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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Trivium-Shogun-2008-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
▄ ░░▓████▀▀░ ░▀▀████▓░░ ▄ ▄
▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Trivium ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... Shogun █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Roadrunner Records ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Heavy Metal ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-05-22 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2008-09-30 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 291 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 11 / 66:38 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 145.33 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
░▓█████▄░░ ▄ ▄ ░░▄█████▓░
▄░▓███████▄▄▄░ ░▄▄▄███████▓░▀
░▀▀ ▀▀████████████▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄▀▀▄████████████▀▀▀▀
▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 Kirisute Gomen 6:27 ████▓▄ ░
░ ▄▓████ 2 Torn Between Scylla and Charybdis 6:49 ████▓▄ ░
░ ▄▓████ 3 Down from the Sky 5:34 ████▓▄ ░
░ ▄▓████ 4 Into the Mouth of Hell We March 5:52 ████▓▄ ░
░ ▄▓████ 5 Throes of Perdition 5:54 ████▓▄ ░
░ ▄▓████ 6 Insurrection 4:57 ████▓▄ ░
░ ▄▓████ 7 The Calamity 4:58 ████▓▄ ░
░ ▄▓████ 8 He Who Spawned the Furies 4:07 ████▓▄ ░
░ ▄▓████ 9 Of Prometheus and the Crucifix 4:40 ████▓▄ ░
░ ▄▓████ 10 Like Callisto to a Star in Heaven 5:25 ████▓▄ ░
░ ▄▓████ 11 Shogun 11:55 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 66:38 MIN ████▓░
░▓███████▄ TOTAL SIZE: 145.33 MB▄█████▓░
▀░▀████████▄ ▄█████▀░▀▀
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▄▄░▀█████╔════════════════════════════════════════════════════╗██████▀░▄▀
░▓█████▓░╟─────────────────────────────────────RELEASE NOTES╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ Trivium never asked to be described as "the next ║▀░▓████░▀▄
▄▀░████▓░▀║ Metallica" by a hyperbolic British magazine or ║▀░▓████░▀▄
▄▀░████▓░▀║ two, but because they tried to make the best of ║▀░▓████░▀▄
▄▀░████▓░▀║ the opportunity instead of wilting away with ║▀░▓████░▀▄
▄▀░████▓░▀║ apologetic shouts of "We're not worthy!," they've ║▀░▓████░▀▄
▄▀░████▓░▀║ taken a hell of a lot of guff from radical heavy ║▀░▓████░▀▄
▄▀░████▓░▀║ metal fans, already stirred up over the group's ║▀░▓████░▀▄
▄▀░████▓░▀║ signing to the closest approximation to ║▀░▓████░▀▄
▄▀░████▓░▀║ corporatism in their world: Roadrunner Records ║▀░▓████░▀▄
▄▀░████▓░▀║ (who actually dare work with non-metal bands -- ║▀░▓████░▀▄
▄▀░████▓░▀║ curse them!). Admittedly, the youthful Floridian ║▀░▓████░▀▄
▄▀░████▓░▀║ quartet (whose confidence has been frequently ║▀░▓████░▀▄
▄▀░████▓░▀║ misconstrued as arrogance) didn't help matters ║▀░▓████░▀▄
▄▀░████▓░▀║ when the band followed its impressive sophomore ║▀░▓████░▀▄
▄▀░████▓░▀║ album, Ascendancy, with an undisguised bid for ║▀░▓████░▀▄
▄▀░████▓░▀║ wider commercial appeal via its inconsistent ║▀░▓████░▀▄
▄▀░████▓░▀║ third album, The Crusade. Thus came something of ║▀░▓████░▀▄
▄▀░████▓░▀║ a backlash even among their supporters, bringing, ║▀░▓████░▀▄
▄▀░████▓░▀║ in turn, the stylistic retreat toward more ║▀░▓████░▀▄
▄▀░████▓░▀║ uncompromising metallic terrain embodied by the ║▀░▓████░▀▄
▄▀░████▓░▀║ group's fourth album, Shogun. On this outing, ║▀░▓████░▀▄
▄▀░████▓░▀║ Trivium elevate their new millennium thrash to -- ║▀░▓████░▀▄
▄▀░████▓░▀║ by their standards -- largely unprecedented ║▀░▓████░▀▄
