Review; Avenged Sevenfold - Hail To The King

Track Listing:

1. Shepherd Of Fire
2. Hail To The King
3. Doing Time
4. This Means War
5. Requiem
6. Crimson Day
7. Heretic
8. Coming Home
9. Planets
10. Acid Rain


Ah, another big one for the year. Most anticipated? Probably quite close. Also, as it turns out, controversial to the max! Avenged Sevenfold are without a doubt the marmite band of modern metal. Starting out as a bog-standard metalcore band, they gathered a hardcore fanbase among the emo kids and the Metalcore in-crowd, while getting a lot of flak from the right-wing metal fans. Fast forward to 2005 and they started to show signs of growth as they got signed to Warner Bros. Records and threw off the formulaic shackles of Metalcore. Instead they opted for a more classic metal influenced sound, reminiscent of the band members' own heroes. M. Shadows' voice changed from average singing and typical screams to a much more melodic and accomplished singing voice. All of these factors led to their breakthrough album 'City of Evil' The band started to get major recognition.

Between then and now, the Orange County band released 'Nightmare', which was dedicated to their deceased drummer Jimmy Sullivan. The album and the following tours (Including opening for System Of A Down on the main stage at Download Festival 2011) increased the band's profile even further. It wasn't long before talk of another record came into play. The band said on several occasions that they wanted to wear their influences such as Black Sabbath, Metallica, Guns 'N' Roses, Pantera and Iron Maiden firmly on their sleeves. The end result is called 'Hail To The King' and as surely as many people will do just that, just as many people would rather pick up torches and pitchforks.

The sound of fire opens the album very ominously alongside a tolling bell, immediately bringing to mind Black Sabbath's first song. Horns blast out right before the album's first riff hits your ears...and it's impossible (Let me repeat; impossible) not to hear it and think "I've heard that before...is that 'Enter Sandman'??". This is not cynicism, I assure you, and it's nothing like how people tried to compare the riff for Slipknot's 'Psychosocial' with Metallica's 'Ride The Lightning'. This is ridiculously similar! Strangely though, when you get past that and the spoken word passage towards the end of the song (another striking similarity to 'Enter Sandman'), and hear M. Shadows' vocals as the verse kicks in, it's rather a good, catchy metal song.

Here starts the theme of the controversial side to this album which is: Is it good for the wrong reasons?

The title song comes next, and a steady riff is given plenty of breathing space under Synyster Gates' melodic guitar widdling. Gruff singing of epic-themed lyrics just bleeds classic metal and is massively catchy and undeniably sing-along. Shadows is giving himself a real vocal workout and it pays off here. Then the old question mark comes up again in the sleaze-metal of 'Doing Time' which smatters of Guns 'N' Roses in the opening cries of the singer's voice, which sounds like he's karaoke singing to Axl Rose's signiature wails. The vocal effects on the verse also remind me unmistakably of 'Concrete Jungle' by Black Label Society. Again, though, it's catchy. You find yourself almost begrudgingly nodding along and singing along too. The guitar solo is a ripper, too.

Then there's 'This Means War'... again; there is a good hook in the chorus, good solos...but everything in the verses; riff, vocals, rhythm and the drum beat all are carbon copies of Metallica's hit 'Sad But True'. How the band could record this song with straight faces is beyond me. Yet again it's not a bad song, but is it good for all the wrong reasons? They're calling this A7X's Black Album, but its unbelievable how literally this tag applies.

There's a great track following the stumble though, in the form of 'Requiem'. A choir brings a sense of grandeur at the right moment. Any band aiming for the throne the way A7X are need the larger-than-life feel to their music. This song brings it with a memorable stomp. 'Crimson Day' is the necessary ballad, but apart from having a clean guitar tone just like (you guessed it) 'Nothing Else Matters', its difficult to fault, and provides good breathing space and variety for the album. 'Heretic' is a decent but slightly forgettable song that recalls 'Countdown To Extinction' era Megadeth.

'Coming Home' is where things sound distinctly Avenged Sevenfold again. A soul-searching belter that stands as a high point on the album and comes to a great climax that will have any self respecting fan of music in general singing along. 'Planets' is a doom-inspired, apocalyptic piece that has the ingredients of a Ronnie James Dio fronted Black Sabbath. Good double bass drum kicks underlay a great and simple chorus, all enveloped in great riffs. Again, the horns make an appearance.

