The Multi-View is a song review written by multiple writers from the depths of our writing cave!
Today’s Multi-View is the new song from TRIVIUM, UNTIL THE WORLD GOES COLD.
Song: “Until The World Goes Cold” Band:Trivium Location: Orlando, Florida, USA Date of Release: 27th August 2015 Genre: Metal Reviewer: Erised, Thall, Welmanshire, Thrash Holly, Ali Kebaba, Dave Mullins. For Fans Of: Metal, Dads, Bonox, Moccasins, other Dad things. Why They Aren’t Famous: They are.
Erised: Have Trivium all of a sudden had kids? Have they picked up a single mum or something? This is positively Dad Metal territory. It’s pretty much what you’d get if you took Breaking Benjamin and chucked a superfluous solo section into it. The opening riff actually sounds like about 15 different BB songs, which is just as much a reflection of how solid a formula they work to, as it is of Trivium for adopting it. Good to see that Heafy has finally grown into his voice though, even if it IS edited to the shithouse.
Ali Kebaba: Until The World Goes Cold sees Trivium safely back on the path to world dad-ination after a lengthy bout of bizarre mental illness – a peculiar kind of insanity that leads to victims believing David Draiman’s influence on their music is somehow a good thing. Luckily, this track sounds like it could have fitted snugly onto the tail end of previous album In Waves, where the band showed us they could write massive, mainstream, metal tunes. The film clip seems pretty artsy, as it shows the lads playing in a jam room looking unhappy whilst the protagonist (a dude in a mask) wanders about his ‘hood’ bashing stuff up. Don’t quote me on this, but I feel as if it may just be metaphorical. You decide. In summary, Until The World Goes Cold is a tasty yet accessible treat, and the fact that Trivium are pushing this kind of mid-tempo dad-metal as a single is hopefully indicative of the ‘next Metallica’ dropping their Black album. Fuck you, I rate Trivium. I’d rather see young metal fans listening to them instead of fucking Five Finger Death Punch.
Thall: I can definitely hear this song being taken in with open arms in that MMA/WWE/Dad-Rock community. “Listen to them guitar chugs and REAL singin’, son.” Besides the obvious, this is a working formula for melodic hooks and a great entry-level metal track. The dual-harmony solo was definitely the highlight for me, as always with most Trivium compositions.
Welmanshire: I had all these jokes ready about the singer’s name; I was going to be like, “Matthew Tuck? More like Matthew Suck, am I right?“, until I realised that that’s actually the singer from BFMV, and this is Matt Heafy. Anyway. It’s actually pretty good. No glaring criticisms. It’s not to my taste, but I can see myself enjoying this when I have 2.5 kids in tow, presumably embroiled in the middle of an ugly fight for custody. The solos and final heavier progression are definitely the stand out – the core wins over the Dad-rock for me.
Dave Mullins: It looks like Trivium is finally ready to make the leap into dad-rock. This will play great in stadiums, it’s a decent piece of music but isn’t so exciting that people will want to mosh, or drink, or have fun. This means that they can finally slap Trivium under Foo Fighters on a banner and it won’t scare away the soccer moms.
Thrash Holly: Hearing this evolution of Trivium’s sound is a lot like watching The Big Red Machine, Kane, evolve over the years. He started off strong, with hellfire and brimstone, lighting people on fire, intimidating viewers and destroying opponents. Then his character got permanently weaker as years and repackagings went on, and now he’s at his weakest point; an unmasked lap dog for The Authority. In other words, what Trivium’s sound has evolved into features nothing of what I loved about them originally; ball-tearing thrash metal riffs with hints of metalcore’s aggressive side (eg. Rain), but good on them for doing what they want. I’m sure that their own Authority will be excited for chart-topping album sales on this evolution to Dad Metal territory. Oh-WAH-AH-AH-AH!
Nathan 'Buttercup' Whittle is a barely coherent, beef-challenged oxygen thief from Tasmania. His greatest loves are progressive metal, pop punk and using a hundred words when five would suffice. You can find him playing guitar in Actuality, Slow Descent and carefully trying not to hurt people's feelings on the internet.