TRIVIUM                              WWW.TRIVIUM.ORG

MassConcerts Presents



Thu, May 17, 2018

Doors: 6:30 pm / Show: 7:30 pm

The Webster

Hartford, CT

$19.00 - $22.00

This event is all ages

In life, two options exist: death or growth. On their eighth full-length offeringThe Sin and The Sentence[Roadrunner Records], Trivium choosethe latter once again. In fact, the record represents an apotheosis of every element that at once defined the Florida group since its 1999 formation. Moments of malevolent melodicism give way to taut technical thrash, black metal expanse, punk spirit, andheavy heart tightly threaded together by the musical union of the quartet—Matt Heafy [vocals, guitar], Corey Beaulieu [guitar], Paolo Gregoletto [bass], and Alex Bent [drums]. Unsurprisingly, these elevensongs resulted from an unquenchable hunger for improvement.“It was a do-or-die moment,” exclaims Heafy. “There were no two ways about it. We’ve always had this will to be better. I started taking inventory of everything we’ve done right or wrong, and it made me apply that thinking to the new music. What ended up coming about was, in my opinion, a combination of the best things we’ve ever done. We all agreed, ‘We have to make the best record of our career right now.’”Given theirglobal success, thisgoalproved nothing short of a tall order. 2015’s Silence in the Snowignited something of a renaissance for the boys. Moving 17,000copies upon debut, it bowed Top 20 on the BillboardTop 200 and claimed the #3 spot on the Top Rock Albums chart. “Until the World Goes Cold”arrived astheir biggest singleto date, achievingthe band’s first Top 10 at Active Rock and generating a staggering 17.1 million Spotify streams and 14.9 million YouTube/VEVO viewsand counting.The Guardian, Classic Rock, Ultimate Guitar, and more praised Silence in the Snowas they sold out shows worldwide. Despite the explosive nature of thepreviouscampaign, the musicians quietly commenced work on what would transform intoThe Sin and the Sentence, collating ideas and assembling songson the road. Without telling anyone outside of the inner circle, they retreated to the Southern California studio of producer Josh Wilbur[Lamb of God, Gojira]for just a month in 2017.“By the time we got to Josh, 99% of thiswas written,” explainsHeafy. “WithVengeance Fallsand Silence in the Snow, we came into the studio with about 50% completed. When we’re as prepared as possible, we make ourbest music. This was more like Ember to Inferno, Ascendancy, Shogun, and In Waveswhere we brought a cohesivevision into the studio. Josh pushed us to refine that and make it even better. We made the kinds of songs we wanted to hear.”An important first, Gregoletto took the reins writing lyrics. The results freed up Heafy to soar on the mic.“Matt and I were really collaborative in the studio writing a lot of the lyrics for Silence in the Snowright before he went in to trackthem,” he recalls. “On The Sin and The Sentence, I pushed for lyrics and vocalstostartmuchsooner. We devoted the same amount of time to them as we do tothe riffs, drumbeats,
and music. We put the lyrics through the ringer. I’ve helped Matt a lot in the past, but I wanted to learn more about the craftand technical sideof writing. I was reading books and trying to glean different things. By the end of it, I was picking up more about how to use rhymes and how words bring momentum to a song.”“This thing waslikea film,” adds Heafy. “Paolo was the writer. Josh was the director. I was the actor.I feel like I was able to actually get into different headspaces singing the lyrics,becauseI wasn’t the one attached to all of themfrom creation to completion. I think Paolodid an incredible job.”Without so much as a social media plug orformalrecording announcement, Trivium broke the silenceabout their latest body of workand uncovered the music video for the first single and title track in the summer of 2017. It arrivedto a groundswell of fan enthusiasm, racking up 1.9 million YouTube views and nearly 1 million Spotify streams in just four weeks’ time.The near six-minute lead-off charges forward at full speed on a double bass drum gallop, thrash intricacies, and hummable guitar lead as Heafy delivers one of his most powerful and ponderous vocal performances ever.“The idea is condemnation, being ostracized, being pushed aside, and not quite understanding how to deal with those feelings,”remarksHeafy. “This is definitely reactionary to the world and things that have happened to us.”“I read this book called So You’ve Been Publicly Shamed,” Gregolotto reveals. “It was all about internet shaming culture. The whole thesis of the book was the amount of punishment for something. Somebody makes a tasteless joke and loses a job. I kept thinking about that and the idea of the witch hunts blaming people for inexplicable happenings. It’s easy to pin something on others because you don’t like them. You join the mob by attacking someone over something little. The Sinis the infraction to the public. The Sentenceis the pile-on and ruining someone’s life and career. Does it add up? You might beon the other end at some point, so be careful.”Meanwhile, “The Heart From Your Hate” hinges on a gang chant, fret fireworks, and an undeniable and unshakable clean refrain, “What will it take to rip the heart from your hate?”“The emotion of hatred is so powerful,”Gregolettosighs. “It’s the opposite of love. When someone is deeply in love or hate, it can be very hard to change this person’s mind. That was the concept.It’s the inability to kill off emotions like that.”“We love to have a dynamic contrast,” adds Heafy. “Ascendancyis the fastest thingwe’ve done, but it’s got one our simplest songs, ‘Dying In Your Arms’. ‘The Heart from Your Hate’ showsthat end of the spectrum.”On the other end, “Betrayer” unleashes a barrage of intensity driven by black metal percussion, tremolo picking, and earth-shaking screams before yet another hypnotic hook.“I wrote it around the same time as ‘The Sin and The Sentence’,” says Gregoletto. “They have a brother-sister connection. Matt’s speaking directly to ‘The Betrayer’who could be a friend, significant other, or someone you thought you knew who ended up using you.It’s personal.”Everything leads up to the crushingly epic closer “Thrown Into The Fire.” A conflagration of incendiary riffing, guttural growls, and entrancing harmonies, it’s a fiery final word.
“I wanted to build a character like a preacher or televangelist who’s leading his flock and taking and taking from the congregation,”Gregolettocontinues. “He’s preaching how they shouldlive, but living the opposite.”Following the 2003 independent breakout of Ember to Inferno, Triviumarrived as metal’s hungriest contender on 2005’s Ascendancy. Heralded as “Album of the Year” by Kerrang!, it stands out as a 21stcenturygenre landmark.As they went on to cumulatively sell over 2 million units, they scorched stages with idols such as Metallica, Black Sabbath, Iron Maiden, and more in addition to regularly making pivotal appearances at Download Festival, Bloodstock, KNOTFEST, and beyond. In Wavesand Vengeance Fallsboth soared to the Top 15 of the Billboard Top 200 as the band staunchly secured its place in the modern metal pantheon. By growing by leaps and bounds, Heafy, Beaulieu, Gregoletto, and Bent become what they were always meant to be—Trivium.“With this, we wanted to knock everything down and think from the ground up about how we write songs,” Gregoletto leaves off. “We enhanced everything we’ve done.”“I want everyone to know we made this with our hearts and souls,” Heafy concludes. “It was all or nothing; we gave it our all. We’ve been through lots of ups and downs and felt like this had to capture that. It had to summarize everything that is Trivium. I feel like we did that.” –Rick Florino, August 2017
In Humor and Sadness, the debut album from ’68, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums, another dude wielding a guitar like a percussive, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.

