Welcome to a brand new Top Ten Things, here at Enuffa.com! It's been a while since I did one of these lists, and this one isn't quite ten items, but hey, some editions of TTT have *more* than ten, so screw you! Just kidding, please keep reading....
Today's topic is the discography of one of my favorite metal bands, Avenged Sevenfold! Formed in Huntington Beach, CA in 1999, A7X is known for complex, theatrical songwriting and fearless genre-bending, incorporating a diverse set of influences into their distinct melting pot of audacious, bombastic sounds. Initially the band went for a hybrid of metalcore and punk sprinkled with melodic hooks, but they pretty quickly began experimenting with other genres, veering all the way into Broadway musical numbers and country-rock ballads by 2007. On their most recent effort they went full avant-garde, defying all logical expectations and forging their own unique artistic path. This is a band never content to rest on their laurels; they don't just push the envelope, they shred it.
Like a lot of their fans I discovered A7X on the heels of their breakthrough third album City of Evil, but it was their self-titled fourth record and its follow-up Nightmare that really hooked me in 2010. Since then I've found myself often revisiting their catalog in the form of intense deep-dives, where I'll get stuck on album or two and play them on a loop before moving on to the next, always hungry for new material from them.
As with all great musical artists, Avenged Sevenfold crafts songs and albums that reward numerous listens, blending intricate musicianship, balls-out aggression, and deeply heartfelt, relatable human themes. I'm not sure there's another metal band with so many songs that make me well up. In a genre known for macho chest-thumping, A7X isn't afraid to explore big feelings and make profound statements about the human condition. That reason perhaps more than any other is why their music resonates so heavily for me, but I also love the fact that they aren't beholden to any genre expectations so many other metal bands adhere to. They unapologetically make the music they want to make, and that's so much more exciting to me than when a band goes in predictable directions out of obligation.
But enough pontificating, let's get to the countdown!
HM: Diamonds in the Rough
I've kept this collection of B-sides and covers out of the ranking for obvious reasons, but I felt it warranted a few words. M. Shadows is on record saying he wished the band hadn't released this CD, as the songs were left off their self-titled album for a reason, but I'm gonna go on record myself as saying there are a few real gems here. Aside from two covers (Iron Maiden's "Flash of the Blade" and Pantera's "Walk") and alternate versions of "Almost Easy" and "Afterlife," Diamonds in the Rough contains seven previously unreleased songs, of which three were absolutely good enough for the fourth album in my opinion. I'd have cut "Critical Acclaim" and "Scream" and added the three tunes mentioned below. Don't sleep on this collection.
Key Tracks: "Demons," "Until the End," "Dancing Dead"
8. Hail to the King
The weakest Avenged Sevenfold album for me is their 2013 attempt at a "classic metal record," Hail to the King. Apparently the classic metal record they had in mind was Metallica's 1991 self-titled album; the opening track "Shepherd of Fire" follows almost exactly the structure of "Enter Sandman," from the tom-heavy opening build, right down to a spoken word bit after the solo that modulates to a low melodic vocal going back into the chorus. Another track "This Means War" apes the verse sections of "Sad But True," and I have a hard time believing this was by accident. The band was clearly going for the same huge Bob Rock production, the stripped down Lars Ulrich drum grooves, and the simplified James Hetfield riffage that defined Metallica's most famous work. The problem is that in imitating one specific sound they failed to put much of their own personality into the songs. While A7X has always experimented with different styles and worn their influences on their sleeve, on every other album they've put their own unique stamp on the material. With HTTK however it mostly feels like they're just doing a Black Album soundalike but without that record's memorable riffs and hooks. Aside from the closing gem "Acid Rain," there's nary a tune on Hail that I'd include among the A7X essentials. Avenged's strength has always been in going against the grain, but on Hail to the King they leaned way too far into convention, and the result was a pretty boring record. If it feels like I'm being too hard on them for this one, it's because I know of what greatness and invention they are capable - this album is like Gaudi designing a backyard toolshed.
Key Tracks: "Shepherd of Fire," "Crimson Day," "Acid Rain"
7. Sounding the Seventh Trumpet
Avenged's 2001 debut was made on a shoestring budget, recorded in only eight days with the drums all done in a single take, and you can kinda tell by listening to it. There are early flashes of their prodigious musical chops, and for a first attempt the band definitely reached much higher than most of their metal brethren. But Sounding the Seventh Trumpet is an album that could've benefited from more time and money to really get it right. There are numerous instances where the intricate drum parts and guitar riffs don't quite sync up, and M. Shadows' vocals rely a lot on metalcore screaming, which becomes monotonous (He'd begin to leave that style behind on the second album). But there are some great ideas here too - innovative chord changes and melodies that illustrate the band's precociousness and willingness to push the boundaries of their aggressive genre (Keep in mind the guys were only 19 or 20 when this album was recorded). The standout song for me is the Guns N' Roses-esque ballad "Warmness On the Soul," written for Shadows' future wife Valary. A metalcore band showing this kind of versatility on their debut record is nothing to sneeze at, and Avenged would make great strides on their sophomore effort. For now though, STST showcased an exciting new band just beginning to find their voice.