'Acid Rain' is a hit. Pure and simple. It's radio friendly without feeling contrived, and again is massively sing-along. The album closes with the sound of rainfall to contrast with the fire at the beginning, and makes the album feel complete. Closure that leaves you ready to talk and debate about what is already the hot-topic album of Heavy Metal in 2013.

Some will love it, some will despise it, but that is no different from any other band. To be honest, I like it, in spite of the controversy. I wouldn't call it perfect and I wouldn't quite call myself an Avenged Sevenfold fan but nor am I a hater. They have made a solid, accessible Metal record for every generation of Metal fans to take in. They have also made their claim to the throne. There can't be any illusions here; Avenged Sevenfold are the heirs to Metallica's crown and ironically it's an album called 'Hail To The King' that has solidified that fact.


Rating: 8.5/10

Review; Master - The Witchhunt

Track Listing:

1. The American Dream
2. Another Suicide
3. God Of Thunder
4. Manipulated To Exterminate
5. The Parable
6. Plans Of Hate
7. Raise Your Sword
8. Remove The Clowns
9. Waiting To Die
10. Wipe Out The Aggressor
11. The Witchhunt


Deep, buzzing bass paves the way for Master's old-school attack in a style that is true to the earliest of Death Metal. Back in 1983 it was simply a case of mixing an aural cocktail of Motorhead, First-Wave of Black Metal legends; Venom, and early-day Slayer. This could be heard in the albums of Possessed, Death and, of course Master. Originally from Chicago, the somewhat-iconic Master are now based in the Czech Republic of all places. Their music, as this eleventh full length album shows, is still firmly rooted in the American Death Metal sound.

The album as a whole, splits me somewhat; I greatly appreciate the classic Death Metal sound as much as any fan, but while the classic albums like Death's 'Scream Bloody Gore' or Autopsy's 'Severed Survival' haven't aged a day and are still massively enjoyable, it feels like a period in the history of the genre that should be left to rest. In this day and age it is the trend to be 'traditional', 'raw' or 'old-school' to show that your band is somehow more credible than any modern band (a thought process that eludes my understanding) but at the end of the day, is innovation and progression not what has kept Heavy Metal alive for so long?

'The Witchhunt' feels outdated before it's time, but while that is a bit of a problem to me as a listener, I wont say that the writing or the songs themselves are poor. There are catchy and perhaps memorable riffs throughout and plenty of atonal guitar solos that are as ugly as an Angel Fish meeting a shotgun. The drumming is sound and the vocals are sick. However, even five songs into the record, I find it hard to forget that aforementioned niggle. This would've been a fantastic album in the early 90's, without a doubt, and to the band's credit, you can feel that they're playing what they enjoy playing and probably don't give a shit for anyone that isn't impressed, nor should they. Instrumentally 'Raise Your Sword' is a barrage of riffs and is tight as fuck. 'The American Dream' was catchy and does latch itself onto my memory. However, it's hard to hear this and lose my shit to it when there are bands like Deicide, Autopsy and Immolation still making Death Metal that sounds fresh, venomous and truly exciting.

It's a shame, really. While this is an enjoyable and listenable album, even after a few full listens it feels like it'll be just a footnote in this year's list of metal releases compared to many other great records that have come out. Again; not a bad album, not by a longshot, but I probably wont spin it that much and it's unlikely to cross my mind as an album of the year. I'll always have a soft spot for Master, but I think I'll hold out for seeing them live at some point as opposed to sitting at the edge of my seat for the next record.


Rating: 5.5/10

Review; Trivium - Vengeance Falls

Track Listing:

1. Brave This Storm
2. Vengeance Falls
3. Strife
4. No Way To Heal
5. To Believe
6. At The End Of This War
7. Through Blood And Dirt And Bone
8. Villainy Thrives
9. Incineration: The Broken World
10. Wake (The End Is Nigh)


Trivium is one band that I have taken a great interest in since hearing their 2005 album 'Ascendancy'. Back then, Trivium were the band most tipped to hit the big leagues of the metal world. They were playing Ozzfest, Download Festival and supporting an array of bands including Machine Head and Fear Factory. However, the follow-up album 'The Crusade' was widely accepted to be a lesser record by far. It seemed to stunt the band's progress greatly, and even the sublimely intricate 'Shogun', released in 2008, didn't get the band back on quite the same upward trajectory that they deserved. Recent album, the less-thrash-more-metalcore 'In Waves' is commonly accepted to be the closest the band had gotten to the sound of the 'Ascendancy' album, but despite the standout songs 'In Waves', 'Watch The World Burn' and 'Black', something was missing, as far as I was concerned. It's now, with the unexpectedly David Draiman produced sixth album 'Vengeance Falls' that the collective eye of the metal community focuses on the Florida four-piece.

