On “The Sin and the Sentence”, Trivium have written their best record since “Shogun”

Upon the release of of the title track to Trivium’s 8th full-length album, The Sin and the Sentence, I was immediately struck with a wave of anticipation. Granted, I’ve always enjoyed most of what the band has put out (yes, even The Crusade), and I’ve always felt the band’s last few albums have been unfairly criticized. Something I know I’ve wanted for a while, though, is a Trivium album that combined the more melodic-friendly music of their last few albums (specifically on Silence In The Snow) with the heavier, metalcore leanings of their cornerstone albums, Ascendancy and Shogun.

I am excited to say that Trivium have done just that. Tightening up their already veteran songwriting skills, bringing back some of the ferocity present on past albums, and not shying away from melodic songs that should be all over rock radio? It’s a recipe for success. “Beauty In The Sorrow” and especially “Endless Night” are standout tracks here, but on The Sin and the Sentence, it can be said that there is both experimentation and a distinct lack of filler.

I’m sure I could write 1,000 words on why The Sin and the Sentence is a vital Trivium record. But why do that, when a quarter of that number will do? It’s simple. Buy record, listen to record, repeat the latter dozens of times. The Sin and the Sentence is Trivium’s best record since Shogun.