Prolog :
]“They’re cheesy. They sing nowadays; they should scream like they used to. They’re sellouts.”
They fight. They fuck. They destroy hotel rooms.
They’re misunderstood.
They are warm. They are loyal. They are brave. They are authentic.
They are disciplined.
As musicians, the members of Avenged Sevenfold are definite virtuosos in a time when being accomplished artists seemingly means so little. They are inquisitive and never fully satisfied with their own work. They seek to grow and improve every day, regardless of the obstacles or costs involved.
They are a rock band. They are rock stars. They are Avenged Sevenfold.
Avenged Sevenfold, the album, is a self-produced effort. While the band shared co-production credit on 2005’s million-selling City Of Evil with Mudrock, this new album is solely their responsibility — and they’re primed to accept it.
But attaining such stature didn’t arrive in an overnight jaunt. To the contrary, Avenged Sevenfold had been an integral part of the independent, underground rock scene years before breaking through on commercial radio. In fact, the Orange County, California-based act launched its career several years ago (they were barely out of high school) with the release of its debut in July 2001 of Sounding The Seventh Trumpet.
Miles of van touring ensued, performing in tightly packed clubs, and sweating shoulder-to-shoulder on both national and international levels. Despite the truly D.I.Y. affair (which still found the fledgling act putting on an eye-opening, elaborate stage show), Avenged Sevenfold never offered anything less than a full-throttle set. The band released its second independent full-length in August 2003, Waking The Fallen, a couple years later, greatly expanding on its metal-based foundation and giving us a not-so-subtle nudge that something exciting was in the imminent forecast.
Our suspicions were confirmed a couple years later, with Avenged Sevenfold’s breakthrough 2005 Warner Bros. debut, City Of Evil, featuring the wildly popular single “Bat Country.” That was the turning point for the fearless, genre-bending quintet that, after years of clocking in on the independent level, had finally advanced towards a milestone they had been seeking throughout their careers.
A7X wrapped 18 months of relentless touring in October 2006 and immediately began writing Avenged Sevenfold. After the success of City Of Evil — where they proved they had truly captured the imagination of music fans of all shapes and sizes — they became the only band to headline Warped Tour and Ozzfest while simultaneously hitting Number One on MTV’s TRL. The natural question was whether the band would continue its creative odyssey or return to the formula that brought them such success on the last go-around. Thankfully, they continued their musical exploration without caving in to any outside influences.
For this self-titled release, the act returned to the garage at M. Shadows’ parents’ home where these high-school friends had penned every other song in their discography. The band sought to delve into genres and recording techniques they had discovered on the road. For instance, they wanted to incorporate the narrative lyrics and biting guitar tones they’d admired in country music, as well as the powerful bottom end of hip-hop they felt would only add to the power of their music and message.
“All those months on the bus we really weren’t finding new rock that was moving us,” says frontman M. Shadows. “Instead, we were listening to everything from Toby Keith to T.I., and finding elements we could incorporate into what we were doing to make our next record more interesting to us.”
In the studio, Avenged Sevenfold enlisted engineers Fred Archambault and Dave Schiffman (System Of A Down, Johnny Cash, Red Hot Chili Peppers), and the team went to work.
The resulting sound and rhythm of Avenged Sevenfold is, in a word, eclectic. Yet it’s still trademark A7X. “‘Scream’ has a groove we really wanted to inject into this record,” says guitarist Synyster Gates. “And on ‘Lost,’ you can hear the influence melodic bands like NOFX have always had on our band.”
A7X composed the string sections, including the individual instrument orchestration, with the assistance of Marc Mann and Steve Bartek from Oingo Boingo (and who currently orchestrate for Danny Elfman). With the soaring strings in “Afterlife,” the haunting and theatrical performance of “A Little Piece Of Heaven,” or the gentle vocals of a child in “Unbound,” the band’s creative and varied approach is surprising. Percussionist Lenny Castro brought a dynamic to “Brompton Cocktail,” and noted pedal steel and banjo player Greg Leisz added a country flair to the song “Dear God.” Yet as Gates adds, “it’s the dueling guitars, Shadows’ voice and the Rev’s brutality that make every one of the songs sound like Avenged Sevenfold.”
Lyrically, Shadows was striving for something more personal on the new album. “I feel we all experience a certain inner conflict, the push and pull between how we think we should act, or want to act, and the temptations and human instincts that we often blame when we don’t end up being the person we want to be.”