As soon as 'Brave This Storm' hits things into high gear, it's clear that the band have leaned more towards the thrash metal influences they've cited. Memorable riffs and catchy-as hell vocals combine to lay down a gauntlet to the listener. Trivium mean business, but it's more than usual. The title track continues this showcase well, with a chorus that I swear will be stuck in my head for decades. Lyrically it sounds like one motherfucker of a mission statement.

Matt Heafy's vocals have been a major talking point about this record. The vocal harmonies and impressive, improved range in his singing voice are clear and well displayed throughout the whole album, though there are some seriously low notes at the start of 'Wake (The End Is Nigh) that may take many people aback, myself included. There is something in the melodies and changes in notes used at several parts of the record that do make it obvious that the Disturbed frontman's vocal lessons have had a hell of an impact on Heafy's singing. Would I go as far to say that he's copying Draiman? No. He's got his own voice and he's used it now to better effect than ever.

The biggest thing about this record is the hooks. They're unreal. Some people may say that they're shamelessly hooky, but as far as I'm concerned; this is a band that now needs to reach that next level, and if they've set out to do that, they've done so remarkably well, but with a sense of originality and credibility. This feels like an evolution of Trivium's catalogue of music. This is not a shift in their sound. They haven't leapt away from their established sound. They haven't sold out. They're showing potential to headline much larger venues in future, and they're doing it on their own terms. (Unlike a certain other 2000's metal band has done recently! Don't worry, the A7X review is on it's way).

People said this about 'In Waves', as I previously mentioned, but I believe that due to the concise nature of tracks like 'Strife', 'No Way To Heal', and 'Villainy Thrives' that this record is the one that sees Trivium back on track, creatively. In a similar fashion to this year's Killswitch Engage album 'Disarm The Descent', 'Vengeance Falls' finds Trivium putting the mainstream metal scene to rights after all this time. Hopefully this will shift the scene away from the boring, trendy, dime-a-dozen bands like Bullet For My Valentine, Asking Alexandria and Black Veil Brides. Trivium are putting the hard work and the hunger back into metal. They're reminding us what makes good metal songs, impressive guitar solos and ultimately what makes for the kind of band that I reckon deserves to be headlining festivals in the not-too-distant future.


9/10

Review; Soulfly - Savages

Track Listing:

1. Bloodshed
2. Cannibal Holocaust
3. Fallen
4. Ayatollah Of Rock 'N' Rolla
5. Master Of Savagery
6. Spiral
7. This Is Violence
8. K.C.S.
9. El Comegente
10. Soulfliktion


Soulfly is no longer 'The band that Max Cavalera started after he left Sepultura'. Just wanted to clear that up right away. A band nine studio albums in and as consistently great as Soulfly deserve the same respect as any metal band of this age, if not more. This record marks the first Soulfly effort with Max's son Zyon Cavalera on full-time drumming duties, and it's a role he steps up to admirably. When it comes to the material itself, we know what is to be expected to a point; which is groove driven thrash/death metal with some South American tinges and tints here and there. This is delivered by the truckload, and there is also room for a few well-executed melodic guitar leads, those found in the sixth song 'Spiral' are personal favourites.

The vocal talents of Max Cavalera had never really waned over his career, but last year's 'Enslaved' saw him really dive back into more old-school death metal territory. On 'Savages' there are generous helpings of both death and thrash metal sensibilities. It's relieving to hear that he is still on good form. The venom is still there, and the conviction seethes from each song. While the riffs are never really the focal point on a Soulfly album, rather the band's whole sound seems to blend and storm together like an aural whirlwind, there are some very catchy riffs that would easily send a baying crowd into a trance of headbanging and stomping.

There are a few guest vocalists on this record, which is almost a given on a Soulfly album by this point! Most notably, Neil Fallon of Clutch delivers well on 'Ayatollah Of Rock 'N' Rolla' having written some of the lyrics himself, then later in the album, usual-guitarist Mitch Harris of Napalm Death fame belts out some rasping cries on 'K.C.S.', a song that also has some of the most infectious jungle beats I've heard on a Soulfly record.

Terry Date, who did the production for previous albums '3', 'Prophecy' and 'Dark Ages' as well as historic albums such as Pantera's 'Cowboys From Hell' and Deftones' 'Around The Fur', puts the band's sound across in a perfect fashion, and the impact of the percussion is massive throughout the fifty eight minute running time. It's clearly benefitted the band to go back to a tried-and-tested producer, and I personally wouldn't be disappointed if Date took on the next record too.

