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The Trigger – The Time of Miracles Award winner

The Trigger
The Time of Miracles
by Rachel Montgomery at 23 July 2019, 6:55 PM

THE TRIGGER is a five-piece, female-fronted industrial metal band from Serbia releasing their first studio album completely in English, and their fourth studio release altogether. I found it to be a really nice take on Industrial and Nu Metal stylings, with a very strong beginning and end. The album opens with “Pray,” intense, heavy guitars that make you pumped. The voice is silky, sultry, sexy and in a rare jazz style for this genre. The band reminds me of a combination of EVANESCENCE, PAT BENATAR and HALESTORM that is just to die for! This is a wonderful opener; I can’t wait to hear what’s next.

The name of the next song, “Don’t Feed the Cannibals” is amazing in itself. With heavy drumming, some wonderful guttural backup vocals and soaring melodies, I just love this song. I love this album. I love this band (I haven’t even heard of them before). I love everything about this. The ambiance is great, the guitar solo is great and the intensity of the music is awesome! “Ashes and Bones” starts out with some great ambiance which is beginning to remind me of LACUNA COIL and Portugese band MOONSPELL. The combination of melodic vocals and musical intensity is just amazing here and I haven’t heard anything this good in a long, long time. The echoing vocals before the last chorus is a great touch on the song.

Kingdom Will Never Come” maintains the same quality of songs, mixing the intense and melodic to make a different tone for this song – eerier, edgier, still great. It just doesn’t stand out to me as much as the last three, which is all right; it’s a personal thing. The next song is more electronic in the beginning, creating more of a cyberpunk feel. “What Have We Become” has a roaring chorus juxtaposed against more restrained verses, creating an engaging piece. The next song, “Out of Clay,” is slower and while it’s still intense, it’s the closest thing this album has had to a slow song. I love the softer parts with broken chords and how they dive back into intensity, and I love the echoing chorus. Overall on the album, I’m beginning to notice subtle, religious themes that are intriguing.

The next song has a duet that showcases a gravellier side of the vocalist’s ability. I love their interaction on the track, “Boom”, but the male part on this sounds a little too yarl-sounding for me to like it. Overall, it’s not a standout except that it’s a duet, and it’s not my favorite on the album. The next song shows improvement. “Used Up and Dead” is a slower one with more interesting elements and an eerie subtext that engages. The tuned down guitars combined with the melodic interludes make this a leather-and-lace song which works better than the last song. “Good Dog” opens with some eerie chords before going into hard melodies and backing riffs. The vocals echo here with subtle radio-static in the verses and a full reverb in the chorus. The guitars also squeal in some places. While there are some good harmonies, the melody doesn’t really change throughout the song.

Happy New Year” begins with some chimes before breaking into an intense down-tuned guitar fest, softening to accentuate the singer’s sultry voice. The pumped-up chorus juxtaposes the darker lyrics about substance abuse on New Year’s Eve, and the song, like others on the album, can go from sultry and soft to full-on intense in a second. I like the guitars in the beginning of “Reality”; it’s different from the last few tracks and stands out. Even as it goes into a very SLIPKNOT-sounding riff, it’s still interesting. In this duet, I like the gravelly voice of the male vocalist. I also enjoy the return of the soaring chorus.

Abyss” opens with some promising ambient guitar work and some distant-sounding drums before heading into heavy-land. I like the higher lead guitars here over the grunge and the higher beginning of the vocals. Interestingly, it lacks a chorus except for a strong guitar riff, which keeps the song’s beauty through the intensity intact. I love the vocals, I love the anthemic nature, overall, it’s a good closing song.

The album is great. Near the middle, it can get too Nu Metal for my taste, but the beginning and the end are beyond excellent and got me pumped.

Songwriting: 8
Originality: 10
Memorability: 10
Production: 10

4 Star Rating

1. Pray
2. Don't Feed the Cannibals (ft. Darko Downstroy)
3. Ashes and Bones
4. Kingdom Will Never Come
5. What Have We Become
6. Out of Clay
7. Boom (ft. Marko Manntra)
8. Used Up and Dead
9. Good Dog
10. Happy New Year
11. Reality (ft. Vladimir Lalić & Emir Hot)
12. Abyss
Milena Branković – Vocals
Petar Popović – Bass
Zoran Jović – Drums
Božidar Mladenović – Guitar
Dušan Svilokos Đurić – Guitar
Record Label: Massacre Records


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Edited 26 October 2021

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