I’m doing this review a little bit differently than I normally would do an album review. For this review, you the reader will be given an in depth look to the album the first time I hear it myself. That’s right – I haven’t heard the title track, and first single off the album, before now and all of these songs are brand new to me. I will also, however, go back through and add some more to the review after a second or third review. (These snippets will be done in complete italics later.) So, after receiving the album, let’s go into a little bit of the back story for this album.
A7X decided to follow up their self-titled fourth album with something that was supposed to be a little bit different. The White Album hits on a few different levels because it was supposed to be a bit different than an A7X album typically is, and it’s probably my second favorite album of theirs right behind City of Evil.
However, this album didn’t come without a bit of heartache. After helping write the songs for Nightmare, Jimmy “The Rev” Sullivan, passed away before any preliminary work could be finished for the recording of the album. This album, as stated by the band in whole, is dedicated to their bandmate and brother. His final written song titled “Fiction” is one of the last on the disc.
Knowing right away that these songs are supposed to be their hardest and also longest of any album they’ve released, I dig into the first track – The title track, “Nightmare.” Right away it feels like a typical A7X single. It’s the same thrash guitar and hard hitting drum beats you would expect. The lyrics and chorus feels eerily familiar. Feels very “Afterlife” like from their previous album. That, and a mix of “Almost Easy.”
While it’s good, I wouldn’t have held my breath on this one song, and like most other A7X albums, I’m hoping the first single is also the weakest track on the album. (Author’s Note: That’s not to say their singles have been crap, but I feel that typically the first single is usually the most overplayed and the weakest song on a tracked album. For more examples – See “Bat Country” from City of Evil as compared to the rest of the album on the whole.)
Also paying close attention to the drums, you can tell part of the soul behind this band is gone without The Rev present. While Dream Theater drummer Mike Portnoy does a great job so far through the two tracks I’ve listened to, you can just listen and tell there’s a lot to miss without The Rev’s wonderful sound and magic behind the beats.
The next track titled “Welcome to the Family” feels very reminiscent of City of Evil. M. Shadows’ wonderfully done lyrics have finally seemed to come alive for the first time. He’s singing more fluid than he has on the last two albums, hopefully showing he’s fully through the almost crippling throat problem that he had prior to recording City of Evil.
The music is exceptionally done and the lead guitar resonates throughout the song. It’s very much what A7X fans have come to expect from their current sound. I have to say it fits rather nicely and gives me hope for the rest of the album.
The third track starts with a rather hard hitting, but relatively easy drum cadence that’s soon to be followed by guitar. “Danger Line” starts off slow but hits harder once the chorus arrives. Again, though – The lack of Rev’s presence should be noted. The whole album feels off so far without him.
Something also has to be said about A7X’s harmony. I think it’s very unique to this group as I’ve heard no other metal band with one similar and it has always mixed well with their music. This stands true for “Danger Line.” While sometimes creepy, towards the middle, with the cadence and piano, it’s wonderful to hear and adds a sense of warmth when Shadows sings.
On first glance, this song sounds very War-ish. (Or anti, they’ve made their distaste for war known in previous albums… M.I.A. anyone?) However, that doesn’t distract from the music and it’s great.
The next track, “Buried Alive,” starts out with a very different guitar sound (Is that an Epiphone?) and is so much slower than what we’ve heard for the previous 3 tracks. This is the first track where the drum fits the song.
It should be noted that “Buried Alive” seems like an analogy for the way the life feels for what I like to call The Character of the Song. The chorus hits so well for a song that’s so much more somber during the verses and it goes so very well. I can honestly say that at first passing – “Buried Alive” has been the best of the 4 tracks heard for me so far.
“Natural Born Killer” starts out so much like an old school A7X song. The screaming at the beginning had to have gotten a lot of old-school fans jilted because of the wonderful sound. It’s the hardest hitting of the first half of the album. It’s also noted that it’s by far the first song that feels completely like a hard-hitting A7X song. The drums are insane and the whole thing fits together amazingly well.
“So Far Away” definitely sounds like a song that should be included on an acoustic track pack, very much like “Dear God” from their previous album should be. Not much can be said upon first view of this song other than it’s very somber and slow. The guitar solo by Sinister Gates proves to be epic for a song like this. After you think the song ends, a small afterthought shines through and gives this song a very well rounded appeal. It’s a like and must hear on the album.
