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WATCH: Trivium Cover Power Trip’s ‘Executioner’s Tax’ As Tribute To Frontman Riley Gale

Jack Rogers
Jack Rogers 1 September 2020 at 11.40

"This is for Riley"



Last month Trivium played a very special livestream show titled 'A Light Or A Distant Mirror' in lieu of not being able to tour their new album 'What The Dead Men Say'. 

They have now followed that with 'The Deepest Cuts', a brilliant livestream where they brought out rarely or never played tracks. 

Amongst those tracks was a touching tribute to Power Trip's Riley Gale, who passed away last week. 

Before covering the band's bruising track 'Executioner's Tax', Matt Heafy had this to say:

"Talking about and talking about good times, we had the pleasure of touring with Power Trip on one of our greatest UK/European tours. That tour was unbelievable. We, all of us band and crew, got to know Riley quite a bit.

I feel like Power Trip was one of the very few bands that weren’t newer but newer to the world scene and had a better shot at becoming one of the biggest metal/hardcore crossover bands on the planet. I know that those guys can still pull together and I hope they can pull together and do what they do. Riley will be greatly missed. Everyone remembers him as being an undeniably incredible frontman, which he was, with a voice that sounded like no-one else. I think Power Trip was doing something very different that other people weren’t doing. They were able to bring so many fans of so many different genres into one band.

I know everybody remembers Riley for the really heavy intense sets, but he was a really kind and awesome guy. He was very much so into what I was doing with Twitch. He would always ask me and he wanted to start a channel. We would talk about games a lot and comics and food.

We miss him and we hope we do this justice. We hope Power Trip keeps going. This is for Riley."


Check it out below:

'What The Dead Men Say' is out now via Roadrunner Records. 

We spoke to Matt all about it around release. You can check out the full interview HERE but here's a snippet:

When you were first gearing up for this record, how would you describe your mentality - the game-plan for this one, if you like? This album feels like a real synthesis of everything Trivium has been, and more besides.
“That’s really nailed it. Making [‘17’s] ‘The Sin And The Sentence’, we went through our career and looked at everything we thought we’d done right and done wrong. That record captured the best bits of all the other albums we’d done before, and ‘What The Dead Men Say’ also collects everything from ‘The Sin…’ and back. What I noticed from really scrutinising everything we’ve ever done was, I looked across all my, top, favourite Trivium records: ‘The Sin…’, ‘In Waves’, ‘Shogun’, ‘Ascendancy’, ‘From Ember To Inferno’. And with those records specifically, we created music amongst the four of us in a room, before allowing anything else to happen.

"Before sitting with a producer or going into the studio, we made sure that we could play the music from start to finish by muscle memory, that I could sing it and scream it, that we had at least 90% of the vocal melodies and lyrics written before we were ready to go into the studio. The three others that I put towards the bottom of my favourites - because they’re all my favourites I guess! - and are very tough on, are ‘Vengeance Falls’, ‘Silence In The Snow’ and ‘The Crusade’- and with those three, we made the conscious decision to stay within a lane of Trivium’s sound.”


How so?
“‘The Crusade’, in particular, was a decision by me to rebel entirely against everything that ‘Ascendancy’ had been. As great as ‘Ascendancy’ was, and everything exploding for us in the UK off of that record, I looked around and went, ‘Alright, we just did all of this. Every other band in the world is now also doing this’. I’m not saying that we created that formula, but back then I was like, ‘Everyone’s screaming and singing, doing breakdowns and solos and double bass, let’s do the opposite of that: more akin to the ‘80s influence of where we come from’. We became like a classic metal band, and saw that the UK was pretty shocked by it. But the rest of the world started picking up on it, that’s where Iron Maiden took us on tour and Europe started opening up for us. It’s always an interesting time when I’m talking to the UK press, because the time of ‘Ascendancy’ in the UK was the only time and place that our band were on every magazine cover and winning all the awards. It was ‘Ascendancy’ in the UK, and after that it’s really, truly been built off the base of our supporters.

"It was so great that the UK gave us that shot and Download worked, even though we showed up onstage not warmed up and had only woken up 30 minutes before, were rusty and not sure if we could pull it off. But somehow it all just clicked in and everything happened right. So I feel like with these past few records, especially the latest one, there have been times when we’ve been reflective over everything. But there have also been times where we haven’t been pulling from anything specific. We’ve gotten back into the mindset of ‘Ascendancy’ and ‘From Ember To Inferno’, which was that we were just making the kind of music that made us feel good and excited to play. When we made ‘Ascendancy’ we didn’t have fans or supporters, no one knew who we were, so we just made the kind of music that made us feel something. That’s where we’ve been at with this new record. Not staying in or out of a lane, just allowing anything and everything to happen.”

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