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Tickets will be up next week.

The post I Prevail Announce June 2026 Australian Tour With Imminence & Invent Animate appeared first on Theprp.com.

Review: Vinyl Floor – Balancing Act Karmanian Records (February 27th, 2026) Reviewer – Chris O’Connor Formed in Copenhagen in 2007, Vinyl Floor is the creative partnership of brothers Daniel Pedersen and Thomas Charlie Pedersen — multi-instrumentalists, songwriters and shared lead vocalists whose musical bond is evident in the seamlessness of their work. Now six albums […]

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Which Trivium Album Is The Best?

Shogun remains Trivium’s defining achievement — but the gap between their peak and their recent work is far narrower than most fans admit.

TL;DR

Trivium’s catalog is remarkably consistent for a band that’s constantly evolved. Shogun is the crown jewel, Ascendancy is the generational breakthrough, and In The Court Of The Dragon proves they’re operating at elite level nearly two decades in. Even their weakest records have purpose — which makes this ranking tougher than it looks.

Trivium’s story isn’t just about riffs. It’s about reinvention without collapse.

They came out of the 2000s metalcore explosion with real momentum, nearly derailed themselves chasing thrash purity, experimented with melody-heavy restraint, and then somehow emerged sharper, heavier, and more disciplined than ever. Most bands from their era either burn out or coast on nostalgia.

Trivium didn’t.

That’s why ranking these albums isn’t about dunking on “bad” records. It’s about figuring out where evolution hit hardest — and where it didn’t quite land.

Let’s get into it.

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10. Vengeance Falls (2013)

This is the only Trivium album that feels like it’s trying too hard to behave.

Produced by David Draiman, Vengeance Falls tightened everything up — sometimes to a fault. The edges were sanded down. The chaos was compressed. The aggression was streamlined into something cleaner, more radio-ready, more “controlled.”

The songs aren’t bad. Tracks like “Strife” still hit live.

But it lacks danger.

It feels like Trivium playing within lines instead of pushing them. When you compare it to what came before and after, it’s the least adventurous moment in their catalog.

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9. Silence In The Snow (2015)

This one takes guts.

Matt Heafy blew out his voice and decided to pivot completely — no harsh vocals, no screaming, no safety net. Just melody and classic heavy metal structure.

On paper, it’s bold.

In practice, it’s divisive.

Songs like “Until The World Goes Cold” show real songwriting maturity. But for longtime fans, the absence of bite makes it feel restrained. It’s Trivium in armor, standing tall — but not swinging.

It’s respectable.

It’s just not ferocious.

8. Ember To Inferno (2003)

You can hear the ambition immediately.

You can also hear the inexperience.

Ember To Inferno is raw, chaotic, occasionally uneven — but it has that early spark that can’t be faked. The riffs are hungry. The vocals are urgent. The songwriting isn’t refined yet, but the hunger is obvious.

“Pillars Of Serpents” alone shows the blueprint of what they’d become.

It’s not polished. It’s not consistent.

But it matters.

7. The Crusade (2006)

The boldest left turn of their career.

Instead of doubling down on metalcore success after Ascendancy, Trivium went full thrash homage. The Metallica influence is loud and proud. The solos are bigger. The song structures are more traditional.

Technically? It’s impressive.

Emotionally? It feels calculated.

There are strong tracks here — especially “Entrance Of The Conflagration.” But the album sometimes feels like it’s trying to prove something rather than simply be itself.

Ambitious. Divisive. Important.

6. What The Dead Men Say (2020)

This album feels like a band that knows exactly who it is.

No overcorrection. No reinvention stunt. Just controlled aggression and refined songwriting.

It doesn’t reinvent Trivium — it sharpens them. The riffs are tight. The choruses land. The pacing feels intentional.

It may not have the grand ambition of Shogun, but it shows maturity. And maturity matters when you’re this deep into a career.

5. In Waves (2011)

This is where Trivium recalibrated.

