BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Find Local//findlocal.community//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:19700308T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=2SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:19701101T020000 RRULE:FREQ=YEARLY;BYMONTH=11;BYDAY=1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:9b585e4e-c2d2-4241-b8af-d6b5f0057f30@findlocal.community DTSTAMP:20261015T144846Z DTSTART;TZID=America/New_York:20261114T173000 DTEND;TZID=America/New_York:20261114T193000 SUMMARY:Trivium DESCRIPTION:Various belief systems throughout history exalt the number 10 as divine. 10 years comprise a decade\, we traditionally possess 10 fin gers and 10 toes\, our very decimal system remains based on 10\, and so on and so forth. Trivium grasp for collective perfection on their 10th f ull-length offering\, In The Court of the Dragon [Roadrunner Records]. F ollowing 22 years\, over 1 million units moved\, hundreds of sold-out sh ows\, and halfa-billion streams\, the GRAMMY® Award-nominated Florida qu artet—Matt Heavy [vocals\, guitar]\, Corey Beaulieu [guitar]\, Paolo Gre goletto [bass]\, and Alex Bent [drums]—deliver a definitive statement ca st in ironclad guitar fireworks\, pummeling rhythms\, lyrical provocatio ns\, and stadium-shaking choruses. It springs from the past\, seizes the present\, and hints at the future of Trivium—and metal—all at once. “Ge tting to album 10 felt momentous\,” says Paolo. “Not many bands get this far\, so it had to live up to being the 10th record. We didn’t know if we were going to be able to tour\, so it had to still be impressive enou gh to keep everyone’s attention. It was the sole focus for the last ten months. We had to make sure we met the bar we’ve set for our fans and ou rselves.” “To be 10 records in is an accomplishment in and of itself\,” agrees Corey. “To us\, this music felt special. We’re the strongest we’v e ever been as friends and as a band. I hope it shows in the songs.” “I feel like we’re four people who just started a new band with all of the aspirations and dreams in the world\,” exclaims Matt. “I’m excited to go to practice. I’m excited to play our music. I’m very happy to be in the band with these three guys. 22 years into this thing\, that’s incredibl e.” Those 22 years have set the stage for this era. Trivium crafted a cl assic in the form of Ascendancy. It concluded 2005 as KERRANG!’s “Album of the Year\,” went gold in the UK\, and has since surpassed global sale s of 500\,000 copies. Retrospectively\, Metal Hammer cited it in the Top 15 of the “The Greatest Metal Albums of the Century.” They’ve earned si x straight Top 25 debuts on the Billboard Top 200 and six Top 3 debuts o n the Top Rock Albums Chart. One of many standouts from 2017’s The Sin a nd The Sentence\, the single “Betrayer” garnered a GRAMMY® Award nod in the category of “Best Metal Performance.” The quartet reached new height s on 2020’s What The Dead Men Say\, appearing everywhere from The New Yo rk Times\, NPR\, Forbes\, Billboard\, Tech Crunch\, and Kotaku to Revolv er and Alternative Press. They are the rare band who can incinerate a st age alongside Metallica and Iron Maiden and hold a captive audience of t ens of thousands on a Twitch stream. In the midst of the Global Pandemic \, the members safely congregated in order to practice and volley ideas back and forth. During the summer\, Alex and his wife moved across the c ountry from California to Florida as Paolo also relocated back home. Onc e conditions permitted\, they returned to the studio in Full Sail Univer sity with producer Josh Wilbur [Lamb of God\, A Day To Remember] in 2021 . “When I moved\, everything changed\,” says Alex. “We could easily get on a group text to practice or write virtually anytime. It isn’t like I had to hop on a plane anymore. Everything was so much simpler and smooth er. We weren’t working with any time limitations\, and everything paid o ff.” It most certainly did…Trivium sent shockwaves through heavy metal w ith the surprise release of the first single and title track “In The Cou rt of The Dragon.” Within a month\, the song piled up millions of stream s as Guitar World hailed it as “one of the standout metal tracks of the year.” With its striking renaissance-inspired artwork\, enigmatically un nerving fantasy visual\, and conflagration of guttural screams\, hammeri ng percussion\, orchestral intro courtesy of Ihsahn [Emperor]\, and swee ping hooks\, it unlocked a gateway into another realm. “As far as the me aning goes\, there is no right or wrong answer\,” grins Matt. “I want pe ople to come up with their own interpretations of everything they hear\, see\, and experience on In The Court of the Dragon. Of course\, I’m obs essed with Scandinavian stories\, Vikings\, Japanese history\, and the t ales of Odin\, Thor\, Ragnarok\, and the end of the world\, Paolo was li ke\, ‘Why don’t we create our own mythology?’ We’ve definitely used pre- existing myths for inspiration in the past. We created our own myth now. ” Meanwhile\, “Feast Of Fire” burns bright with a massive chant hyper-ch arged by nimble melodic thrash and a smart-bomb precise solo. “To us\, ‘ Feast Of Fire’ is in the direct lineage of ‘Dying In Your Arms’\, ‘Unti The World Goes Cold’\, and ‘Black’\,” Matt observes. “We really fleshed it out perfectly with the chorus\, and it was meant to feel big.” Then\, there’s “Like A Sword Over Damocles.” A hulking groove gives way to a s kyscraping refrain uplifted by thick distortion. “I had the initial back bone of the song\, and I really wanted to do a barnburner\,” Corey revea ls. “I had researched the concept. It was a cool story about the struggl es of being someone in power and always having people question you. What happens when the person who’s questioning you has your job and responsi bility? They don’t want it. Paolo built on that idea\, and we made our o wn story. I’m really stoked for everyone to hear it.” The near eight-min ute “Fall Into Your Hands” originated on Matt’s uber popular daily Twitc h stream and organically progressed into one of the most epic compositio ns in the band’s catalog. However\, everything culminates on “The Phalan x.” It twists and turns through incendiary leads\, heart-wrenching screa ms\, an entrancing melody\, and final symphonic comedown. “Thematically and musically\, the song has three acts\,” Matt states. “For as conceptu al as it is\, it also reflects our chemistry in the room. Since we’re so technically proficient at our instruments and I spend hours singing eve ry day on stream\, we’re over prepared. For In The Court of the Dragon a nd What the Dead Men Say\, we went in and played without thinking. We de fault to technical\, elaborate\, and long ideas\, because that’s what we grew up on. It all felt natural.” In the end\, Trivium have inched towa rds this moment for ten albums and finally arrived like never before as they triumphantly rise In The Court of the Dragon. “This album has every thing\,” Matt leaves off. “It has the singing\, the screaming\, the deat h metal\, the black metal\, and the catchy metal. When we have all of th ose elements together\, we’re the happiest. It’s the key to Trivium.” “T his is a new chapter\,” Paolo concludes. “We’re crossing into something else. I don’t know what it is\, but I’m excited for it. We have a lot le ft in us\, and I want to prove that.” – Rick Florino\, August 2021 BOILE R For over two decades\, Trivium have quietly raised the bar for heavy m usic by conjuring a near-magic balance between towering melodic metal in fectiousness\, extreme metal unpredictability\, black metal scope\, and a kick of rock ‘n’ roll spirit. After forming in 1999\, Trivium crafted a classic in the form of Ascendancy. It concluded 2005 as KERRANG!’s “Al bum of the Year\,” went gold in the UK\, and has since surpassed global sales of 500\,000 copies. Retrospectively\, Metal Hammer cited it in the Top 15 of the “The Greatest Metal Albums of the Century.” They’ve earne d six straight Top 25 debuts on the Billboard Top 200 and six Top 3 debu ts on the Top Rock Albums Chart. One of many standouts from 2017’s The S in and The Sentence\, the single “Betrayer” garnered a GRAMMY® Award nod in the category of “Best Metal Performance.” The quartet reached new he ights on 2020’s What The Dead Men Say\, appearing everywhere from The Ne w York Times\, NPR\, Forbes\, Billboard\, Tech Crunch\, and Kotaku to Re volver and Alternative Press. They are the rare band who can incinerate a stage alongside Metallica and Iron Maiden and hold a captive audience of tens of thousands on a Twitch stream. Following 22 years\, over 1 mil lion units moved\, hundreds of sold-out shows\, and half-a-billion strea ms\, the GRAMMY® Award-nominated Florida quartet—Matt Heavy [vocals\, gu itar]\, Corey Beaulieu [guitar]\, Paolo Gregoletto [bass]\, and Alex Ben t [drums]—deliver a definitive statement cast in ironclad guitar firewor ks\, pummeling rhythms\, lyrical provocations\, and stadium-shaking chor uses on their 10th full-length offering\, In The Court of the Dragon [Ro adrunner Records]. It springs from the past\, seizes the present\, and h ints at the future of Trivium—and metal—all at once.\n\nTickets: https:/ /www.axs.com/events/1518392/trivium-tickets?skin=fmh\n\nhttps://findloca l.community/event/9b585e4e-c2d2-4241-b8af-d6b5f0057f30 LOCATION:Franklin Music Hall\, 421 North 7th Street\, Philadelphia\, PA 1 9123 URL:https://findlocal.community/event/9b585e4e-c2d2-4241-b8af-d6b5f0057f3 0 STATUS:CONFIRMED SEQUENCE:0 END:VEVENT END:VCALENDAR