“God Hates Us” starts out very somber as well, however without the acoustic backing. Part of me feels like it’s going to betray us after all much like “Strength of the World” did on their City of Evil album. I was right. While it’s not as epic of a feel at first, it definitely fits the song’s core angle. The scream at the beginning is very unexpected.
This song should appeal the old school fans because it sounds like a song that would have been on Sounding of the Seventh Trumpet or Waking the Fallen. I don’t know what I had expected from this song, but it came out of nowhere and effed up this whole album in a very good way. People have been wanting a return of old from A7X and they got it. There’s not much more to say about the song other than it’s hard-hitting, adrenaline pumping, mosh pit worthy and entirely kicks a lot of ass.
Now – I don’t know if this is going to be a trend for the latter half of the album, but “Victim” starts out, once again, very eerie and somber. The small chords played behind what sounds like a woman singing is different. When M. Shadows comes in – It also, once again, feels very different. The slower aspect of the song is an unexpected, but not unwelcomed, change after hearing the previous track. The chorus mixes well with the background singers and Shadows going forth with their message of everyone being a victim.
“Tonight the World Dies” continues on the somber feeling for the last half of the album. It starts out with a simple acoustic rhythm and subtle lead chord trickle in the background. Also a staple for an A7X album, the song will start out very slow, but the chorus (and most often, the bridge too) is definitely harder than the rest of the song. For some bands, this method when overused can become drull and pointless. With A7X, it seems to be a tradition that continues to carry their albums wonderfully. This song is no exception and it fits amazingly into the album and core of the last 3 albums as well.
When we get to The Rev’s last song, “Fiction,” starts out with a wonderful and eerie piano score right up front. This was indeed The Rev’s last song as his own vocals are still used in the song. Not only being the drum man – The Rev was responsible for a lot of the band’s piano scores too. The overlying bandplay with the piano adds to the atmosphere that his last song… His masterpiece.
It’s very ironic that this would be the last song featuring The Rev considering some of the lyrics. “I know you’ll find your own way when I’m not with you.” The organs chiming out the end of the song point out what many of us fans have had to admit it – It’s the end of one era with Avenged Sevenfold. The song pays tribute to him in every way, and while it’s not the hardest, the fastest, or the loudest Avenged song to date – It’s by far the one with the most heart in it. That says enough.
As fitting as a last song “Fiction” would be for the album, A7X decided to end on a much higher note. “Save me” starts out with an unusual (for the band) bass solo. Double bass drum and guitar soon follow with a ominous hum in the background. This is the Avenged Sevenfold I remember. The song, the longest on the album, fills every gap from the beginning. It once again features some screaming, but primarily Shadows’ singing, once again – Nowhere near as raspy (until he wants it to be). The song is a much different end to the album considering the last 2 albums have been relatively mellow endings. It’s a great way to end the album.
While in the beginning, it seems to lack at first glance, in hindsight, the album is actually quite wonderful. It works on every level as a tribute album. It also works on every angle as an Avenged Sevenfold album. Again, I will say that while Mike Portnoy does an amazing job filling Rev’s shoes, he’s not The Rev. Though it fits in, there still feels like there’s something to be missed from the beats section. Going back to previous albums, you can indeed hear a slight difference.
Towards the later part of the album, it starts to come together better, more fluid, and exceptionally more brilliant than I think any other drummer may have been able to do. I’m thankful for another glimpse into this band’s wonderful lyrical and musical world if it’s to be their last. They ended it right, and they ended it well.
The remaining members of A7X put together an exceptionally brilliant album that (from what insiders say) has already topped the album chart.
Upon going through the album again – the first tracks definitely take more time to warm up to, but eventually do win over the fans. I think this album is a great tribute to a fallen brother and what’s more – It brings the band back to its core in many ways. The songs “So Far Away,” “Victim,” and “Fiction” are testament that the band puts together amazingly brilliant ballads or much slower songs than normal. “God Hates Us” gives light to the past Avenged Sevenfold that once was thought was lost. The song itself captures so much raw emotion and is definitely the power track of the album, and definitely one of the top highlights.
I don’t grade albums. To do so would be an insult to the band and fans alike. What I will say is that if you’re a fan of Metal or a fan of the band itself, you’re going to do yourself an injustice if you don’t download the album off of iTunes or purchase it from a retailer. The album highlights everything Avenged Sevenfold has to offer and takes much of it to another level. If it is indeed Avenged Sevenfold’s last album, they went out on a high note – and they took the whole damn world with them. This album is amazing and treats the fans, and possibly more so a fallen brother exceptionally right.