There's a great breakaway into tribal territory during penultimate track 'El Comegente', a track which also has some asshole-ripping death metal vocals as well as Max's trademark bark. It acts almost as an interlude before the album closer 'Soulfliktion' comes out swinging, with the main man delivering a brilliant chant-ready chorus in what is perhaps the album's best song altogether. Save the best for last and all that, eh?

Soulfly may not demand the same attention from the metal community and press that Sepultura did in the 90's, they may not be an all-conquering band, but if you choose to listen to this album, you may come to care less about all that and simply enjoy Soulfly for what it is; a great metal band featuring one of modern metal's most hardened road-dogs.


7/10

Review; Black Sabbath - 13

Track Listing:

1. End Of Beginning
2. God Is Dead?
3. Loner
4. Zeitgeist
5. Age Of Reason
6. Live Forever
7. Damaged Soul
8. Dear Father
9. Methademic (Bonus)
10. Peace Of Mind (Bonus)
11. Pariah (Bonus)


Black Sabbath need no real introduction, they're the forefathers of Heavy Metal, after all. Their announcement that they would be reforming to record a new album and to do tours and festivals sent the metal world ablaze with anticipation for what would be the band's first album with singer and general legend Ozzy Osbourne since 1978's 'Never Say Die' album. Since then, news that guitarist Tony Iommi had been diagnosed with Lymphoma and the dispute with drummer Bill Ward threw two massive question marks over the planned album and tour. However, here in June 2013 it all seems like ancient history - Sabbath have released '13'   (with Rage Against The Machine drummer Brad Wilk filling in for Bill Ward) and already we feel the overwhelming sense of euphoria at the return of our world's most legendary band.

The album opens with 'End Of Beginning' and a riff that is very reminiscent of the soong 'Black Sabbath'. It's great to hear that Tony is still capable of composing riffs that can move mountains, cancer or no. Ozzy's vocals are on good form and Geezer Butler's bass guitar flourishes are as skillful and well placed as ever. As the first single 'God Is Dead' comes in with an eerie guitar line and a riff that will last through the ages it further confirms that Sabbath are back and they're here to show all the bands that have come since them just how it's done. Butler's lyrical input is still as ingenious as ever, with lines like "I watch the rain as it turns red, Give me more wine I don't need bread" show he still knows a good hook is as important as those riffs.


'Loner' is another great show of the guitar-and-bass duo of Iommi and Butler that has made Sabbath's music so identifiable throughout their career. Ozzy still sings with his unmistakable tone and use of melody. We also hear plenty of those Osbourne brand cries of "Alright now!". A small point, but one that feels like it adds to the authenticity of a Sabbath album.

The band's choice of drummer was going to be faced with scrutiny no matter what, with many claiming tat it's not Black Sabbath without Bill Ward (a silly claim) but throughout the record Brad Wilk proves the naysayers wrong. He doesn't completely imitate Ward, but seemingly he realises that he'd need to utilise a jazz-like style on the opening track, whilst not being afraid to pound away at the skins at the album's more energetic points. The easing percussion heard in the acoustic led and beautiful 'Zeitgeist' is a particularly nice touch. As is the well structured, bluesy guitar solo that Tony leads the song out with.

'Age Of Reason' brings back the stomp rock tempos that the band have proven so proficient at over their years in music. Again, Tony doesn't let up on the quality of riffs. Lyrical content still proves poetic and soulful and all in all the band show they've never lost the knack for good tunes that gave the world 'Iron Man', 'Symptom Of The Universe' and 'Paranoid'. The riff heard four minutes into the song nearly made me die, it's classic Sabbath material!

'Live Forever' sounds the trumpet for the Doom Metal template they unwittingly set out the blueprint for before changing up to a rock 'n' roll tempo. The big thing that Black Sabbath were always going to have to deliver was great guitar riffs and solos, and Tony Iommi refuses to pull any punches as the album progresses. Lyrics are again, memorable. "Well I don't wanna live forever, But I don't wanna die" is almost a declaration of the rocker lifestyle.

'Damaged Soul' brings back the knack for great storytelling within songs that Sabbath demonstrated on classic cuts like 'N.I.B'. It's evil, it's apocalyptic, and it may be unlikely to scare people the way it might have back in the 1970's but it's still good fun. Geezer's bass proficiency cannot be overstated, and this track ahows why. His thunderous tone keeps the song heavy through Tony's old school guitar ditties, and no note from either of them goes to waste.

