When Alice In Chains were preparing to release their comeback album, Black Gives Way to Blue, in 2009, I was filled with mixed feelings of anticipation and a great deal of scepticism. Would it simply sound like a Jerry Cantrell solo album? Will this be just another ill-advised comeback album to tarnish a great band’s legacy? How will they pull it off without the late, great frontman Layne Staley? Fortunately, to my great surprise, Black Gives Way to Blue was a rock solid, worthy addition to the band’s catalogue, even if it doesn’t quite stack up to the band’s Staley fronted classics.
Silly album title aside, The Devil Put Dinosaurs Here largely continues from where their last album left off. The song-writing links the band’s past to the present, staying fresh and focused whilst retaining their signature tone and dreary formula. The heavier songs feature their trademark brand of metallic-tinged sludgy rock, complete with dual vocal harmonies and wonderfully bleak strains of melody. While their heavier rock stylings are counterbalanced with semi-acoustic tracks such as ‘Voices’, ‘Scalpel’ and ‘Choke’, lending the album a solid dynamic that’s been a familiar trait throughout their career.
The album’s vibe is expectedly dark, but without Staley’s tortured soul looming, the melancholic addictiveness and heart-wrenching oppressiveness of their 90’s material is toned down a notch. After all this is effectively Alice In Chains version 2.0, so for those expecting a groundbreaking return to their song-writing heyday will be disappointed. But taken at face value, and steered by guitarist/vocalist Jerry Cantrell, the band can still crank out quality material and this latest album is no exception, although it lacks the immediacy and song-writing high points of its predecessor.
Cantrell has an abundance of quality riffs up his sleeve, and his always inventive guitar work and distinct vocals go a long way towards maintaining the unique quality and vibe of the Alice In Chains sound. It certainly helps that he has the robust, watertight rhythm section of Mike Inez (bass) and Sean Kinney (drums) in tow, helping create the dark and sludgy sonic tapestry that an Alice In Chains album requires (with the exception of their acoustic offerings). William Duvall’s vocals continue to be used more sparingly than seems necessary but his strong harmonies with Cantrell and occasional lead vocals make their presence felt, mostly because he makes no attempts to replicate Staley, instead bringing his own style to the band’s repertoire. It’s just a shame Cantrell doesn’t share the vocal limelight more often, as Duvall’s vocals offer a high-quality contrast and his own unique elements to the band. Sure he doesn’t match the amazing Staley but the dude can hold his own and deserves greater opportunity out the front.
The thunderous riffs and moody dynamics of ‘Hollow’ makes a strong statement to open the album, bookended by its memorable vocal hooks. Follow-up track ‘Pretty Done’ is an absolute belter of a rock song built around a classic Alice In Chains riff. The song features a killer chorus and some enticing vocal harmonies. The lighter touch of the melodic ‘Voices’ signals the first acoustic-based rocker on the album, and wouldn’t be out of place on a Cantrell solo album. It’s a solid enough song but overstretched in length. The title track is packed with haunting moments and eerie melody that’s bogged down by its weighty length and an unnecessarily drawn-out finale. Yet the song’s dark atmosphere, sludgy gait and stellar vocal harmonising strikes a chord. Hearing Duvall take on a more prominent vocal role on the dark and addictive groove of ‘Lab Monkey’ reinforces the need to give him a fairer share of the vocal duties.
At a fraction under 70 minutes long, the band could have been more ruthless on the cutting floor to tighten up the package, but overall The Devil Put Dinosaurs Here is a resounding success with all the unique hallmarks of an Alice In Chains album. With this second fine example of their post-Staley recording era, Alice In Chains have consolidated their ongoing relevance and introduced another strong album to the second phase of their legendary career.
Virgin/EMI
8/10
Reviewer: Luke Saunders