This album, also bought on a whim, is a 2007 self-titled album from a Favourite artist, and has become a new favourite album from this band.
Listening to the album was a little unpredictable, I had trouble with the first few tracks. After listening to this album for a month (a clear sign I have enjoyed the album, aside it sky-rocketing to the #1 artist in my last.fm profile) I have never found myself revisiting the early tracks. The first (Critical Acclaim) is far too angry for my tastes. After a bland organ intro, it drops into some unimaginative rhythms. A very provoking vocal style, almost yelling, feels like a violent street brawl, I just want to get out. The chorus is almost redeeming, until Matthew octaves up the final note, destroying the relief.
The second (Almost Easy) has a mix of elements, both good and bad.
- Some really interesting vocal styles.
- The chorus (mother) brings back some of my favourite elements from previous albums, the vocal harmonies, and contrast of vocal styles.
- Terribly boring driving snare.
- Unclear, and therefore untidy sounding fast rifs.
Scream begins with a Disturbed (band) inspired intro. And carefully builds with the aid of small details like piano fills. It tops it off with a carefully created chorus, with a very slightly pop rhythm feel that I find very present. The vocal harmonies were a slight acquired taste, but well worth it.
0:00-Critical Acclaim; 0:41-Almost Easy; 1:01-Scream
Afterlife is where this album begins to come into its own. A string intro that magically transitions into a traditional Avenged riff. A killer sounding bass brings in the verse. The bridges are fun, with heavy emphasis on the offbeat. The strings make a re-appearance in a short interlude, but continue after the guitar solo acting like a Latin horn section, emphasising the staccato rhythm. Non-existent outro, but then it would be hard otherwise to transition into the next track.
Gunslinger starts with a acoustic (steel string) intro, which they seem to find room for every album, and do a fine job, before rocketing into the track with an unforgiving power-chord riff. I love the subtle guitar soloing behind this track when it extends away from simple a arpeggio, that and the spirit-raising female backing vocals.
0:00-Afterlife; 0:40-Gunslinger
Tack 6 “Unbound (The Wild Ride)” is indeed the start of a wild ride, an amazing four tracks.
A song of tremendous contrast within itself, dueling guitar guitars followed by beautifully intricate piano runs, the quality of vocals, between clear and gruff, the double kick, which serves this song well, to the melody toms, small choir, and the childlike vocals that take out the track.
Brompton Cocktail is easy to like. It makes heavy use of my favourite 4-beat bar subdivision, the 3-3-2 pattern. The string highlights in the verse are lovely, but builds the song to a slightly empty chorus.
Lost was a bit difficult to judge, the shock of the vocal auto-tuner in the chorus took a while to get over, but after several listens I grew to like the way the effect was used. With previous albums the big selling point for me were the occasional multiple vocal harmonies, especially the slides from note to note. While some might argue the musicality of the individual voices, the combined effect was a win for me. While the auto-tuner removes the ability to create slides, it was carefully added to allow slides where required. The slight vocorder effect also for me provides an extra layer of expression, when selectively used. I think of it as an alternative to a gruff vocal style, just another tool in the kit.
0:00-Unbound; 0:53-Brompton Coctail; 1:23-Lost
A Little Piece of Heaven has been my addiction for weeks. First I want to list the instruments from the liner notes:
- Strings, Horns & Choir Arrangements – Steve Bartek
- Piano & Organ – Jamie Muhoberac
- Upright Bass – Miles Mosley
- Cello – Cameron Stone
- Violins – Caroline Campbell and Neil Hammond
- Viola – Andrew Duckles
- Choir – Beth Anderson, Monique Donnelly, Rob Giles, Debbie Hall, Scottie Haskell, Luana Jackson, Bob Joyce, Rock Logan, Susie Stevens Logan, Arnold McCuller, Gabriel Mann and Ed Zajack
- Alto Sax – Bill Liston and Brandon Fields
- Clarinet – Bill Liston and Rusty Higgins
- Tenor Sax – Dave Boruff and Rusty Higgins
- Baritone Sax – Joel Peskin
- Trumpet – Wayne Bergeron and Dan Foreno
- Trombone – Bruce Fowler and Alex IIes
- Additional Vocals – Juliette Commagere
This of course, in addition to the normal vocalist, guitars, bass and drums, and for me sets the stage for an exciting piece. The content of the song is quite graphic in parts, dealing with greed, lust, murder, necrophilia, reanimation/undead, and mass slaughter, but for those not offended may prove somewhat humours.
The musical content is absolutely thrilling, displaying a magically created wide ranging collection of sounds, tightly woven to help tell the story. For example, the piece starts with clarinets/piano builds with bari sax, tenor sax, and choir into a violent double kick driven rif, supported by sax and clarinets. Follows is a very rhythmic passage of percussion and clarinet, introducing guitars and horns, leading into some lovely rhythms and horn crescendos. A comic section consisting of a strong bari sax bass, a taunting clarinet and organ, and offbeat horns. Shortly after a strong guitar and choir section, with staccato strings magically transitions into a beautiful string passage lead by the bands vocal harmony. A strength an aspect that is a particular favourite of mine.
The song makes tremendous use of dynamics, something becoming a lost art, even among metal, where there are often only 2 settings, gentle crescendos and diminuendos can be so powerful in the right places.
The song certainly is a magical ride. I feel the the Bari sax provides subtle but crucial support to this song, and the uniquely wide range of instruments allows a powerful range of tones and expression, which was masterfully used.
YouTube has several several videos, many of which use the song in its entirety as a backing.
The album winds down with a pleasant country/blues track, a tradition for Avenged Sevenfold albums to include one on every album.
Dear God
This album I’m sure will still remain a favourite throughout the year, and I hope I find even just one or two albums that come close to matching this. If so it will make for a magical year of listening.
Check Wikipedia for more information on the band and their albums.