ALBUM REVIEWS ALICE IN CHAINS
THE DEVIL PUT DINOSAURS HERE EMI Words: Violet V. Reagen Alice in Chains was among the biggest band to emerge from the grunge scene, combining metal, blues, rock and roll, with an alternativerock edge. The group’s dark, bitter songs, with references to drug addiction and death, captivated the displaced adolescents, inserting the band somewhere between Metallica’s head bangers and Nirvana’s ominous hymns. After the tragic death of Layne Staley in 2002, it left AIC not knowing the future of their iconic band. Audiences relished in the music and the hole he had left in the grunge scene. That is until 2005, when William DuVall joined Alice in Chains as lead singer during the band’s reunion concerts and talk of a new AIC album had begun to
fester. Then in 2009 the rumors were put to rest when the band announced they would be releasing the long-awaited Black Gives Way to Blue. After much success and fans praise, the band stepped back into the studio in 2011 to create and release there 2013 album The Devil Put Dinosaurs Here. The fist track ‘Hollow’ throws you right into the deep end of the pool, the doom distorted guitars and hypnotic plucking mixed with the highs and lows of intense vocal structure, leave barley enough room to breathe. The chorus hits with crashing symbols and melodic riff while layering true metal squealing solos that pull you down into the euphoric journey. ‘Pretty Done’ in one word, relatable, the sludgy guitars and haunting melodies, lay a path for those who basically don’t care what people think of them. ‘Stone’ is metal infused grunge at its best, with DuValls vocals, he drags you trough the mud of his disgust and filth. Shoving your face into
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the realm of his reality. The guitar riffs and solos are vile; the layering is so precise and powerful. The way this band can project its pain upon the listener is astounding. ‘Voices’ has a different approach with the acoustic strumming and high energy but the hooks and impact are achieved by the staple tempo shifts and twists, Smashing symbols and melodic melancholy. Bringing a little Foo Fighters influence to the mix. ‘The Devil Put Dinosaurs Here’ - “The devil put dinosaurs here / Jesus don’t like a queer / The devil put dinosaurs here / No problem with faith / Just fear,” There are two things you never want to get into a conversation or argument about: politics and religion. But why the fuck not, I love a piece like this, spark a fire and see who comes running. The music is psychedelic fuel for the fire. Even though AIC is known and loved for their murky gloom, songs like ‘Lab Monkey’, ‘Low Ceiling’ and ‘Breath on a Window’ offer the perfect change of pace needed mid-album with catchier, faster-paced proxy. ‘Phantom Limb’ wakes you up, heavy chugging guitars and DuValls wails saturated in dark doom haunt you. To me this is the only really heavy track on this album. ‘Choke’ is a subdued anthem of emotion, sacrifice and truth, I think it’s a ideal end song. There is something to be said about the tortured artist. The Devil Put Dinosaurs Here lacks the depth of pain and embracement of the underground scene AIC once had. The album however does offer the listener a somewhat experience of high and lows. Sludgy guitars, dark lyrics and haunting melodies, still keep the essence and nostalgia you will find comfort in. I found myself waiting to hear something heavier, loud, abrasive, but for the most part in a whole it just seems to plod along at almost the same pace leaving a bit to be desired. That being said, this is 2013 and whatever direction AIC decides to take the band, I’m sure the fans will embrace them, they are singing to a new generation on minions and change is inevitable.
ASG
BLOOD DRIVE Words: Angela Davey It’s been an eventful six years for North Carolina natives ASG, following being dropped from label Volcom they were forced to self release 2007 album Win Us Over. Fast forward to 2013 and the future is now much brighter; their
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modern rock sound has been appreciated and picked up by Relapse Records and they are now celebrating the release of their fourth full length Blood Drive. ASG have provided the soundtrack to many a skate video, due to their powerful brand of gallop metal that gets adrenaline pumping whether you like it or not. Whilst Win Us Over packed full of aggression and intensity, Blood Drive takes a mellower approach with meditative guitar tones and soothing melodies. It could be argued that the band have matured in their approach to music and that their newer, chilled out sound is a progression from the million miles a minute sound they previously possessed. However, the quartet have somehow managed to turn themselves down from 11 all the way to zero – they sound so gentle that they fail to make any lasting impression and highlights on this latest opus are few and far between. In attempting to evolve, these guys have sacrificed their
ability to pack a punch with their music. Straddling a line between groove-laden stoner rock and pop sensibility is a skill that has always come with ease to this band and this is one core element that they have not relinquished their grasp on; despite inarguably falling into the ‘metal’ category, ASG remain completely accessible and have a vibe that even your dear, old mum would appreciate. After the industry putting the boot in and them managing to bounce back so victoriously, it wouldn’t be unreasonable to expect an audio middle finger, proving that they’re stronger than ever. What ASG have produced instead is a polite “Hello, we’re back...hope that’s alright”. More energy is needed to make sure they aren’t forgotten quicker than the time it takes to listen to this record!
ASH BORER BLOODLANDS GILEAD MEDIA