After the thrash-heavy The Crusade and the expansive Shogun, In Waves finds the middle ground. It blends melody and aggression without leaning too far in either direction.

The title track remains one of their most enduring live staples — and for good reason.

It’s confident without being bloated. Heavy without being indulgent.

This is second-era Trivium locking in.

4. The Sin And The Sentence (2017)

This was the reset.

The return of harsh vocals wasn’t just nostalgic — it was revitalizing. You could hear the hunger again. The riffs felt urgent. The songwriting had bite.

It didn’t feel like a comeback.

It felt like a reminder.

Tracks like the title cut and “Betrayer” prove that Trivium weren’t coasting — they were evolving. It’s disciplined, aggressive, and focused.

A turning point.

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3. In The Court Of The Dragon (2021)

This might be the most technically consistent Trivium album.

There’s no filler. No obvious misfires. Just precision.

It sounds like a band that has fully absorbed every era of itself and figured out how to balance it. Progressive touches, thrash energy, melodic hooks — all working together instead of competing.

It doesn’t quite have the mythic aura of Shogun, but in pure execution?

It’s elite.

2. Ascendancy (2005)

For many fans, this is the one.

The riffs. The screams. The youthful fury.

Ascendancy didn’t just elevate Trivium — it helped define mid-2000s metalcore. It was melodic without being soft. Technical without being pretentious.

It captured lightning in a bottle.

Even now, it feels urgent.

It might not be their most refined album — but culturally, it’s monumental.

1. Shogun (2008)

This is where everything clicked.

The songwriting expanded. The ambition grew. The band stopped chasing trends and started building something larger.

The riffs are intricate. The structures are progressive. The emotional weight feels real. Nothing about Shogun feels safe.

It’s not just heavy — it’s immersive.

This is the album where Trivium became more than a scene band. They became a modern metal institution.

And that’s why it sits at number one.

FAQ

How Many Studio Albums Does Trivium Have?

Trivium has released 10 studio albums from 2003’s Ember To Inferno through 2021’s In The Court Of The Dragon.

What Is Trivium’s Best Album?

Most fans and critics point to Shogun as their artistic peak, though Ascendancy remains their most culturally impactful.

Is Trivium Still Active?

Yes. Trivium continues to tour globally and remains one of modern metal’s most consistent live bands.

Trivium Band Bio

Trivium formed in Orlando, Florida in 1999 and quickly became one of the defining bands of the 2000s metal boom. Fronted by Matt Heafy (vocals/guitar), the band built its reputation on a rare combination of technical discipline, melodic songwriting, and an ability to evolve without abandoning heaviness.

Their 2005 breakthrough Ascendancy helped set the tone for modern metalcore, while later albums like Shogun expanded their scope into more progressive and thrash-leaning territory. In the late 2010s, Trivium entered a new era of consistency and power, releasing The Sin And The Sentence (2017), What The Dead Men Say (2020), and In The Court Of The Dragon (2021), a run widely viewed as one of the strongest late-career stretches in modern metal.

The post Trivium Albums Ranked From Worst To Best appeared first on Loaded Radio.

New Line-Up Debuts Supporting Pestilence in Diest, BE on May 10, 2026  Dutch metal band Beyond the Pale are proud to announce the addition of Bram ‘Bolo’ van Minnen of Necrotaph as their new lead vocalist. Bram joins the band effective immediately and will debut live with Beyond the Pale at Club Hell in Diest, Belgium on May 10, 2026, supporting Pestilence. With Bram’s […]

Source

Here are the new releases for March 1st to 7th. Releases reflect proposed North American scheduling, if available.

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Upcoming Metal Releases: 3/1/26 – 3/7/26

Vreid — The Skies Turn Black | Indie Recordings | | Norway (Sogndal)

The long-running act return with more polished black ‘n roll, touting The Skies Turn Black as “their most focused and aggressive material to date.” Whether that’s true is up for debate as the singles haven’t reflected that sentiment. “Kraken” is a slow soundtrack piece and the music video for the goth rock track “Loving the Dead” features Chris Pontius in a speedo. Who knows–appearances can deceive, after all.

