While shunned by many metalheads, Trivium have gained a substantial following outside the customary metal crowd. With their previous two albums boasting prodigious guitar work and gripping screamo vocals, the band seemed like it was bursting with potential. That, combined with their reputation for electrifying live performances, made anticipation for their newest album, The Crusade, high even among naysayers.
Unfortunately, the album fails to live up to the hype. Musically, The Crusade is tight, with Trivium unafraid to fly the colors of Megadeth, Iron Maiden, Testament and Metallica high and proud. Many criticize the band, saying that instead of using these influencing artists as stepping stones for innovation, Trivium simply walk all over them. This is true to some extent, but what Trivium lack in innovation they make up for in instrumental quality. In fact, the band seems to create the music their predecessors would have made today, had they not fallen under the tranquilizing spell of middle age.
This is not to say that Trivium's music is without modern appeal. Some tracks even hint at older Arch Enemy and Soilwork, which is always a good thing. However, problems arise with Matt Heafy's vocals. Not only are the lyrics sub-par, they largely disagree with the rhythm of the music, making their delivery seem forced and awkward.
For some, another problem emerges in that vocalist Heafy sounds almost exactly like James Hetfield from Metallica's early work. This is a change from their previous efforts, when they relied on a staccato, screaming vocal. Each listener's reaction to the change is largely a personal preference, but it is likely that those who reject Heafy's new vocal style simply can't see past its ill-fitting tempo and bad lyrics.
""Unrepentant"" is a song about a father with four adulterous daughters. Yes, four of them—and then the father buys ""a knife and machete"" to murder them all to preserve the family's honor. Trivium obviously tries for metal legitimacy by way of grisly lyrics here, but misses the mark. For brevity's sake, suffice to say that they rhyme ""slaughter"" with ""slaughtered.""
Maybe trying to recreate the intense energy of their concerts, they take a stab at a rock anthem with ""Anthem (We are the Fire)."" As suggested by the title, the song is predictable and formulaic, down to the crowd-shouted chorus of ""Whoaoh-oh-ohs"" and ""Yeah-ah, yeah-ahs.""
In ""To the Rats,"" the band attempts to play a Trivium song behind Hatebreed-style tough-guy lyrics. Instead of rousing fear and respect, they get an instant track-skipper in the heart of their new disc.
The only saving grace of the album is the final track, an epic eight-minute instrumental, reminiscent of what the album might have been if the vocal layer miraculously disappeared.
Truly Trivium have an uncommon ability to write some catchy, yet fierce thrash metal in a time where those genes seem to have been replaced by DNA coding for a new breed of metal poseurs. Unfortunately, the cheesebox vocals, whether related to lyrics or vocal style, overshadow any shred of listenability these songs have to offer.
Yet, with the mean age of the band members hovering around 22, Trivium have enormous potential for the future. And since brilliant lyricism is something that most often develops with age and experience, don't count them out yet. Trivium may end up writing some of the best music in the foreseeable future. Until then, at least their concerts are worthwhile.
