Now I’m not gonna lie, I had no idea Twenty One Pilots were massive. In fact, I had a hard time wondering if any thought was actually intended for Stone Temple Pilots. HOWEVER with the release of their new album Trench, they have certainly become the forefront of my Pilot-related thought patterns.
The duo have been around for over a decade and absolutely soared into the mainstream with the release of previous album Blurryface, the album responsible for hits such as ‘Stressed Out’ and ‘Ride’, amongst others. With the release of Trench however, Twenty One Pilots looks to embed their sound and deliver something with a little bit of grit to it.
Lead single ‘Jumpsuit’ kicks off the record with an instrumental that fits the quota of delivering something gritty. The heavy basslines rip through the airwaves with pure venom as drums seemingly collide together in the background. The track has a great contrast of quiet/loud moments, conscious of it’s purpose to build tension in time for the unleashed fury of that main riff. It’s heavy, catchy and filled with traits from all sorts of genres, and blends effortlessly into ‘Levitate’, a track that does a great job shifting the flow of the record into one frantic with lyricism, looped drums and some top notch production.
This layered approach to the duo’s sound is something that keeps Trench sounding refreshed throughout. ‘My Blood’ is a track that treads the boundary of Pop while sticking to a foundation of deep set basslines and heavy rhythms, plus that drop is proper satisfying. ‘Neon Gravestones’ pairs hectic, Radiohead-esque drum patterns with sombre piano chords, while things head into a slightly watered down Reggae in the boom bop sound of ‘Nico and the Niners’. Traditionally this would sound overcomplicated, but Twenty One Pilots make it work wonderfully.
Trench is a great album. Twenty One Pilots have produced a record that’s powerful in it’s hardest moments, soft in it’s quietest and entertaining in general. It starts off with tons of impact and mellows out towards the end, but does not let loose with quality songwriting at all. This is the timeline in which I like Twenty One Pilots, and I’m perfectly fine with that.