–Colin Dempsey

…

Qwälen — Veri virtaa edelleen | Time to Kill Records | Black Metal | Finland (Oulu)

Qwälen hold true to their country’s signature blend of black metal and punk on their third record, the unfussy and straightforward Veri virtaa edelleen. This is written with the utmost admiration, of course, as this type of unrefined black metal is evergreen despite the lack of innovation.

–Colin Dempsey

…

Bosse-de-Nage — Hidden Fires Burn the Hottest | The Flenser | Post-Black Metal | United States (San Francisco, CA)

Bosse-de-Nage says it best on their Bandcamp, “What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it’s no longer the point.” The San Francisco group have spent the eight years since their previous record, Further Still, collaborating with other off-kilter Bay Area musicians who have worked with the likes of Deafheaven and Agriculture. Resultingly, Hidden Fires Burn the Hottest amalgamates post-hardcore, black metal, and post-rock’s penchant for atmosphere, though it’s grittier and more direct than that equation implies.

–Colin Dempsey

…

Misere Luminus — Sidera | Debemur Morti Productions | Atmospheric Black Metal | Canada (Montreal, QC)

On their third album, Misere Luminis remain sentimental to an overwhelming degree. “Aux bras des vagues & des vomissures” lays that on thick with pianos inherited from DSBM and a football-field-sized scope. Fortunately, Sidera has more going on under the hood than just sadness, which we’ll explore further in an upcoming feature.

–Colin Dempsey

…

Cogadh — Kingmaker | Independent | Black Metal | Canada (Guelph, ON)

Although black metal has long been a rustic genre, Cogadh’s take is particularly so. It’s not sprawling and boreal but earthy and homebrewed. How this presents is rather subtle, as even lead single “Cromwell’s Curse” is filled with haunted yelps, but Cogadh achieve it by warming up black metal’s sonics to accommodate onlookers rather than shun them.

–Colin Dempsey

…

Posted on March 2nd 2026, 4:24p.m.

He faces four charges for the incident.

The post Deadsy Frontman Elijah Blue Allman Arrested For Assault, Trespass & More Over Incident At A New Hampshire High School appeared first on Theprp.com.

This spring, English sludge metal/post-metal Conjurer will be crossing the pond for a North American tour in support of their latest album Conjurer. It’ll be an opportunity to crush some venues with the help of supporting acts Sadness, Snooze, and Pains along the way.

Set to kick off on May 22 in New York City, the tour will see Conjurer make stops in 16 different U.S. and Canadian cities. Things will eventually come to an end in Philadelphia on June 6. Among the stops on the tour will be Boston, Montreal, Toronto, Chicago, and Atlanta, just to name a few.

With their eye on the tour, the band said they were excited to come out to our neck of the woods.

“We are thrilled to be coming back to the US and Canada for the first time since 2023. We’re thankful to everyone that has been so patient with us, and to Nuclear Blast and Ryan at Forthright Booking for making this tour happen.

“For our first stateside headline shows, we wanted to bring some of our favourite bands with us and it’s a genuine honour to have Sadness, Snooze, and Pains share the stage every night.

“Being able to do this is a real privilege, and we are so excited to share our new album Unself with another continent, live on stage. See you out there.”

You can find the full list of tour dates below.

Conjurer tour dates

5/22 New York, NY The Meadows
5/23 Portland, ME Geno’s Rock Club
5/24 Boston, MA The Rockwell
5/26 Providence, RI Alchemy
5/27 Montreal, QC Cabaret Foufs
5/28 Ottawa, ON Dominion Tavern
5/29 Toronto, ON Prepare The Group (Conjurer only)
5/30 Columbus, OH Donatos Basement
5/31 Chicago, IL Sleeping Village
6/1 Indianapolis, IN Black Circle
6/2 Louisville, KY Portal
6/3 Nashville, TN DRKMTTR
6/4 Atlanta, GA Boggs Social & Supply
6/5 Raleigh, NC Chapel Of Bones
6/6 Baltimore, MD Motown Ballroom
6/7 Philadelphia, PA Kung Fu Necktie

The post Conjurer Announce North American Tour with Sadness, Snooze, and Pains appeared first on MetalSucks.

