This aura presents a country-rock aura that surrounds it (to give you some sort of idea in this, think of a darker Johnny Cash sound). “Angels” begins with a strong somber tone in its notes and in vocals. “Creating God” holds more to hard rock elements and sticks to basic structure which leads up to a speedier bridge and sonic chorus. “Creating God” and “Angels” share an interesting aspect where the songs have a twang to them (the former vocally and the latter instrumentally). While listener’s may notice recognizable aspects among the tracks, it should be made clear that no two sound alike. With their precise timing and technicality, they help space and structure each song to embody its own chemistry. The balance in all this comes from the combination of Wackerman, Vengeance, and Gates. Sounds found here alone alter from aspects of thrash, metalcore and acoustic, back around to thrash. Shadows harmonizes with the tempo changes, and brings in the hook to hit right on the listener’s ear. This is the first time the record has a heavier sense to it, which makes for great timing.
#Avenged sevenfold so far away reaction full
With an introduction that at first sputters with blast beats and shredding, “God Damn” then goes full speed and throws these elements up front. With a fun addition using some horns, this feels like a walk down memory lane in remembering the sounds of City of Evil. “Sunny Disposition” brings with it deeper notes and alternating tempo shifts that make for a playful mix. Shadows’ voice is much more prominent here and is still just a little glimpse into the range of vocals that are to come as he demonstrates his use of general spoken words, strong singing, and screams (screams that feel reminiscent to Waking the Fallen days). This acts for a solid groove until the tempo flips and speeds things up with more of a kick to drumming, and the guitar attaining a beaming rhythm. The following track “Paradigm” includes more intense drumming with heftier shredding. It introduces us to elements that only get stronger as the record progresses. Opener “The Stage” was the only single shared for this record before its surprise release, and while it is a solid track, it does not prepare the listener for what is about to come (which in all intentions is a massive positive). Specifically, it is the band’s research into the works of Carl Sagan and Elon Musk that not only help center a broad topic, but narrow it down. The Stage is also due credit for embracing a more unique lyrical concept, focusing on the ideas of Artificial Intelligence (as well as the atypical themes of society falling apart). Vengeance and Gates capture such a vast variety of instrumentation from different spectrums, while Shadows helps establish that extra layer of emotion. Shadows all provide insane dynamics in their stylization.
Wackerman is an incredible drummer with moments of building tension and driving adrenaline, Johnny Christ helps each song move forward with power and solid fills, while Zacky Vengeance, Synyster Gates, and M. To cut to the chase: everyone plays their parts extremely well. With the departure of Arin Ilejay, the band has brought on Brooks Wackerman, former drummer of Bad Religion. One thing to know right off the bat before diving in is the new drummer. In regards to the technical aspects this is the longest of their works to date (clocking in around 73 minutes), and embodies a variety of metal and hard rock instrumentals (among a couple others). To call The Stage a “return to form” would be far too simple (and unfair) not only does it pull off being the band’s most unique work in their collection, but in that individuality mixes elements from Waking the Fallen up to Nightmare.
It has been three years since their previous release Hail to the King, which while a good album felt more like it was trying to be the band’s inspirations than themselves.
0 kommentar(er)
