![]() it's all the antithesis of what metal had been up til that point for over two decades. The album cover, its title, the song structures, the riffs, the music as a whole. The music itself wasn't ambiguous, as it is here and in metalcore at large.īands like Trivium on this basically take away all the danger and darkness and uncertainty from metal, and made it safe for all. Meaning: if that had always been Soilwork (without a straight melodic death metal past), they would've likely just been known as a good alt metal band. Contrasting this with, say, mid-discography Soilwork when they went radio-friendlier, the song-writing was still strong and they simply shifted to a different style altogether. They're essentially saying "yes, we want the metal, but not all of it", and instead of replacing the vacuum with something original, it's just.softer metal. With a band like Trivium, the ambiguity is there and needs to be contended with. They cut out the solos, integrated electronic or hip hop influences.they were happy doing that. who exactly wins here ? The nu-metal and alternative bands had first implemented that closing of the gap between heavy music and the wide mainstream, but however awful some feel those might've been, they at least generally were making no allegations about belonging anywhere really, and certainly not in metal. It's claiming some kinship to metal with its demeanor, but it's also assuming mainstream formats so. ![]() It's just not a good bet is it: radio-friendly metal, with the tough guy screaming and mean herta riffs. And well, a whiff here and, it's cheddar cheese. That late chorus section, amongst many, sounds like some 90's cartoon theme song the ones that tried to be exciting with a whiff of danger. 'Drowned and Torn Asunder' exhibits the same symptom: an original chorus idea as it starts ("Deconstructing their hold".), turned into cheesy cheddar cheese seconds later. But then, that finish the second time around has that signature cheesy Japanese pop power-metal vibe to it and kills off the momentum. It's got a gutsy start on "It's our curse", before soaring into a dramatic ".that makes this world so hopeless" with Heafy's pristine cleans, catching the listener off-guard. On 'Pull Harder.' the chorus is seriously well written stuff. It must be said though, there are genuinely inspired sections on this. ![]() Remove the solo and this could've been a track off an Evanescence album. It's even got the old play-the-chorus-in-a-higher-key trick towards the end. It often feels like, despite the good work rate on the guitars and the commendable musicianship for youngsters like these guys, a hollowness sets in because the generic twin leads make the listener feel idle after a while.Īmongst the worst here, 'Dying in Your Arms' which quite frankly sounds like they're genuinely catering to teenage girls: the title alone, that hint of heaviness smoothly buffered by the sensitive chorus and clean vocals that could be heard on any radio song from those early 2000's days. There's that over-eagerness to have leads everywhere and everything harmonized, so it lacks that parsimony and balance a ripe record will display. some lengthy song from the band "Metallica"). It comes across as a patchwork of past metal titans, notably Metallica or Iron Maiden (there's even a rendition of 'Master of Puppets' at the end. Of course, that youth shows, as it would be evident in parts to even someone that didn't know the average age of the band, that they were fairly immature. By 'Ascendancy' the band were probably meaning "turning into adults", subconsciously. Young musicians now are coming out all the time with incredibly impressive musical abilities with top notch production and they're all over social media, but this was 2005, and in 2005, it was a certain accomplishment to have your name on an album that sounded this good not being twenty yet. Whatever may be said about the band Trivium, that guy is a talented musician with a really good voice, and as this record shows, was of a rare precocity. Let's start by establishing main song-writer Matt Heafy was 19 years old when this came out. ![]()
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