By Trenton Shaw
The beginning of Avenged Sevenfold’s City of Evil is harrowing in a good way. Manic roars, ballad-esque guitar lines and rousing drum fills swell to a flurry of double bass and hero-metal screams, eventually leading to a chorus of pop-metal bliss. These first five minutes of the album set the stage for the relentless, pulsing drums, distorted guitars, hectic vocals and mean bass, complemented with syrupy pop melodies and orchestral drama to come.
Although Avenged Sevenfold may have almost outdone themselves on several tracks, the sheer intensity and diversity of the songs is enough to keep listeners wanting more. City of Evil is far from formulaic, bringing in styles ranging from speed metal to hardcore to sweet serenades and everything in between.