TIDAL POWER
With a healthy new lineup and a new album that unifies the band in sound and image like never before, Florida metallers Trivium are focused on reclaiming lost ground. Bassist Paolo Gregoletto tells Brad Barrett the story of In Waves.
back down. But Trivium had most definitely managed to garner all that all that but, at the core, there was turmoil, there was anger, there was real dissent between them. Touring had drained them, personalities had really begun to grate and the result was a tectonic rupture, setting one of them adrift. Seven years into their surface settled lineup, drummer Travis Smith took his leave, to be replaced by band friend and ex-drum tech Nick Augusto. That was all a year
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band that has a healthy fanbase, has played with their heroes and have generally impressed the metal community with the majority of their output have nothing to worry about. They are on top of the world. They are prepared to continue onwards, scaling the heights until they run out of air and begin the undignified descent
and a half ago, but the wounds are open for all to see on In Waves. “I poured everything I’d been through in the last year into a song,” says bassist Paolo Gregoletto about the title track he wrote. “It’s simplistic but it’s angry, it’s letting things go and that’s what it was meant to be. A simple angry riff and that was the best way you could describe the emotion with that.” The way Paolo remembers it, since he joined before the recording of
breakthrough second album Ascendancy in 2004, “there’d been tensions here and there. I mean it’s natural when you’re with a group of people in very close quarters working together but it was something that finally came to the point where it was detrimental not only to the writing and the creative process but our own mental health.” The potency, the seething nail bomb that underlies the raging riffs, powerhouse drums and raw-throated vocals is undeniable. It’s largely down to the severe editing process and conscious decision to hold back on overly-flashy displays of technicality of which third album The Crusade was primarily made up of. But it’s clear the manifesto began with Paolo’s bitter, soul-searching centrepiece, something that dredged up a textured approach, where dynamics and sonics were all meshed equally.
“Going into something, you want to make it timeless, make a great riff
that’s memorable. We had the time to really push ourselves and ask ourselves ‘is this good enough?’“
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