What does it mean for music to be ‘progressive?’ In rock and metal, the term is often associated with long songs, fusions between genres and rich, thought-provoking themes. For Avenged Sevenfold, however, the term seems to be more of a philosophy than a genre, and yet it permeates every aspect of their latest record. Jay Kirby takes a deep dive into the new directions that the rock stalwarts have taken.
Calling Life is But a Dream experimental feels almost redundant, and yet it is clearly the most noticeable aspect of the album. After a 7-year hiatus, the band have come back armed to the teeth with more influences, effects and ideas than most bands cover in a lifetime. Claiming that songs reminiscent of Frank Sinatra, Kanye West, Daft Punk and Chopin all appear within the LP’s 53-minute run may sound absurd, and many may jump to the reasonable conclusion that the album is surely a disjointed collection of sounds. The real magic is that, despite some notable exceptions (such as the whiplash-inducing single We Love You), the band’s output it surprisingly cohesive. Each decision, however wacky it may be, aids in the group’s messaging and storytelling: whether it’s the autotune on (O)rdinary to portray a sentient AI, the triumphant brass on (D)eath to liken it to a funeral song or the thrash-esque passages on Game Over that echo the seemingly rapid passage of time, most of the band’s decisions coalesce into a heartfelt and touching nod to existentialism, materialism and our own mortality.
"One can’t help but question if the group didn't bite off a little more than they could chew here, and it stands to reason that the LP perhaps needed a little more time in the oven, even after a 7-year hiatus."
The performances, meanwhile, are a more mixed bag. M Shadows has been struggling with vocal damages for a while, and the 4-year break from touring doesn’t seem to have fixed anything. While his lower, more spoken passages sound as good as ever, his higher fry screams and harsher moments range from passable to greatly underwhelming, with the worst takes harking back to his amateurish delivery on Sounding the Seventh Trumpet. Synyster Gates, meanwhile, continues to earn the adoration and praise of fans worldwide, with his virtuosic solos on Nobody and Cosmic standing out as some of his best of all time: ironic, given that Shadows stated in interview that the guitarist had declared himself bored of the instrument at one point. As for the rest of the band, they all play their parts with the precision of industry veterans, although their contributions are largely forgettable as they’re buried under scores of orchestra and synthesiser for much of the album. Brooks Wackerman, for instance, is an extremely talented drummer with some particularly noteworthy double-pedal work, but one can’t help but compare his performance here to the masterful playing the Rev used to provide.
In a similar vein, the production on this album is very hit-or-miss. While some have praised it for its ambience and openness, providing clear space in the mix for the various instruments and effects to slot nicely into, it overall feels a little less polished than one might hope for. In the title track, for example, which contains a brilliant piano performance from Gates, the different parts feel stacked upon each other more akin to a delicate Jenga tower than to a cohesive package. While in some areas the album feels expertly and meticulously crafted— the synth solo in Mattel that uses an auto-tuned guitar being a particularly ingenious ideas— others can feel somewhat undercooked.
Life is But a Dream is clearly defined by its broad themes and sweeping musical passages. While old-school fans of the band may feel betrayed by the new direction of the group, songs like GOD and Mattel prove that music need not be as stagnant as the radio would have you believe. Despite this, one can’t help but question if the group didn't bite off a little more than they could chew here, and it stands to reason that the LP perhaps needed a little more time in the oven, even after a 7-year hiatus. The record may not quite stand up there with the progressive masterpieces of Pink Floyd, Dream Theater or Opeth, but it certainly carves out its own place in Avenged Sevenfold’s discography and has us all eager to see where the group might head next.
Edited by: Ali Glen
Image courtesy of Warner Records, Video courtesy of Avenged Sevenfold on YouTube.
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