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|George Moore||Acoustic Guitar|
|Jason Suecof||Keyboards, Vocals|
|Matt Heafy||Guitar, Rhythm Guitar, Vocals, Background Vocals, Classical Guitar|
|Travis Smith||Arranger, Producer|
|Jason Suecof||Producer, Engineer|
|Matt Heafy||Arranger, Composer, Producer|
i never liked trivium i beileve this band should never have formed and i hate every band member of trivium this band is the worst of the worst take my advice this band is terrible both live and in the studioWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted October 1, 2010
With all the established heavy metal subsets (power, thrash, death and black metal) being challenged and strengthened by newer influences like post-hardcore and melodic radio metal, it was bound to happen that a group would come along unafraid to meld all of those elements into a sound that's as unique as it is familiar. Orlando's Trivium have, in their three years together, not only established a strong local fan base, but also gained the artistic respect of the city's wide-flung metal scene. This is due solely to the group's uniquely transcendent aggression, and not to "street-teaming" or "networking." Quietly, this three-piece (now a four-piece with the addition of guitarist Corey Beaulieu) has honed their chops, working on a sound that's accessible (thanks to vocalist Matt Heafy's ability to easily switch between a death growl and metalcore melodicism) without being easy. "Ember" collects a dozen tracks that -- from the appropriately melodramatic intro (there are two other equally brief instrumentals on the album) through the epic pounding of "If I Could Collapse the Masses" and the chunky thrash groove of "My Hatred" -- make it clear that this young band was healthily inspired by the best of late '80s and early '90s metal. It's on the title cut that the inspiration fuses with a modern approach to point Trivium in an altogether new direction. Though Heafy's melodic grandiosity sometimes sounds a little too much like generic radio metal, the head-bashing riffs that bracket those bits more than make up for it. All of it -- the old, the new, the next -- comes together on the absolutely astounding six-and-a-half minutes of "When All Light Dies," a full-bodied dose of heaviness that reminds you that the metal playbook can always be rewrittenWas this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.