Over the course of the last decade Avenged Sevenfold transformed themselves from antagonistic metalcore stalwarts to a larger than life image driven sleazy rock n’ roll outfit. Much like Eighteen Visions before them, such a bold transition has come with a high price.
A noticeable division between the bands fan base was quickly forged once the change was made and they have been dogged by criticism as a result ever since. That said, while the group certainly took a lot of admirable risks and made some distinctly uncommercial gestures on their near-schizophrenic 2007 self-titled outing; “Nightmare” largely finds them once again returning to the “City Of Evil” sound that previously brought them so much success.
Understandably a more solemn effort, the impact and absence of band drummer James “The Rev” Sullivan, who died of an accidental overdose late last year, serves as a dark undercurrent throughout the course of the record. In his place is Mike Portnoy of Dream Theater fame, one of Sullivan‘s drumming heroes and a man who is more than capable of faithfully recreating the parts Sullivan wrote for the album.
To keep pace with a drummer the caliber of Portnoy isn’t a stretch for the bulk of Avenged Sevenfold. Their instrumental abilities have never been in question, especially the tight bond between guitarists Synyster Gates and Zacky Vengeance and their well known penchant for blistering fretboard wizardry.
However, much like past efforts from the group the songwriting rarely matches the musical talent involved. While often dramatic and buoyed by harmonic leads, breezy hair metal grit and a touch of diluted thrash; Avenged Sevenfold‘s sound continues to tread a distinctly bloated course.
Whether it be their drawn out attempts at soulful balladry or their thrashy leads that sound more “Load” than “Ride The Lightning“, there’s a lot slack on this album that continually holds it back. Sure there are also some subtle nods to classic rock groups like Queen and they even try their hand at some overtly cheesy Alice Cooper-styled theatrics.
But if anything Avenged Sevenfold are often left trying to package themselves as the modern day equivalent of the Sunset Strip’s finest outfit. To put it bluntly, not since “Chinese Democracy” has a band ever wanted to sound more like Guns N’ Roses. To their credit Avenged Sevenfold don’t focus solely on identity theft as there is an abundance of contemporary metal at play.
But it’s hard not to think they may have listened to “November Rain” a few too many times while writing tracks like “So Far Away” or “Victim“, not to mention the “Patience” reminiscent whistling that closes out “Danger Line“.
Such has been the case throughout their career, the songwriting has always been a bit too heavy handed and blatant to stack up with their technical abilities. True there are some catchy riffs and clever parts, but the excessive usage of piano and limited range and coarse wails of band frontman M. Shadows can rarely match them.
In the end, while a much leaner approach than their last outing “Nightmare” still suffers from the same pomp and pretentiousness that has repeatedly derailed the group in the past.
