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The Sin And The Sentence Review
By: Tanis Mack
When Trivium released their new single “The Sin And The Sentence” on August 1, I was over the moon. Not only was it the first new material since 2015’s Silence In The Snow, but, as I found out on my first listen, it also marks the return of frontman Matt Heafy’s signature screams, absent on the last album due to Heafy’s vocal surgery. The track announced to the world that that band was back with a Vengeance (Trivium fans, pardon the pun).
The full album, The Sin And The Sentence, was released on October 20, and I can say with confidence that this is some of, if not their best material to date. Much of that can be attributed to the new drummer, Alex Bent. He brings a certain technicality to his craft that is beautifully blended with a ferociousness unlike any Trivium drummer before him. In a word: spectacular.
Their eighth record is a perfect mixture of the best of its predecessors. It takes the improved clean vocals that Heafy employed on Silence In The Snow and combines it with technicality of Shogun and the raw intensity of Ascendancy. What results is an effort which may very well surpass the latter two, with Shogun considered by many fans to be the band’s finest work.
Those who enjoyed Shogun and Ascendancy will find plenty to love on this album, with songs like “Beyond Oblivion”, “Betrayer”, and “Sever The Hand” unequivocally proving that Trivium has gone back to and improved upon their roots. For those who find Silence In The Snow and The Crusade to be worth a listen or two, “Other Worlds”, “The Heart From Your Hate”, “Endless Night”, and “Beauty In The Sorrow” all provide an injection of melodic calm that splits the aggression to great effect, causing the heavier offerings to hit that much harder.
The band clearly knows how to close an album, because they’ve saved the best songs for last: “The Revanchist”, clocking in at just over seven minutes, is the ultimate culmination of a near fifteen-year career’s worth of musical evolution, making for one of the most intricate and impressive songs in the band’s history. The album’s closer, “Thrown Into The Fire”, is a darker, more atmospheric turn in an already darker-themed album than what we’ve seen before. There’s a manic desperation in the way Heafy screams the chorus, an endless and repeated questioning, hopeless and pleading. It’s a fitting ending to one of their deepest works, lyrically speaking.
If you’re a fan of the band, you were but felt their more recent offerings weren’t your cup of tea, or are simply a fan of the genre, I highly recommend you check out The Sin And The Sentence.