▄▀░████▓░▀║ heights of intensity and complexity, stacking ║▀░▓████░▀▄
▄▀░████▓░▀║ riff upon riff (really good ones, too) into ║▀░▓████░▀▄
▄▀░████▓░▀║ densely structured highlights such as "Down from ║▀░▓████░▀▄
▄▀░████▓░▀║ the Sky," "Throes of Perdition," and the ║▀░▓████░▀▄
▄▀░████▓░▀║ especially devastating "Kirisute Gomen" (which ║▀░▓████░▀▄
▄▀░████▓░▀║ supposedly means "Pardon me while I cut off your ║▀░▓████░▀▄
▄▀░████▓░▀║ head off" in Japanese). Corey Beaulieu and Matt ║▀░▓████░▀▄
▄▀░████▓░▀║ Heafy's shred-intensive guitar solos also pepper ║▀░▓████░▀▄
▄▀░████▓░▀║ every track, flying every which way like vengeful ║▀░▓████░▀▄
▄▀░████▓░▀║ hornets, and the latter's always varied ║▀░▓████░▀▄
▄▀░████▓░▀║ vocalizing once again prizes Hetfield-ian growls ║▀░▓████░▀▄
▄▀░████▓░▀║ and guttural screams over more sparsely ║▀░▓████░▀▄
▄▀░████▓░▀║ distributed (and therefore more impactful) ║▀░▓████░▀▄
▄▀░████▓░▀║ melodic singing. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Certain cuts may feel like they're jammed with a ║▀░▓████░▀▄
▄▀░████▓░▀║ few too many different hard/soft/harder ║▀░▓████░▀▄
▄▀░████▓░▀║ personalities for some listeners' tastes (e.g. ║▀░▓████░▀▄
▄▀░████▓░▀║ "Torn Between Scylla and Charybdis," "Into the ║▀░▓████░▀▄
▄▀░████▓░▀║ Mouth of Hell We March"), but most headbangers ║▀░▓████░▀▄
▄▀░████▓░▀║ are bound to appreciate these very ║▀░▓████░▀▄
▄▀░████▓░▀║ contradictions, which the band extrapolates to a ║▀░▓████░▀▄
▄▀░████▓░▀║ monumental climax on the multifaceted ║▀░▓████░▀▄
▄▀░████▓░▀║ 11-plus-minute album-closing title track. As for ║▀░▓████░▀▄
▄▀░████▓░▀║ the lyrics: if these song titles didn't make it ║▀░▓████░▀▄
▄▀░████▓░▀║ obvious already, Heafy's penchant for untowardly ║▀░▓████░▀▄
▄▀░████▓░▀║ bookish vocabulary and obscure mythological ║▀░▓████░▀▄
▄▀░████▓░▀║ references remains intact (see also "Of ║▀░▓████░▀▄
▄▀░████▓░▀║ Prometheus and the Crucifix" and "Like Callisto ║▀░▓████░▀▄
▄▀░████▓░▀║ to a Star in Heaven"), and will probably delight ║▀░▓████░▀▄
▄▀░████▓░▀║ as many metalheads as it irritates, but at least ║▀░▓████░▀▄
▄▀░████▓░▀║ he's no longer forcing unrelated words together ║▀░▓████░▀▄
▄▀░████▓░▀║ as though he were simply reading the dictionary ║▀░▓████░▀▄
▄▀░████▓░▀║ every night (which certainly seemed to be the ║▀░▓████░▀▄
▄▀░████▓░▀║ case on The Crusade's confusing "Entrance of the ║▀░▓████░▀▄
▄▀░████▓░▀║ Conflagration," for example). And yes, Trivium ║▀░▓████░▀▄
▄▀░████▓░▀║ still show no qualms or remorse about emulating ║▀░▓████░▀▄
▄▀░████▓░▀║ both the sounds and epic scope of vintage ║▀░▓████░▀▄
▄▀░████▓░▀║ Metallica, but what's so wrong with that? After ║▀░▓████░▀▄
▄▀░████▓░▀║ all, Metallica tried to do the same thing on ║▀░▓████░▀▄
▄▀░████▓░▀║ their own 2008 return to form, Death Magnetic. In ║▀░▓████░▀▄
▄▀░████▓░▀║ short: Shogun is easily Trivium's most ║▀░▓████░▀▄
▄▀░████▓░▀║ challenging and ambitious album yet, and even ║▀░▓████░▀▄
▄▀░████▓░▀║ though it isn't likely to spawn any hit singles, ║▀░▓████░▀▄
▄▀░████▓░▀║ it was clearly the album Trivium had to make in ║▀░▓████░▀▄
▄▀░████▓░▀║ order to get unduly prejudiced metalheads off ║▀░▓████░▀▄
▄▀░████▓░▀║ their backs and finally silence undue suspicions ║▀░▓████░▀▄
▄▀░████▓░▀║ over their abundant talent and devotion to heavy ║▀░▓████░▀▄
▄▀░████▓░▀║ metal. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
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▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Dennis Miller ║▄▄███████▓░▀
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