Trivium – In The Court Of The Dragon Review

Florida based Metal band Trivium have been on a seriously good run of form over the past half-decade. Their career up until that point had been almost cursed with a boom and bust critical reception of incredible praise followed by critical trashing over and over. For the past two albums (The Sin And The Sentence from 2017 and What The Dead Men Say from 2020) they’ve been on an incredible high again critically and artistically, and now with 2021’s In The Court Of The Dragon they’ve pulled their third absolute classic out of the bag in a row. While I am partially to all of the band’s albums to different degrees, never before have they unleashed three absolute masterpieces straight in an unbroken row.  

Over the years the band had tried a few different directions, mid-00s Metalcore, Thrash, classic metal, commercial radio metal, and they’ve also hidden in tiny little snippets of death and black metal every now and again for a bit of extra flavour. For the most recent three albums now though, they’ve mixed all their various directions into one broad but cohesive whole and developed their own speedy, stompy, melodic, aggressive, technical, blunt mashup identity. Matt’s singing, screaming, growling and shouting voices have never sounded better and have never blended together so seamlessly. Matt and Corey’s guitar work has never been as memorable, and Paolo’s bouncy high-in-the-mix bass lines are always entertaining.

The real turning point for trivium however, was the astounding one-two punch of incredible new drummer Alex Bent joining the band, and producer Josh Wilbur finally figuring out how best to blend the band’s classic and modern sides together and make them sound like their own thing altogether. Now, some of the band’s previous productions were good, and most of the band’s previous drummers were very good (much like Sepultura in that regard) but this combination of drummer and producer has unleashed an x-factor that elevates ‘Sentence, Dead-men’ and ‘Dragon to a higher level than most of the rest of their discography.

With all that preamble out of the way, you wouldn’t be given a dunce cap to wear if you guessed that “if you liked the last two, you’ll love this one” and “this is one of the finest albums of the band’s career.” Stylistically, this is very much a continuation of the previous two (not a mere repetition of them mind you, it is still engaging, original and forward thinking).

Highlights include the groovy “Shadow Of The Abattoir” the catchy “Like A Sword Over Damocles” and the lengthy “The Phalanx” (which actually started life as an offcut from their Shogun album, and has a bit of a Shogun-esque flavour, but has clearly evolved a bit since that time).

Some people may still brush Trivium off as just ear-plugs, Overkill t-shirts and the too-commercial chorus to 2005’s “Dying In Your Arms” but to do so is folly, and just results in you missing out on one of Metal’s finest bands of the moment, and especially makes you miss out of three of Metal’s absolute best albums of the past 5 years. There is nothing even 1% “Emo” about ‘Dragon. If you like bands like Judas Priest, Death Angel, Fear Factory, Manowar or Metal Church but have never checked out Trivium because it just makes you think of eye-liner and youths, I strongly urge you to check out “No Way Back, Just Through.” Ignore this band at your own detriment!

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