Key Tracks: "Turn the Other Way," "Warmness On the Soul," "Streets"
6. Waking the Fallen
A7X's second album in 2003 took what they'd been doing on STST a few big steps further, shedding the punk elements in favor of a full-on thrashy metal sound. M. Shadows still delivered a mix of melodic and screamy vocals but with greater emphasis on the former, as a way to eventually phase out the latter. The songwriting here is bigger and more intricate, at times to a fault, but the ideas are much stronger and executed with much more confidence. The addition of lead guitarist Synyster Gates (who joined the band late in the STST process and only performed one solo on that album) lent the band even more accomplished musicianship and songwriting acumen. Tunes like "Unholy Confessions," "Chapter Four," and the two-part "I Won't See You Tonight" mix metalcore and traditional rock/metal elements with deft and precision. The outro to the album's closer "And All Things Will End" marked the first time Avenged really experimented with studio tricks; an extended guitar solo wails over an ominous midtempo groove, but suddenly the entire recording begins to slow down, sounding like the playback of a dying reel-to-reel machine. Interesting way to end a record. While still developing their signature sound on Waking the Fallen, Avenged showed remarkable growth between their first and second albums, and their third would be yet another big leap forward.
Key Tracks: "Unholy Confessions," "Chapter Four," "And All Things Will End"
5. City of Evil
The band's 2005 breakthrough album could be described as both a dazzling showcase of metal precision and as an exercise in excess. This sprawling 72-minute collection of proggy sleaze-metal tunes has enough parts and detours for an entire catalog of records. Seemingly determined to show off every bit of their technical mastery, A7X loaded each of these songs with uber-intricate drum patterns, wildly complex guitar solos, and layers of vocal parts. Previously known for a mix of melodic vocals and metalcore screaming on the first two albums, M. Shadows opted for a purely melodic approach here, drawing inspiration from singers like Axl Rose and Chris Cornell. As technically impressive as City of Evil is, several of the tracks do overstay their welcome and don't give the listener much time to breathe before moving on to a new idea. Still there's some great stuff here, like the whimsical opener "Beast and the Harlot," the raunchy, Fear and Loathing in Las Vegas-inspired radio hit "Bat Country" and the poignant closing ode to the ex-soldier "M.I.A." City of Evil is an extremely impressive (if at times unfocused) record that established A7X as one of the metal forerunners of their era, while also fully realizing their unique, colorfully influenced take on the genre. At a time when sludgy nu metal had run its course, the audience was ready for a return to over-the-top metal wizardry, and Avenged was all too happy to oblige.
Key Tracks: "Beast and the Harlot," "Bat Country," "M.I.A."
4. Life is But a Dream...
These next two records are hard for me to rank, as they're so different and the ranking could change depending on my mood. But for now the number-four spot goes to A7X's latest opus, 2023's Life is But a Dream..., an avant-garde exploration of life, death, existentialism, determinism, absurdism, and psychedelia. When I initially reviewed this record upon its release I described it as both "bonkers" and "confounding." I stand by the first adjective; this album is unlike any metal record you're likely to hear, aside from maybe a Mr. Bungle project. As for the second adjective, I was indeed confounded at first, expecting something more akin to The Stage, but finding instead a brazenly bizarre album where the song structures didn't at all adhere to any preconceived rules. I listened to the album for a little while and moved on, but recently picked it up again and became oddly obsessed with it. LIBAD is definitely a record that rewards repeat listens; you'll find little details and lyrics you didn't notice at first, and it ultimately makes this one a very rich listen. Thematically it is quite profound and deeply moving, asking questions like "Does humanity truly have free will or are we doomed to a short, meaningless existence?" and "Is there nothing more to life than working yourself to death?" and "Do you think God (if such an entity exists) is pleased with this little experiment called humanity?" Lyrically this may be A7X's most relatable album. Musically it jumps around from metal to prog to synth-pop to classical, sometimes radically shifting gears within the same song. The band also made use of a full orchestra for several tunes, lending a cinematic quality to the songs. As one final twist of the knife the album closes with a solo piano piece composed and performed by lead guitarist Synyster Gates, having seemingly taken up The Rev's former mantle as the band's most virtuosic musician. Life is But a Dream... is a challenging, incredibly adventurous record that could almost be considered Avenged Sevenfold's Sgt. Pepper.
