THE STAGE

Progressive. Theatrical. Ambitious. These are the words that immediately come to mind when describing Avenged Sevenfold's seventh release, and they're the words that make it so unique in their discography. The Stage takes the quintet's tried-and-true sound and offers a more complex and bombastic take on it, as well as some aggressive thrash passages that keep the intensity going in the meantime. While this isn't the first time the band have delivered on the technical end - City of Evil and Waking the Fallen had plenty of those moments - it was never delivered with such potency or meaning. What we're listening to is a full-fledged progressive metal experience revolving around the elements of artificial intelligence, science fiction, and the flaws of society. And when exploring each thought-provoking theme, the band sound revitalized and full of vibrancy; this is especially true when comparing the album to its dull and stripped-down predecessor Hail to the King, which seemed more interested in emulating influences rather than expanding on them. Traces of Dream Theater, Metallica, Nevermore, Rush, and Mastodon can all be detected in The Stage, but the band's ability to make it an unmistakably Avenged Sevenfold record is what makes it all distinct. Whether it's the elaborate orchestrations of City of Evil, the aggressive-yet-melodic metalcore stylings of Waking the Fallen, or the traditional metal anthems of Hail to the King, Avenged Sevenfold manage to incorporate these past incarnations into a fresh new synthesis. And, as someone who's waited since City of Evil for this band to go progressive, I can't tell you how excited I am that they've fully embraced this approach.

It's not just expressed in terms of complexity or technicality, either. Perhaps the best thing about The Stage is that it provides listeners with an audio-visual approach to music, in which the lyrics and musical atmosphere match up beautifully. For instance, "Higher" is about a failed NASA test. What music accompanies it? An epic neoclassical metal tune with space rock stylings, complete with cosmic synthesizers and an elaborate choir section to top it off at the end. "Creating God" expresses religious conflict and denial, which is symbolized by the combination of major and minor chords clashing throughout the track. But maybe the strongest example is the final track "Exist," a 16-minute song meant to be an aural representation of The Big Bang. The first section symbolizes the creation of the universe, and the second represents the creation of Earth itself. Overblown? Yes. But there's no denying the creativity and ambition behind the concept, especially when the band gets Neil DeGrasse Tyson in for a spoken word clip to drive home the explosive finale. And as I stated before, the aggression isn't lacking either. "God Damn" is a nice little slice of thrash, brutal but controlled in its approach. The title track is another great example, starting with a fantastic melodic buildup before giving us some heavy mid-tempo riffage to chew on throughout the majority of the song.

Unfortunately, M. Shadows continues to be Avenged Sevenfold's greatest weakness; while he doesn't drag things down as much here as on other efforts by the band (I'm looking at you, City of Evil), I can't help but think that a better singer could be bringing all these great lyrics to even greater heights. But really, it's mostly in the more aggressive moments that he suffers from his limitations, as he's often great in softer settings. His multi-octave approach in the symphonic ballad "Roman Sky" is beautiful to listen to, and it's hard not to get goosebumps when he emotes so well in the ballad portion of "Exist." Either way, he's still brought up by the rest of his bandmates, who manage to do an impeccable job at their respective instruments. Special kudos go to Brooks Wackerman, who I honestly didn't expect to be such a technical and intricate drummer. More than anything, The Stage is simply an exciting album. It's an amazing display of what Avenged Sevenfold would eventually become with their collective talents, as well as a triumph in its own right. You did well, boys!

(written for Sputnikmusic in 2018)

This really is the band at its best. I'm shocked it took until the release of their (at the time of writing) latest album Life is But a Dream for this band to be added to the archives. I can't think of any other way to describe this album than progressive metal; The Stage is a 74 minute concept record about space fitted with the band's usual impressive chops dialed to 11 let's call a duck a duck yeah? Beyond those qualities some may dismiss as aesthetic dressing this album contains a variety of songs uniquely structured to fit their topic, be it the intro and title track's 9 minutes used to create a dynamic tapestry of the album as a whole, a fantastic hook promising what's to come, or the final track Exist where the band takes inspiration from the big bang for the song's structure. Just listening to the intro on exist with the layered instruments well outside the usual rock ensemble, the spacey almost ambient synths and the strings that play for almost 2 minutes before the expansion of the universe kicks off with speedy guitars and an unmistakable metal riff is enough to convince me we're doubtlessly in prog metal territory. With that said is it any good though?

Absolutely! I'd love to write at length about how fantastic a metal record this is, to compliment the way the band has evolved with their metalcore roots and stadium rock influences to create guitar solos that could only be the tandem work of syn and zacky, or how the riffs on this record feel uniquely despair inducing and claustrophobic, but we're here to review this as a progressive rock record. Although, it absolutely holds up as a metal record 'that's the thing about progressive rock, *it's gotta rock.*' As a prog album I think the finest qualities of this record are the dynamism and quality of the performances. Every member of the band is bringing their A game, as to be expected, but I'd like to give special attention to Brooks Wackerman's drumming; consistently the album is made better by his additions, he will play technical and complex parts, but it always serves the song and shapes the identity of the whole album. The drums and melodic content of the guitars should be appreciated by any fan of progressive music, and while I do like the riffs and bass playing I don't think they're either (for the riffs) as consistently fantastic, or (for the bass) as standout as I'd like to give them special attention. As a fan of the band listening to this album feels like the shackles of commercial expectations are being loosened and it's absolutely cathartic.

With all the gushing over this album why only 4 stars? Really I feel that you can still hear the songs here meant for rock radio. And while 'God Damn' may have my favorite chorus, one of my favorite solos and bridges on the album it's still apparent there was thought given to appearances that holds this album back, although that's negligible. Really what holds it back from being 5 stars in my humble opinion is that the tracks all blend together into a midtempo slurry that drags in the middle especially. That isn't enough to keep me from adoring this album, I've surely listened to it far more than many I've rated 5 stars, but don't think this album has the universal quality I'd want to give an album that rating.