Shogun by Trivium
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Release date : September 2008
Reviewed by Mark Fisher
Background information
Review
Background information
In mid September 2007, Trivium entered the studio to begin rehearsals in support of The Black Crusade tour package alongside Machine Head, DragonForce, Arch Enemy and Shadows Fall. Those dates took the group to Australia from late October to early November, and from mid November to mid December, the tour ventured to countries such as the United Kingdom, France, Netherlands, Germany, Switzerland, Denmark and Finland. During October, Trivium had began cutting demos in support of the group's fourth studio full length. Roughly forty tracks were penned, and fifteen actually demoed. At the NAMM (National Association of Music Merchants) show in Anaheim, California at the Anaheim Convention Center during January 2008, vocalist and lead guitarist Matt Heafy confirmed that the album would be produced by Nick Raskulinecz. On March 31st, the group flew to Nashville, Tennessee to begin recording sessions. At the PNC Bank Arts Center in Holmdel, New Jersey on June 14th, the group supported Iron Maiden. A mid June update revealed the album's late September release date, and later in the month Trivium confirmed that the album would be entitled Shogun.
Featuring behind the scenes footage of Trivium cutting Shogun, several webisodes were issued. During mid July, it was stated that Colin Richardson (who has worked for the likes of Slipknot, Machine Head, Fear Factory, Bullet For My Valentine, and Napalm Death) would handle mixing duties in London, whereas Jeff Rose and Martin “Ginge” Ford would assist in engineering duties.
In late July, a video was shot in support of the track “Down From the Sky” with director Ramon Boutviseth. For twenty-four hours beginning midnight EST on July 31st, the track “Kirisute Gomen” was made available as an mp3 download from all official Roadrunner and Trivium websites. On August 7th at Tokyo, Japan's The Duo, the Shogun world tour began. Other dates followed, more specifically two Summersonic Festival gigs on the 9th and 10th at the Marine Studio in Tokyo, and Maishimi in Osaka respectively. Featured upon the EA Sports video game Madden NFL 09 soundtrack, “Into the Mouth of Hell We March” was digitally issued on the 11th. A day later, the track was made available for streaming via the group's official website. At the Enmore Theatre in Sydney, Australia, Trivium performed on the 13th. On September 1st, “Down From the Sky” was digitally released. Two days later, “Down From the Sky”'s music video made its online debut via MySpace. By mid September, “Throes of Perdition” was available for streaming. At the Whisky A Go Go in West Hollywood, Trivium performed a free, all-ages show on the 22nd.
Review
Fusing elements of the trend oriented Ascendancy (2005) against the raw harshness of 2006's The Crusade, Shogun's mixture of old and new is somewhat easy to digest. In this reviewer's opinion, Shogun forms Trivium's first decent record. To become a purveyor of heavier material, you have to adopt a certain ideological ethos. Having been a Metal fan since an extremely young age, it's difficult to overcome these preconceived notions. However, Shogun triggers those biases, as did 2006's The Crusade.
Upon 2006's The Crusade, Trivium frantically attempted to musically comprise a young Metallica, and proved capable in achieving that goal. Upon its successor though, a larger, dirtier sound prevails (an attempt to musically comprise a later era Metallica?). In addition, an improved technical proficiency emerges, not to mention a sharper intellect. Well penned cuts dominate Shogun, all of which embrace both the group's age and influences. Of this, “Into the Mouth of Hell We March” is likely the greatest example. Soaring and epic, the number even causes a frustrated plight in each and every correct instance. Striking the appropriate spots, its over the top guitar and vocal melodies are thoroughly summoned to life via the slick production. To be truthful, it's difficult to refute the actual strength of “Into the Mouth of Hell We March”.
“Insurrection”'s angry march supplies yet another highlight, wherein the group ponder over whether to grant an invitation to join their army, or to trample the listener. Thankfully, the former is chosen. Shogun's extremely epic affairs seemingly form the strongest connection with the listener, however. Admirers of anthemic, intelligent and multifaceted music can sink their teeth into both “Of Prometheus and the Crucifix”, and the perchance excessively complicated title composition (spanning more than twelve minutes, the track comprises the record's swansong cut).
In summary, Shogun is yet another venture towards a suitable direction. However, the album lacks the same ingredient which past Trivium albums lack, more specifically originality. Each musical aspect seems borrowed, yet since the tunes are both performed and produced exceptionally, the material is easier to consume. Boasting appropriate influences, and an appropriate label to promote their cause, one cannot help but feel that Trivium's greatest material is yet to be authored. A decent record, Shogun possesses a few great moments.