'Dear Father'. More riffs. In fact this whole review could probably be summed up by saying "RIFFS, OZZY, GEEZER BUTLER, OH MY FUCKING GOD!!!". The song has a chilling narrative that seems to translate about either an abusive father figure or a seeking of forgiveness in the eyes of a preacher, but however you interpret the lyrics, the song is great. Again the band take songs into double time for a climactic feeling before churning the earth's crust with crushing riffs.

Sadly, the song and the regular version of the album close to the familiar sounds of rain, thunder and a church bell tolling. This gives it a real feeling of finality - The band end where they began. However, sad though it may be, and the end of an era though it may be, this album is one hell of a swansong that nobody expected!! Even without the ridiculously good bonus tracks, this is an essential album that no metal fan can be without in 2013, so if you haven't already done so, buy this record and bask in the glory of Black Sabbath. After all, without them, none of us would fuckin' be here. All hail Black Sabbath!!!!!


Rating: 10/10

Review; Children Of Bodom - Halo Of Blood

Track Listing:

1. Waste Of Skin
2. Halo Of Blood
3. Scream For Silence
4. Transference
5. Bodom Blue Moon (The Second Coming)
6. The Days Are Numbered
7. Dead Mans Hand On You
8. Damaged Beyond Repair
9. All Twisted
10. One Bottle And A Knee Deep


It must be admitted that I approached this album wearily. Despite the fact that Children Of Bodom are a well established extreme metal band, and have some truly great albums and song to their name, their more recent albums have been rather bland sounding to me. As such, I wasn't exactly bursting with excitement when this record was announced. The albums 'Blooddrunk' and 'Relentless Reckless Forever' had their moments, but were nothing compared to the likes of 'Follow The Reaper' and 'Hate Crew Deathroll'. At best here, I was hoping for an album that reminded me of 'Are You Dead Yet?'.

The album comes in with a strong riff and some S-Class soloing from Alexi Laiho and Roope Latvala. The thing that strikes the ears and perks my interests up from the start is that the band sound hungry again. There is an urgency to the performances on show by everyone that suggest the band have tried to sharpen their teeth for this album. The title-track comes charging in with an unearthly Black Metal riff that seems like something from the love-it-or-hate-it 'Hatebreeder' album. The song itself is solid, and one can't help but feel that recording in their native Finland had influenced Laiho and Co. to write this song.

'Scream For Silence' has beginnings that remind us Children Of Bodom don't just play at stupidly fast speeds all the time, and shows off their strong song writing capabilities. It's also a rare display of lead guitar work that doesn't feel like showing off, which the band have been prone to do over their career. No note here seems unnecessary. Alexi Laiho is also on good vocal form, with his somewhat thin, yet powerfully projected screams bearing great melodies. The previously released single 'Transference' takes me back to the band's best moments; it's a ridiculously catchy song built on awesome riffs and great keyboard embellishments. A high point for sure, and a great, memorable guitar solo that'll have shredders round the world dropping their jaws. 'Bodom Blue Moon (The Second Coming)' and the great 'The Days Are Numbered' continues this momentum and there's a feeling that Children of Bodom have started to find the song writing quality that has been amiss from their last two, somewhat forgettable albums.

Equally refreshing is the fact that where a lot of Bodom's recent songs have sounded like music tutorials by guys with massive egos, the songs on this album are actually fun and rewarding to listen to. An element much forgotten on metal albums by the technically-minded musician. A good example is the ballad-like 'Dead Man's Hand On You'. Yes, it does bring things down from the high-speed assault of the first six tracks, but its a decent quality song in its own right.

Without a doubt the best riff on the album comes in the song 'Damaged Beyond Repair' which has a fast-picked chugging riff that will get any metal crowd banging their heads with conviction. The whole band is on consistent form, and the mix through the whole album is great, with no one thing hogging the spotlight. With so many parts to the collective, this is a testament to the production skills of Peter Tägtgren. The songs themselves show everything melding together well as a singular unit, with no hints that any one band member is vying for attention.

The penultimate song 'All Twisted' has its moments, including a good keyboard/guitar trade-off solo and an interesting staccato riff before the last chorus, but is definitely a weaker point that doesn't have the same staying power as other songs on the album. 'One Bottle and A Knee Deep' starts off slow, but picks up as it continues, with a gratifying show of double-bass drumming at the chorus that kicks a whole lot of ass.

