The Sin and the Sentence
Metal titans write their own history
John Tabbernor // Community Relations Manager
The Sin and the Sentence is Trivium. It is the eighth studio album from the metal band, and peaked at number three on the Top Rock Albums chart. Released on Oct. 20, the album is a culmination of all of Trivium’s past work. It is the distillation of their essence. Early comparisons to Metallica and Megadeth had many believing that Trivium would become the next great thrash band. But over
“Screaming vocals matched with shiver-inducing harmonies and machine gun drums paired with aggressive, yet melodic guitar riffs. This is quintessential Trivium.”
the years, the band has failed to live up to these comparisons. They have, in fact, done something much more wondrous. They have created their own sound. It has been carved, scrapped and reforged with every new release.
There is an inherent Trivium-ness in everything they do. It drips off every note, riff and drumbeat. The Sin and the Sentence is a perfect blend of thrash and melodic metalcore, embodied by tracks like “Betrayer”. Screaming vocals matched with shiver-inducing harmonies and machine gun drums paired with aggressive, yet melodic guitar riffs. This is quintessential Trivium. Though the band came into its own years ago, Trivium still wears its influences, and its history, on its sleeve.
“Other Worlds” could be an homage to Iron Maiden, the classic British metal band. “Heart from Your Hate” sounds more like a hard rock track from Trivium’s third album, The Crusade. “Wretchedness Inside” would be at home on their breakout album Ascendancy.
Notably, “Revanchist” is the album’s most Metallica-like track. A reference to an obscure form of political policy based around revenge, its sound owes lineage to those titans of metal. Trivium is the sum of all of these parts. It is a band that has been shaped by those that came before them. It is also a band that stands apart. The influence of Trivium and this album cannot be understated.
A debut full of promise
Justin Scott // Managing Editor
One of the biggest problems with many of today’s electronic albums is that the artists seem to forget that they’re producing an album – this is something Petit Biscuit surely kept in mind when working on Presence. His debut full-length release is a strong and cohesive offering that starts strong, builds and grows throughout and ends strong.
Opening track “Creation Comes Alive”, which features vocals from Sonia is aptly titled as it both kicks the album off and brings it to life. It builds from an understated introduction to a full-edged anthem. Wasting no time, Petit Biscuit follows with “Problems”, which features the prolific Lido. While the second track has less energy than the opener, it’s a bouncy song perfect for a late night or early morning drive.
Presence continues a celestial journey throughout the whole album, with no lack of Petit Biscuit’s signature sound of booming synths and percussion to match. He does balance it out with darker tracks like “Break Up”, which is darker and more tribal than much of his previous work.
The album ends with the conveniently titled “The End”, which couldn’t be a better send off. While it maintains an enjoyable and danceable tempo, it is unmistakably the album’s farewell.
Although Presence is a strong freshman album, it seems repetitive at points. Running 14 tracks long, it could have bene ted from a tighter track list. Biscuit’s progression as an artist is overshadowed at points by an emphasis on his occasionally bombastic tracks. Having said that, this is an exciting release and all-but guarantees a promising future for the young French producer.
The Space Between
Canadian R&B/pop duo find their sweet spot
Cristian Fowlie // Production Designer
Majid Jordan is most well known for their feature on Drake’s airy pop single “Hold On, We’re Going Home”.
Signed to the superstar’s OVO label, they have contributed writing, vocals and production to other Drizzy cuts like “Child’s Play” or his feature on Beyoncé’s “Mine”. While they are a crucial addition to the 6God’s sound, they failed to stand out with their 2016 self-titled debut. The album felt too sleek, too cold and too clever to really connect as a great pop or R&B album.
Only a year later, Majid Jordan has returned with their sophomore record The Space Between. There are no drastic sound changes – they still have their signature crisp beats and lush, atmospheric production. Instead, they’ve cranked up the warmth on their sound and honed-in on their strengths. Opening tracks “Gave Your Love Away” and “OG Heartthrob” are built on simple rhythms that are instantly danceable (à la “One Dance” or “Signs”) and laced with melodies that fondly echo mid-2000’s pop. On “Phases”, Majid Al-Maskati’s raspy vocals are given room to breathe over gentle piano before launching into pulsing synthpop.
While Champagne Papi doesn’t make an appearance, OVO label-mates PartyNextDoor and Dvsn both make superb features, bringing their hip-hop attitude or gospel soulfulness to Majid Jordan’s polished sound. Every track feels like a highlight, paced perfectly into an immersive experience. From intro to outro The Space Between is a consistently great album, one that is easy to listen to over and over.
The Brooklyn-based artist transcends genres with her latest release
Anton Astudillo // Contributor
Yaeji’s EP2 is a vast exploration of serene vibrations and melodic undertones. Operating from Brooklyn’s underground, Yaeji has come out with a record ready to break past the walls of New York’s notorious borough. Part-ambient house, part-hip-hop, part-R&B, Yaeji’s music blurs the lines between different genres across a short ve-song EP.
EP2 starts off with a floating whisper on “feelings change” that carries a modest weight of anxiety and then traverses across the rest of the record like a soft breeze across your face
in the dark corner of the club. “raingurl” is a spine-chilling house track that would leave dance floors scattered with mixed drinks and red plastic cups while the trap influence of “drink i’m sippin’ on” reminds one of early Yung Lean without the irony and ignorance.
The EP ends with “passionfruit,” a dear-to-me Drake cover that has a stuttering piano sample patiently waiting to burst out of its cage. The producer’s tender yet unyielding vocals make for a very pop-sensible R&B artist that just suits her deep house style.
While classifying her sound as ‘mumble rap’ might seem apt, rappers categorized under this subgenre lack the grace and charm of Yaeji’s ow, switching between English and Korean to attain a sense of duality in many of her songs.
Besides writing songs as a musician, the 24-year-old Yaeji, or Kathy Lee as her peers know her, is a visual artist who went to school for painting and conceptual art but quitting to pursue her career as a musician. She has lived all over Asia and the US and converges these experiences into her art and music.