Avenged Sevenfold's album review is here: Hail to the King
Talking about their new album has not been kept to a minimum by Avenged Sevenfold. Hail to the King's distinctiveness from earlier releases is the one topic that consistently comes up in interviews. Talk and promises that it will be a tribute to some of their biggest influences are the hot topics. The plot is a band that wants to stop using any tricks or acrobatics in favor of just making wonderful music. It's a commendable endeavor for a band to take on, but only if it's done properly.
This meant that the album's Avenged Sevenfold would have a lot of slower tempos, straightforward song structures, and catchier choruses. I have been a huge admirer of A7X for a very long time, but I've also been among those who believe they are starting to lose some of their edge. Their prior albums were hit or miss, with the miss side predominating. Even if Nightmare was a worthy tribute to The Rev, Avenged Sevenfold's album just wasn't excellent enough to qualify as an A7X record.
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I'll admit that I have prejudices; I adore Waking the Fallen and City of Evil so much that it's difficult for me to separate newer albums from those outstanding albums. However, those records have unquestionably shown them to be capable musicians when it comes to recording an album. Despite what some people may assume, I am confident that they are well-versed in their chosen fields of employment.
We can't argue that they didn't warn us, after all. Hail to the King is unquestionably a change of pace for A7X. To compare this to City of Evil's metalcore would be a stretch. And what about that? Really, it's not that horrible. Hail to the King is essentially an amplified version of the influences that A7X has always had for a little bit of old school music. Throughout the entire album, the influences of bands like Pantera, Led Zeppelin, and Metallica are rather obvious. So, once more, they fulfilled their promise that they would make a modest change to their musical genres that would focus on a more bluesy, groove-based sound without any other gimmicks.
Songs like "Requiem," which reverts the band to their more "evil" side, are among of the high points. It starts out with choir chant vocals, progresses to symphonic strings, and overall has a good moody ambiance to match. Another excellent slower song on the album is "Crimson Day," which is unquestionably my favorite song overall. The slower, more reflective tracks on Nightmare were some of my favorites, and it's encouraging to know that the band is still capable of producing standout work in these genres.
Many of the recognizable features that made A7X so distinctive are still there and taken into account. They have their traditional guitar dueling solos, like in "Coming Home." Synester Gates spends a lot of time soloing. M. Shadows' voice, with his hoarse energy, sets the pace. Even orchestral brass and strings make an appearance. There are all the components that prior successful A7X albums have had.
But in all honesty, it can get a little boring after a while. Even if the songs have appealing choruses and distinct melodies, I don't necessarily want to listen to them all the time. Although it has a straightforward and memorable chorus, "This Means War" isn't exactly one of my favorite songs. With a duration of roughly 6:08, it is one of the lengthier songs and repeats the same idea. The riff is cool, but not after listening to it for six minutes straight.
Additionally, several of the album's later songs, such as "Heretic" and "Coming Home," merely blend together and are simple to forget. Since "Acid Rain," the album's final track, is such a filler, it's probably preferable to skip it. And although "Requiem" performed an excellent job of generating a gloomy and atmospheric tone, the openers "Shepherd of Fire" and "Planets" make similar attempts but fail to convince the listener that they are justified in doing so. The majority of the time, it merely sounds like a brass section came into their studio and they decided against doing a second take.
The bottom line is that the band made a concerted effort to produce an album that represented a departure from their hyperactive, fast-paced metalcore sound and toward a more subdued, retro sounding metal. They actually achieved that, but they neglected to take into consideration a lack of variety. The only songs where the album's new drummer, Arin Ilejay, significantly changes speed are "Crimson Day" and "Acid Rain." He essentially plays the same drumbeat throughout the entire album. The aforementioned shortcomings of Hail to the King might be considered a bit of nitpicking, but I also support those who point out its positive aspects.
The decision of whether the record is good, horrible, or mediocre has been the thing I've fought with the most. Is it good because they delivered on their promises, or is it bad because it lacks some of the wow factor from some of their earlier releases? Or is it just black and white combined, producing a meh? I guess despite my criticism, I can still claim that I like this album. Hail to the King is unquestionably better than their previous two albums, but it's probably not on par with Avenged Sevenfold's best work. If you're already a fan, though, check it out; you'll probably be pleasantly surprised. This CD might entice you to give them a try if you've never done so.
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