There is a lot on this album to show that the band have the potential to write another timeless album yet, and while the test of time is yet to be stood, 'Halo Of Blood' is a great Children Of Bodom album, and reminds us all why the band have gained such an esteemed reputation thus far. Is it as good as 'Hate Crew Deathroll'? No, it's not, to be honest. It might not be held up as an essential metal release, but 'Halo Of Blood' is a must-hear album for 2013, and is definitely deserving of your time. You wont be sorry, either.


Rating: 7/10

Review; Alice In Chains - The Devil Put Dinosaurs Here

Track Listing:

1. Hollow
2. Pretty Done
3. Stone
4. Voices
5. The Devil Put Dinosaurs Here
6. Lab Monkey
7. Low Ceiling
8. Breath On A Window
9. Scalpel
10. Phantom Limb
11. Hung On A Hook
12. Choke


Alice In Chains' comeback after Layne Staley's death has been well documented so let's just suffice to say that the album 'Black Gives Way To Blue' was a surprising and successful return, with guitarist and vocalist Jerry Cantrell taking the helm of the band, backed up by newcomer William DuVall, also on guitar and vocals. Along with bassist Mike Inez and drummer Sean Kinney, the line-up is as strong as it ever has been. As is the material they're putting out.

Opening with the early-released song Hollow, which we all know to be the kind of song we've come to expect and love from Alice In Chains. With the album as a whole it also makes a solid opening salvo. The album then proceeds into the drone-laden 'Pretty Done'. Welcome returns are made by the A.I.C. trademark vocal harmonies that, as always, are dead-on. It's during songs like this that Alice In Chains show that, for a hard rock band that was lumped in with the grunge movement, they have decent metal credentials. The influence of both bands like AC/DC and Metallica, equally, can be heard by intuitive ears. The dual-guitar approach is hardly new to music, but Alice In Chains have their own uniquely recognisable sound with it, as every great band should.

The album's instant-hit 'Stone' kicks the door down with a slick bass line before the guitar accompanies it brilliantly. The whole tune sounds like it could've been written back in the days of the 'Dirt' album. Sean Kinney keeps the song flowing brilliantly behind the Godzilla-proportioned groove. Cantrell's voice is on fine form on this sludgy and heavy-as-hell cut. This will end up a live staple for the band from here on out, mark my words.

I imagine the band took a clear look across their entire career for inspiration when writing for this album; Voices, a low-key, country influenced song reeks of the band's 'Jar Of Flies' EP, bringing to mind the song 'No Excuses'. The title track has a creeping quality to it that is reminiscent of the first album 'Facelift'. It's beautifully unsettling verse riff is classic Alice In Chains. Cantrell and DuVall's vocals haunt the song. The band have lost none of their unique sense of melody, that has always been one of their calling cards throughout their career.

At this point in their career, the band wouldn't be expected to have any curveballs to throw, nor any progression to make in their sound. So, it is all Alice In Chains as we know them. 'Lab Monkey' is the song that most reminds me of the previously mentioned 'Black Gives Way To Blue' record, in a good way. While 'Low Ceiling' is a slow-burner, and ironically, it feels like a lower point on the album when compared to the first five song. Luckily, though; 'Breath On A Window' pulls the reins tight again with Cantrell's much-utilized string-bends making for a solid riff for the band to work off of.

The acoustic feel-good country vibe on 'Scalpel' makes for another peak point on the record, with Cantrell showing his Oklahoma roots in good fashion. It's the kind of song that would make a good soundtrack to having a bourbon while chilling at the campsite of a summer festival in the evening. 'Phantom Limb' has a strangely fast-tempo riff for Alice In Chains, but it's a catchy one that will stick with you. 'Hung On A Hook' brings things back down again, with yet another droning, introspective verse, before soaring into choruses that show just how well DuVall and Cantrell's voices work in the Alice In Chains format. It's definitely a decent homage to the band's heyday, but there is an air of predictability to the songs on show that may alienate some listeners.

The big worry was that the post-Layne return of Alice In Chains was going to be short lived, or purely nostalgic in nature. The two solid albums they've released now are surely enough to prove that these worries are redundant now. The Devil Puts Dinosaurs Here has been as worth the wait as any previous Alice In Chains album ever was. Those who call themselves long-term fans of the band will be suitably satisfied with the end results. As the album comes to a close, I find it relieving to know that the legacy of this unforgettable band remains untarnished.


Rating: 8/10