Trivium
The Crusade

THE REVIEW

Is mathematics an exact science? Can it be applied to music? Let's see if you can solve this little puzzle by placing the name of the band in place of x based on the discriminant and giving full meaning to the proportion:

Discriminant: Self-plagiarism

x: punk = Stratovarius: metal

band in the unknown (x): .............

Proportions that can also be adopted to explain the 'phenomenon' Trivium, where a notable increase in popularity is directly proportional to the hatred of a considerable legion of fans.

After the first two metalcore albums, the band decided to almost definitively shelve the dominant growl until the previous "Ascendancy" to arrive at a sound derived from classic 80's thrash metal, attempting to replicate the triumphs of Metallica and Slayer.

Impeccable production enriches the 13 tracks of the work, which can flaunt the almost constant double bass rhythms of Travis Smith and blazing thrash riffs and solos by the Heafy-Beaulieu partnership.

Although there is no lack of digressions on the theme ("And Sadness Will Sear", "This World Can't Tear Us Apart", "The Rising") which evidently look both to the past metalcore experiences, as well as to please those less inclined to heavier sounds and also to wink at certain NWOBHM (track no.12 and a weak point in the lineup).

Among these, surprising (for style more than quality) is "And Sadness Will Sear" ("The Thing That Should Not Be"?!) a dark and incredibly slow piece, almost doom, by Floridian standards.

The initial one-two punch "Ignition" -"Detonation" if it doesn't reach the levels of the famous openers of the albums of the main founding fathers, it comes close, still opening the album in the best possible way.

Double pedal in full swing and ferocity on display that contrasts with the melodiousness of the refrains, the latter having an almost power-like setting in the opener, while "Detonation" with its sudden tempo changes is the gem of the album, rising above the rest of the tracks, also being quite summarizing of the four's sound and prerogatives.

Other notable tracks and on the same compositional stylings are the excellent "Tread The Floods" which may boast perhaps the best solo of the album and "Unrepentant".

The track that will lead to wild moshing and sing-alongs at concerts can only be the single, already from the title, a whole manifesto "Anthem (We Are Fire)". All played on speed and riffs with a similar glam framework.

One of the two tracks where the only hints of the frontman's growl are heard is "To The Rats" where the fury/catchiness contrast in the verse/chorus scheme still emerges. Captivating the guitar intro of "Contemp Breeds Contamination".

Finally, there is also time for a long instrumental finale that names the album, which evidently looks towards a distant constellation dear to Cliff Burton (cf. "Orion").

Perhaps slightly pretentious, but definitely good, alternating meditative interludes with fifth-gear descents. The beauty of this composition is undoubtedly the second part which resumes the main theme of the first part, enriching it with a brief interlude of clean arpeggios, a showcase of bass lines, and a long almost festive solo.

The band members demonstrate good knowledge and technical/instrumental skill. If anything, Heafy's vocals, very similar to Hetfield's, may raise some doubts.

"The Crusade" focuses on a good evolution of the band, and is configured as a potential point of arrival for new generations, while trying to reunite and bring together old and new fans under a single flag.