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Depersonalizationilosophy, April 13th, 2013

The seven deadly sins are all vices creatures on our mother earth are capable of implementing to indulge their id behavior. It is a concept Sigmund Freud attributed to psychoanalysis of human reason. It’s the primitive urges we humans exhibit but unlike Christianity, Freud’s philosophy explains the concept even further. Humans ultimately decide if whether they should act in one spectrum or the polar opposite. This gives birth to what he called conscious. Trinakrius explore this concept on their third full-length released, “Seven Songs of the Seven Sins” via End of the Light Records.

One of the first things I noticed in “Pride (I am the One)” is the melodies have the same tone as Bullet For My Valentine which created an aversive reaction in me. There’s a section when all the musicians model independent input to create a plethora of different stimuli to focus on. However, I felt no connection, it’s an interpersonal relationship with no mutuality on a collaborative effort. You can tell they are happy with this stylistic approach but a band must work as a band. No, I’m not talking assimilation rather every member should encourage a rather collective integrity rather than a sporadic dissolution. As “Sloth (Shelve and Delay)” unfolds it becomes clear these guys do not play coherent metal. Instead, hard rock riffs for a catchy but banal effect. Several of the other vocalists decide to abide in unison but it fails to carry integrity. Trinakrius is like a fusion between Candlemass and System of a Down (in respect to vocal tendencies). While I do love both for various reasons a combo of the two just sounds horrible and immature. These guys are still in the weaning phase of their musicianship.

Oh wow didn’t think It could get any more sloppy but “Envy (Malicious Desires)” bares these guys definitely enjoy group vocals. It’s raped repeatedly in this song. While it has a wide range of different vocal styles (power, hardcore, melodic death metal) it’s not grasped with creativity. It displays ability but not captured as an adequate piece to demonstrate effective songwriting. I picture these guys being local heroes in their cities. People with a minimal understanding of music would see these guys as a band on the rise. All in all, these guys need to be exposed to more types of music and truly feel what creates a piece with a classical reminiscent feel. If they continue the way they do, they might reach stardom within a growing fan base but alas it could be a gimmick and an insult just like glam metal was. “Gluttony (Anorexia)” follows the same pattern as “Pride (I am the One)”. I failed to mention the fact they add grooves to their riffs. As both of these songs reached their bridge, they slowed things down to create a power aura around their music. The drums follow the stereotypical pattern of “look-how-tough-I-look-instead of-understanding-music-fundamentals-look”. Just as my repetitive statement of the word “look” ensued, the drumming had a stale conditioning effect of hardcore adulation. The vocals, however, sounded promising. Sparacello’s accent works well in harnessing a unique approach to a Messiah Marcolin-attributive style.

Holy crap! “Lust (Sex Humanity)” is good! Well I’m half-lying. Talking about the vocals here but they have a killer interlude and melody that really captures the spirit of the song. Maybe Emanuele "Izzy" Bonura should switch entirely to acoustics. All his heavy riffs give me a stroke. Not in a positive expressive manner either, I mean total helpless as oxygen seamlessly escapes your respiratory system and every second is an eternity as you wait for your inevitable collapse and death. On a good note, Fabio Sparacello really outdoes himself and surprisingly this time duo vocals were used incredibly well. Riding along the same trend, “Greed (All Mine)” continues to impress me with Fabio’s vocal work.

Holy fucking shit! I normally do not curse, but that phrase is how I felt about Fabio’s unique singing in “Ira (L'Oscura Ascesa)”. I’m starting to think he’s a tease. Holding out on his true ability as the album progressed toward its inevitable end. Not only that but he sings this whole song in his native Italian tongue. I always encourage musicians to embrace diversity and there’s no better way than to embrace one’s native culture.

The disappointing aspect about “Seven Songs of the Seven Sins” is I thought I was in for a classic doom act but the riffs were just generic radio-friendly Evanescence hard rock regurgitation. Alessio Romeo, the keyboardist, tries to create a gothic aura but partially comes off as cheesy. Fabio Sparacello is an individual who has true capabilities. As long as he’s in Trinakrius I have my eye on this act.

Originally written for www.metal-temple.com