TRIVIUM's John Deed-directed music video for the song "Endless Night" can be seen below. The track is taken from the band's eighth album, "The Sin And The Sentence", which arrived last October via Roadrunner.
TRIVIUM frontman Matt Heafy told TeamRock about the song: "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'.' 'All right. 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 [Gregoletto, bass] did all the lyrics."
Recorded with producer Josh Wilbur (LAMB OF GOD, GOJIRA) at Santa Ana, California's Hybrid Studios, "The Sin And The Sentence" finds TRIVIUM — Heafy, Corey Beaulieu (guitar), Gregoletto and Alex Bent (drums) — returning with its first new music since its celebrated 2015 LP "Silence In The Snow". The new LP also features the band's first recordings with new drummer Bent, who joined the band in 2016.
Heafy told Germany's Pitcam.tv about TRIVIUM's decision to include more screaming vocals on "The Sin And The Sentence": "'Silence [In The Snow]' didn't have it because we felt like it didn't quite need it. We could have put it on there from Corey or something because at the time, I hadn't been able to scream again. I blew my voice out two and a half, three years ago at the end of the 'Vengeance Falls' cycle. I had to rebuild it, and re-work at it, but thankfully it's back. It's a piece of cake [now]. It's great. It sounds great on the record — we're happy about it.
"The thing with TRIVIUM is we've always done the kind of music we felt like we needed to do at that time," he continued. "We never are trying to write to a quota or to a person or to a fan base of any kind of specific thing; we're always trying to make what we want to hear as fans of music and fans of metal, and that's what we did with 'The Sin And The Sentence'. I think 'The Sin And The Sentence' has ingredients of everything that TRIVIUM is and everything that's great about TRIVIUM, while 'Silence...' I think has some of the biggest and best hooks and some of the best singing we've ever had. We have done records like that before. 'The Crusade' had pretty much no screaming whatsoever — I think maybe two words were screamed on that record. With 'The Sin and The Sentence', we just made what we felt like we wanted to make."
Added Gregoletto: "There's really not that much screaming. I think it's a little deceptive just because we had an album that didn't have any, and then it kind of made a return on this record, but we made a conscious effort not to just overdo it. I think just to throw screaming into parts would have been, kind of, I don't know... it would have made it feel very forced. We can put it into our music again and use it when we need to. 'The Heart From Your Hate' has no screaming; one of the other singles that will come out eventually has no screaming. I think we've really accomplished being able to do both and we can kind of pick and choose which tools we want to use."
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TRIVIUM frontman Matt Heafy told TeamRock about the song: "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'.' 'All right. 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 [Gregoletto, bass] did all the lyrics."
Recorded with producer Josh Wilbur (LAMB OF GOD, GOJIRA) at Santa Ana, California's Hybrid Studios, "The Sin And The Sentence" finds TRIVIUM — Heafy, Corey Beaulieu (guitar), Gregoletto and Alex Bent (drums) — returning with its first new music since its celebrated 2015 LP "Silence In The Snow". The new LP also features the band's first recordings with new drummer Bent, who joined the band in 2016.
Heafy told Germany's Pitcam.tv about TRIVIUM's decision to include more screaming vocals on "The Sin And The Sentence": "'Silence [In The Snow]' didn't have it because we felt like it didn't quite need it. We could have put it on there from Corey or something because at the time, I hadn't been able to scream again. I blew my voice out two and a half, three years ago at the end of the 'Vengeance Falls' cycle. I had to rebuild it, and re-work at it, but thankfully it's back. It's a piece of cake [now]. It's great. It sounds great on the record — we're happy about it.
"The thing with TRIVIUM is we've always done the kind of music we felt like we needed to do at that time," he continued. "We never are trying to write to a quota or to a person or to a fan base of any kind of specific thing; we're always trying to make what we want to hear as fans of music and fans of metal, and that's what we did with 'The Sin And The Sentence'. I think 'The Sin And The Sentence' has ingredients of everything that TRIVIUM is and everything that's great about TRIVIUM, while 'Silence...' I think has some of the biggest and best hooks and some of the best singing we've ever had. We have done records like that before. 'The Crusade' had pretty much no screaming whatsoever — I think maybe two words were screamed on that record. With 'The Sin and The Sentence', we just made what we felt like we wanted to make."
Added Gregoletto: "There's really not that much screaming. I think it's a little deceptive just because we had an album that didn't have any, and then it kind of made a return on this record, but we made a conscious effort not to just overdo it. I think just to throw screaming into parts would have been, kind of, I don't know... it would have made it feel very forced. We can put it into our music again and use it when we need to. 'The Heart From Your Hate' has no screaming; one of the other singles that will come out eventually has no screaming. I think we've really accomplished being able to do both and we can kind of pick and choose which tools we want to use."
Continue reading...
