American metalcore-thrash/metal band Trivium released their new album “In The Court Of The Dragon” just 17 months after their well-received album “What The Dead Men Say” from April 2020.

Guitarist Corey Beaulieu mentioned in June 2020 that the band had already started working on the follow-up to “What The Dead Men Say” during the Covid-19 lockdown, and he said the new material sounded pretty angry. And he was right. This October, they released “In The Court Of The Dragon” as their 10th studio album. This means the band has put out three albums in just four years.

The album is 52 minutes and 16 seconds long, featuring 10 tracks. The orchestral and synth arrangements were done by Ihsahn (from Emperor). The band has maintained the quality they achieved with their recent releases and even built upon it, producing an even better album. From what I’ve seen, many fans consider it their best and most powerful album since 2008’s “Shogun.”

Overall, the album mixes thrash, black metal, death metal, progressive metal, and orchestral sounds. Matt Heafy delivers a wide range of vocal styles, seamlessly shifting between clean vocals and intense screams, showcasing his versatility. The lyrics delve into mythological and dark themes.

Like their previous album, this one starts with a short, orchestral, and choral track called “X” (the previous album began with “IX”). This opener sets a spiritual atmosphere, leading into the explosive title track “In The Court of the Dragon.” The song kicks off with heavy riffs, vocals, and drums, with Heafy transitioning from growls to clean vocals in the chorus. The tempo changes, drums, dual guitar sections, and solos make it a complex track that feels longer than its 5-minute runtime.

The next track, “Like A Sword Over Damocles,” follows a similar pattern with its tempo and guitar changes, along with Heafy’s vocal shifts. It has a catchy chorus that sticks with you and is a solid thrash song.

“Feast of Fire” reminded me a bit of “Until The World Goes Cold” from their 2015 album “Silence In The Snow,” but faster and more powerful. It’s a softer track compared to the previous two, but it still features impressive bass tapping from Paolo Gregoletto towards the end, making it a standout.

“A Crisis Of Revelation” brings back the aggression with Alex Bent’s drum intro, Heafy’s harsh vocals, and melodic chorus. It feels like a track straight out of their 2005 album “Ascendancy.”

“The Shadow Of The Abattoir” starts with a melody that immediately made me think of Iron Maiden. It has a grand, epic feel, reminiscent of Maiden’s “Dance Of Death” album. The song has a dark death theme, starting slow and clean before picking up tempo around the 3-minute mark, transforming into an aggressive thrash metal track. At 7 minutes and 11 seconds, it’s one of the longest songs on the album and my personal favorite.

“No Way Back Just Through” is another high-tempo track with a simple yet catchy chorus.

The album’s longest song, “Fall Into Your Hands,” is intense except for its chorus. It features metalcore and melodic death metal riffs, a moving guitar solo around the 4-minute mark, and a symphonic close in the last 45 seconds.

“From Dawn to Decadence” initially seems softer but quickly turns aggressive with heavy vocals and speeding drums.

“The Phalanx” was originally written as a demo during the “Shogun” era in 2008 and was later reworked for this album. The opening riff is reminiscent of Metallica, but the song evolves with Ihsahn’s orchestral arrangements, combining new and old riffs to provide an epic conclusion to the album.

Lastly, let’s talk about the album cover. As Heafy mentioned, it looks like a Renaissance-era painting you’d see in a prestigious museum. From the moment you see it, you’re drawn into the story Trivium is telling with this album.