Big Big Train / Solstice Acoustic / Ross Jennings
The 1865, Southampton
March 1st, 2026

Words and Photos by Geoff Bailie

Having not played together live for almost a year, Big Big Train decided to do a warm up show ahead of their Cruise to the Edge performances. This would also be their first show, bar some in store performances since the amazing new album release of Woodcut. What I hadn’t realized until after booking, was that this would also be a chance to see both Solstice, in their acoustic incarnation, and Ross Jennings! It struck me that the show really covered three periods of UK prog: Solstice, who emerged in the 1980s neo-prog scene, Big Big Train, who formed in the 1990s, and Ross/ Haken who came to prominence in the 2000s. Yet here we are in 2026, and, I would argue that, all three are at career high points!

Ross and Haken came into the prog metal world, with a healthy dose of what you’d call “classic” prog such as Gentle Giant influences. Through a variety of collaborations outside the band, he has shown himself to be a hugely talented and diverse, adaptable artist on his brilliant solo album, even forming an acoustic vocal harmony trio with Neal Morse and Nick D’Virgilio. I also know he is a big country music fan, so maybe an album in that style may appear at some point.”! But whatever he is doing, seeing Ross Jennings perform is something special – and even more so in a stripped back solo format. His short acoustic set drew from his album Shadow of my Future Self, opening with Better Times and including the total earworm Grounded, accompanying himself on acoustic guitar. He dropped in a Haken deep cut in Deathless which worked really well in this format, and also played two of the trio songs in solo versions – Weighs Me Down and Another Trip Around The Sun. For a crowd for whom Ross may have been the artist they were less familiar with,he got a great response!

Next up was Acoustic Solstice. Andy Glass is a father figure in the UK prog scene and he was joined tonight by perhaps the four youngest people in the venue (!) – lead singer Jess Holland, Jenny Newman on violin, Dyane Crutcher, also on vocals, and (possibly sensing the overall demographic, in a pair of Rush trousers) Leoni Jane Kennedy on guitar and backing vocals. While the 9 piece full band line up is a power house of music, movement and energy, the seated acoustic line up loses none of the depth and beauty of the music, showing how it can exist in a stripped down format. With a set list that stretched from their debut album Silent Dance, including a jaw dropping version of Cheyenne with amazing harmonies and John Martin style guitar from Andy, through to tracks from their most recent albums, Sia, Light Up and Clann. Alberto Bravin joined the band for a beautiful version of A New Day, which he clearly enjoyed performing, and recognising that some of the crowd may not know the band at all, they did a harmony rich version of Yes’s Your Move! I’d never seen the band live before, and this performance certainly encouraged me to try and catch a show on their next tour.

And so to Big Big Train!!! Since I last saw them live, they have of course made the Woodcut album. Sufficient hints were dropped in the band’s social media to suggest that the show would not feature a full length version of Woodcut (emphasised by Alberto assuring us that they “don’t know it all yet”!) but with a catalogue as large and rich as BBT’s, the show is always special!

I’m guessing that very few of those present would have guessed that the set would open with Salisbury Giant from 2016’s Folklore album making its live debut, about 20 miles from Salisbury – so very appropriate as well as unexpected! I think I could sum it up by saying that BBT fans expect the best, and expect the unexpected! The more familiar A Mead Hall In Winter arrived next in all of its epicness. It’s a great track for a multitalented band to instrument switch and show just what they can do, with some killer Hammond organ from Rikard, wonderful violin from Claire, and rhythm section madness from Greg Spawton and Nick D’Virgilio!