Josh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power, punchy delivery, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.

Heralded by Alternative Press as one of 2014’s Most Anticipated Albums, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath, Anberlin, The Devil Wears Prada), the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there, for sure. And while many associate the setup with The Black Keys, ’68 is more like Black Keys on crack.

“I wanted it to be as loud and obnoxious as it can be,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like, ‘There's no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic, but in other ways, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic, but it’s also overkill. We get as much as we can from as little as we can.”

Like many pioneers, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption, which influenced the likes of The White Stripes, among other bands.

“I got excited when I thought about the distress, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds, with a bunch of pedals, with certain chords wigging out and missing notes here and there,” he says with excitement. “That alone makes up for the chaos of having five people up there.”

That idea of less is more, of building something big from something small, persists today at the top of the charts with The Black Keys, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses, and in the two man attack of ’68.

“Jon Spencer’s records always sound like he’s kind of winging it and I love that,” declares Scogin, letting out an affectionate laugh. “In my last band, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.”

Before paring (and pairing) things down with friend and drummer Michael McClellan, Josh Scogin was the voice, founder and agitprop-style provocateur in The Chariot, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio, overdub free, The Chariot’s first album set the tone for a decade to come, owing more to a band like Unsane than whatever passes for “scene.”

Scogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.

A new Metalcore band would be a safe third act for the subculture lifer, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit,” he freely confesses. “I’ve always wanted to play guitar and sing in a band, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage, but now having done that for several years, I wanted the challenge.”

Creative problem solving has long been the name of the game for Scogin, whether he was hand stamping ALL 30,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter, which when put together vertically on the back of a vinyl LP or compact disc, would spell out a word. However, it's problematic to name more than one song with the same letter, which would have been necessary to spell out what he intended.

’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive, fanciful mayhem.

After a raucous debut at South By Southwest, a full US tour supporting Chiodos and many more road gigs on the horizon, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.

“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do,” Scogin promises. “I’ll get more pedals, we’re try different auxiliary instruments, whatever – the goal is to challenge ourselves and challenge an audience.”
Venue Information:
The Webster
31 Webster St.
Hartford, CT, 06114