BIOGHRAPY AVENGED SEVENFOLD

It’s not always recognized in today’s “I want it all now” world, but patience is a virtue. And Huntington Beach, California rockers Avenged Sevenfold are being rewarded for remembering that golden rule. After releasing two highly successful albums on an indie label (Sounding The Seventh Trumpet and Waking The Fallen), the quintet is set to unleash its major label debut, City Of Evil, on Warner Bros. Records. City Of Evil, co-produced by Avenged Sevenfold, reunites the group with producer Mudrock (Waking The Fall). 

“We’re at the point now where we’ve come into our own,” vocalist M. Shadows says of the ambitious City Of Evil, an 11-song collection that gives a middle finger to the idea of categorization, bridging the sonic guitar assault of Iron Maiden with the frenetic pace of Bad Religion and the musicianship of Dream Theater. “In Southern California you’re really brought up in the whole punk world. At the same time, we were growing up listening to Pantera, Megadeath, Metallica and Slayer records,” Shadows recalls. “So then you think, ‘I want to play in that kind of band, but I want to play in this kind of band.’ Then you pass that point and all of a sudden you’re just writing music and it comes out naturally. But that’s what happens cause of all the different influences we have. And we’re definitely not afraid to put anything in our songs if we think it calls for it.” 

Yes, Avenged Sevenfold can rock, as the band recently did at a sold-out show at Hollywood’s Music Box Theater, where they turned the intensity of the new tunes up from 11 to about a 20, but these are musicians as well. However, as the group evidenced during the orchestral interlude in “The Wicked End,” a perfect metal moment live complemented by a boys choir and 14-piece string section, Avenged Sevenfold, in the tradition of Zeppelin, Queen, and Guns ‘N’ Roses’ “November Rain,” meld their intensity with a musical daring their hard rock forefathers would be proud of. 

Those looking primarily for a cathartic release live, as so many of the kids moshing their brains out at the Music Box were, need only turn to the ferocious energy of “Bat Country,” a song written for Hunter S. Thompson about the band’s own adventures in Vegas, and the Maiden-esque guitar and Shadows’ perfect caterwaul of the line “city of evil” (where the album’s title stems from) in the opening “Beast & The Harlot.”