Having warmed us up with the surprising and the familiar, it was time for some Woodcut, starting with The Sharpest Blade, a song with a huge contribution from Claire Lindley. I think it’s fair to say that this is a song already embedded in the audience’s consciousness and for a live band debut, it was performed exceptionally! Anyone who was sliding into their comfort zone, was perhaps surprised when Greg Spawton came to the front of the stage at this point, minus a musical instrument. He was there to announce the next song, one which has a massive place in BBT’s history. Acknowledging the presence in the venue of Ian Cooper and Andy Poole, the band’s co-founders, he introduced Kingmaker, which dates from the band’s 1990s era demos. Last performed in 2018, this marked the debut performance of the song by many on stage including Alberto – and the hall was lit up by the music!

The story and emotions of Miramare were welcomed by the audience, from its beautiful a capella opening, to the frantic cantering mid section, arriving at the magnificent ending celebrating this epic landmark of Alberto’s home town. After the familiar, the band returned to Woodcut, playing one of the most intricate album tracks, NDV’s Warp & Weft – with changing time signatures and a complex vocal breakdown, all of the band’s abilities were on display, and it received enormous applause.

It’s notable when you see BBT live that even with the (reduced) 7 piece line up, the ability of all of the musicians to multi-task/ play multiple instruments is a key part of the big big sound. Claire, Alberto and Rikard all have keyboards at their stations, Claire strums acoustic and Rikard’s double neck guitar isn’t just a prog trope – he needs both necks, often changing from that guitar to another mid song. Paul made creative use of doubling and harmonisers to give that full brass band effect when required, and, at one point, I found myself scanning the stage to try and figure out who was playing the harmony guitar part, only to realise that Claire was covering it on distorted violin. And of course there are the vocals – all of the band members sing live and, this time, that even includes Greg who stepped up for his part in Counting Stars, during which he also played 12-string guitar and bass pedals! He told me after the show that was a nerve wracking moment, more so than covering multiple complex bass guitar parts. The audience were as delighted at this spotlight moment for the father of the band during Counting Stars as they were when Alberto hit the closing high note with power and ease!

Back to the set list, The Artist feels like a live favourite in the making already on its debut live performance, and the band cleverly joined it to English Electric opener, The First Rebreather. I’m not sure that the audience would have allowed the band to leave the venue without playing the aforementioned Counting Stars, but the band handed the moment to their fans, the Passengers, by dedicating it to one of their long term fans who could not be at the show due to undergoing chemotherapy the following day. In a moment, it reflected the deep band / fan connection that BBT have fostered. With a hectic schedule that involves getting from the south of the UK to a Cruise ship in Miami over the next few days, all of the band members were inside the venue to chat to fans before and for a long time after the show, not just signing merch but also engaging with and answering questions.

Side stepping the need to leave and return to the stage, on account of (1) a curfew and (2) the need to walk through the crowd to get to the stage, the band ended the show with Love Is The Light. The spirit of camaraderie was extended to Ross Jennings who joined them to sing the second verse of this anthem – and of course the other guest singer on this track is the audience! The joy of the evening was manifest in the “woah oh oh-a oh” that came from everyone present at the show’s conclusion.

In a recent Prog magazine article, Greg Spawton described the band’s current stage of evolution as “a gigging band that also makes albums”. With an acclaimed new album, and UK and European dates lined up later this year, where the band will be visiting venues and countries they haven’t played in before, the Train’s current momentum seems unstoppable.

Big Big Train set list

The Book of Ingenious Devices (Intro)
Salisbury Giant
Mead Hall
The Sharpest Blade
Kingmaker
Miramare
Warp & Weft
The Artist
The First Rebreather
Counting Stars
Encore: Love is the Light (with Ross Jennings)

The post Concert Review: Big Big Train live with Solstice and Ross Jennings, Southhampton, UK – March 1st, 2026 appeared first on The Prog Report.