs. He was like, ‘Make this song structure unexpected.’ So I just rearranged it. And it’s super weird. It’s actually a combination of two songs – one song had that middle section, that was a different song, and the rest was another. It has a little bit of everything – that pre-chorus sounds like something off Ember To Inferno, the middle section to the beginning sounds like something off The Crusade. That opening riff is played like a metalcore band would, but has the high notes of a black metal band, thrash parts, punkish, – it’s everything.”
“The Sin And The Sentence” Track Listing:
- The Sin And The Sentence
- Beyond Oblivion
- Other Words
- The Heart From Your Hate
- The Wretchedness Inside
- Endless Night
- Sever The Hand
- Beauty In The Sorrow
- The Revanchist
- Thrown Into The Fire
JT “Doc” Berry \m/