In fact, the album’s first single, “Almost Easy,” focuses on more similar temptations. “Afterlife” addresses the notion of “memento mori,” or the need to remember that death may intervene before we have reconciled differences with friends or loved ones.
These guys worked their asses off making Avenged Sevenfold (enlisting studio legend Andy Wallace to mix the record), literally sweating every detail with the same (if not stronger) conviction they had years earlier in trying to prove themselves to the masses. But it’s best you understand what was really going on during the three months these five best friends were holed up making Avenged Sevenfold.
They were having the time of their lives.
Genre
Avenged Sevenfold's material spans multiple genres and has evolved over the band's ten year career. Initially, the band's debut album Sounding the Seventh Trumpet consisted almost entirely of metalcore sound; however, there were several deviations to this genre, most notably in "Streets" which adopts a punk style and "Warmness on the Soul," which is a piano-oriented ballad.[50] On Waking The Fallen, the band displayed a more refined and fluent metalcore album that was able to harness the rawness of the first album and add more mature and intricate musical elements. In the band's DVD All Excess, producer Andrew Mudrock explained this transition: "When I met the band after Sounding the Seventh Trumpet had come out before they had recorded Waking the Fallen, M. Shadows said to me 'This record is screaming. The record we want to make is going to be half-screaming half-singing. I don't want to scream anymore. And the record after that is going to be all singing.'" On City of Evil, Avenged Sevenfold's third album, the band chose to abandon the metalcore genre, developing a more hard rock style. Avenged Sevenfold's self-titled album, again, consists of several deviations to less consistent genres and styles from the album's main hard rock and heavy metal songs, most notably in "Dear God", which adopts a country style and "A Little Piece of Heaven", which includes elements of Broadway show tunes, using primarily brass instruments and stringed orchestra to take over most of the role of the lead and rhythm guitar. The band has changed considerably since their first album, in which during that time they have been characterized as a heavy band with a screamed and growled vocal style combined with clean vocals that one can expect from the metalcore genre.
Band name and lyrical content
The band's name is a reference to the Book of Genesis in the Bible - specifically Genesis 4:24, where Cain is sentenced to life in exile for murdering his brother. God marked him so that none would kill him on account of his sin; the man who dared to kill Cain would suffer "vengeance seven times over" (KJV).[51][original research?] The abbreviation "A7X" for their band name was the idea of guitarist Zacky Vengeance. The title of Avenged Sevenfold's song "Chapter Four" refers to the fourth chapter of Genesis, in which the story of Cain and Abel takes place. The song's subject also appears to be this story. "Beast and the Harlot", yet another song derived from the Bible, comes from the Book of Revelation only it is written in the first person and refers to the punishment of Babylon the Great, world empire and seat of false religion. Another biblical reference occurs in the song "The Wicked End". In this song, several times it is said "dust the apple off, savor each bite, and deep inside you know Adam was right." making reference to Eve eating the forbidden fruit. Although the band's title and members' stage names make references to religion, Shadows stated in an interview that they are not a religious band. "Anyone that reads the lyrics and really knew anything about us, they would know we're not promoting either," he said. "That's one thing about this band that I love is that we never really shove any kind of, like, political or religious beliefs on people. We just, the music's there to entertain and maybe thought-provoking on both sides, but we don't try to, like, really shove anything down anyone's throat. There's too many bands that do that nowadays, I think."[52] The band has a few songs that are somewhat political in nature like "Critical Acclaim", "Gunslinger" and "Blinded in Chains". The song "Betrayed" off of their album City of Evil was written about "Dimebag Darrell's death".
The Deathbat
The band sports a logo known as the "Deathbat". It was originally designed by an artistic high school friend of Avenged Sevenfold, Micah Montague, as seen on the band's first DVD, All Excess. The Deathbat has appeared on all of the band's album covers, many of which were done by Cameron Rackam, a close friend of the band. The Deathbat has developed from just being a skull with bat wings, to sometimes appear as a full "man size" skeleton with bat wings, as it can be seen at the cover of City of Evil. On Sounding the Seventh Trumpet, there are pictures of two people (in which appear to be Cain and Abel), another angel-like human and a semi-opaque Deathbat below it, several Deathbats appear on the back cover of the album as well. The Deathbat also appears on covers of number of singles such as "Bat Country", "Warmness on the Soul" and "Critical Acclaim".
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