Key Tracks: "Mattel," "We Love You," "Cosmic"
3. Avenged Sevenfold
The final album featuring founding drummer The Rev, this self-titled 2007 release was a response to the City of Evil touring cycle. Sharing bills with bands like Disturbed, System of a Down and Metallica, A7X realized their super-complex compositions were falling a bit flat when compared to the more open, powerful sounds of their colleagues. Thus with their fourth record they endeavored to strip down their songwriting a bit and slow down their tempos to give the live audiences a more engaging experience. They also veered into very unexpected musical territory, incorporating a bit of southern rock, straight-up country, and Danny Elfman-esque theatrical material. Radio singles like "Almost Easy" and "Afterlife" also employed a bit of pop-hook sensibility, as did deep cut "Lost," which went so far as to include the use of autotune on its saccharine chorus. The album's coup though is the macabre cabaret piece "A Little Piece of Heaven," which I consider The Rev's masterwork. Telling a disturbing story of murder, resurrection and necrophilia, this tune would feel at home in a Tim Burton film or a Broadway musical, and remains one of the band's most adventurous tracks. Also audacious was A7X's decision to close the record with the sweet, sappy country-rock ballad "Dear God," a tender piece about missing your loved ones while on tour. Metal purists everywhere were thrown for a loop with this album, but it stands as a major creative step forward from a band always looking to broaden their musical horizons and paint with a colorful sonic palette.
Key Tracks: "Lost," "A Little Piece of Heaven," "Dear God"
2. The Stage
A crazy ongoing theme for me when it comes to A7X's recent output is that it really demands a commitment. The last two albums are not ones you can just throw on once and be done with. They aren't easily digestible by a longshot. Such is the case with 2016's The Stage, a concept album of sorts dealing with artificial intelligence, the question of whether reality as we know it even exists, and our place in the universe. To date it's the band's longest album at 73:35, and it's one you need to hear at least three or four times to fully absorb. As M. Shadows put it, "The Stage is a grower, not a show-er." Where the earlier records felt like the work of a precocious young band displaying thoughtfulness and genre-bending inventiveness beyond their years, The Stage feels like a more mature effort from a band settling into the second phase of their career. Incoming drummer Brooks Wackerman dazzles behind the kit, but with less flash than The Rev; like Neil Peart, Wackerman demonstrates incredible technique and tastefulness without it feeling like he's trying to steal the show. Lyrically The Stage has a bit of world-weariness, a lament that the human species has chosen the wrong path. The opening title track feels like a rebuke of our inability to grow into an enlightened race, the Alice in Chains-y "Creating God" is a cautionary tale about A.I. that rings all too true a decade later, and the album's epic closer "Exist" is a history of the universe told through music, with a special appearance by astrophysicist Neil deGrasse Tyson. The Stage is a remarkable achievement from a band embracing their progressive rock tendencies, and their first real triumph without The Rev's songwriting input.
Key Tracks: "The Stage," "Creating God," "Exist"
1. Nightmare
If a curious music fan were to come to me and ask "What does this Avenged Sevenfold band sound like?" the album I'd show them is 2010's Nightmare. The band's fifth album is a true example of turning grief into art, its lyrical content largely inspired by the untimely death of The Rev in 2009. What had started out as a dark concept album about life and death instead became a tribute to the band's fallen member, with ex-Dream Theater drummer Mike Portnoy taking over behind the kit, playing the parts exactly as The Rev had written them. This album is for me the perfect mix of A7X's heaviness, prodigious melodicism, crystal clear production value, and good old-fashioned songwriting. From the sinister opening title track to the super-hooky "Welcome to the Family" to the touching troops tribute "Danger Line" to the Metallica-esque "Buried Alive" to Rev's final song, the George Gershwin-tinged "Fiction," this album is chock full of A7X's signature sound at its apex. But what puts it that much farther over the top for me is the masterful, epic closer "Save Me," a tearjerker final goodbye to one James Sullivan, boasting a proggy structure combined with incredibly memorable hooks. Nary a dry eye with lines like "So much to see tonight, so why'd you close your eyes/Why can't I shut mine?" and "I can hear the voices begging you to stay/But know you're not alone." Nightmare is in my opinion A7X's finest work to date, and one of the great metal albums of the 21st century.
Key Tracks: "Nightmare," "Welcome to the Family," "Save Me"
And there's the list! I will of course be updating it as Avenged drops more material - as with Metallica and Anthrax, the release of a new Avenged Sevenfold album is always an event for me and I can't wait to see what they do next....
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