Review Summary: Focused, A7X have set their goals and hit the marker on great self-titled release.
A self-titled release should show us the mission statement of a band, where they are and where they want to go, and this album does just that for Avenged Sevenfold.
The record begins with a macabre funeral-like introduction to "Critical Acclaim", it doesn't take long for Synyster Gates' guitar playing to enter the fray dramatically signaling for the rest of the band to enter double time and take it from there. The production is slick, it's clean, it's impressive in terms of audio quality. "Critical Acclaim" is arguably a defence of US foreign policy to go to war in Iraq. "So, how does it feel to know that someone's kid in the heart of America, has blood on their hands fighting to defend your rights, so you can maintain the lifestyle that insults his family's existence?
The use of piano in songs like Critical Acclaim and A Little Piece of Heaven sacrifices the prominence of Synyster's lead guitar, although he does make use of the whammy bar and quick fingers in many of the songs on show. The return to use of other instruments to complement Synyster's lead playing is also evident on Afterlife, a personal highlight of the album because it causes one to wonder what A7X would sound like backed by an orchestra. It is a nice little touch that adds a little extra to the song.
In terms of guitar playing, Synyster and Vengeance play off each other well, albeit incorporating a little too much of the generic metal chug in the rhythm section for my liking. On Almost Easy, Synyster widdles his way through a solo accompanied by a piano for the latter section. It is this embrace of progress that remains Avenged Sevenfold's greatest asset. Avenged Sevenfold go country, folk and blues on Gunslinger, which has to be heard to be believed, particularly when it comes from a band that once recorded 'Waking The Fallen' and 'Sounding the Seventh Trumpet'.
Unbound (The Wild Ride) is a real highlight ot the album with it's intricate guitar lines throughout, which manage to mirror M.Shadows' vocal melody lines; this song is a highlight for all members of the band, and provides the listener with trademark Synyster Gates, complemented by a piano/keyboard. This also proves to be a vocal highlight of the album, with M.Shadows soaring in the melody of the choruses, typically City of Evil.
Scream initiates with what can only be called a woman's scream, before Synyster plays a descending sequence to signify the beginning of the track. However, it seems a little out of place on the album. The flow of the album certainly stutters here, as is the nature of the track. Despite Synyster's attempts to redeem the track with a fluid guitar solo, the lyrics end up dragging this track down.
Matt Shadows strives for excellence on A Little Piece of Heaven, which wouldn't sound out of place on a Tim Burton soundtrack for its Nightmare Before Christmas styling. Guitars are subbed out for violins for the most part of the song but that is good, it goes to show A7X don't need chugging rhythm sections and blistering solo's to write a great song. It's a long one though clocking in at eight minutes but it keeps you engaged for its entirety. Furthermore, Shanna Crooks gets A7X in touch with their feminine side offering some female vocals on three tracks to break A7X's usual boundaries.
The ability to put their own twist on Thin Lizzy and Iron Maiden tradition of harmonising lead guitar parts is most clearly illustrated on Lost to great effect. Avenged Sevenfold may rely heavily on their influences, namely Metallica and Iron Maiden, but their ability to incorporate orchestral moments on this album provides some much needed energy and a unique touch to their sound. Avenged Sevenfold's self-titled album is proof that they are here to stay in that they have delivered an album that has definitely seen the band progress from City of Evil's heights. One drawback is that there are only ten songs to listen to, but quality over quantity I always say.
