The last one I've heard was united abominations...I should probably try to catch up, but I found that it and the system has failedwere meh

This is the real reason I returned... to review this album.

ALICE IN CHAINS: The Devil Put Dinosaurs Here (2013)

So I listened to the new Chains record. I wanted to give the record true time to sink in, like Soundgarden’s “King Animal” last November. First off, my immediate reaction was nothing on the album was bad. At the same time, nothing on the album was great either. And I pretty much stand by that assessment. Some are calling this album the heaviest AIC has done to date, which couldn’t be further from the truth. I don’t know if Alice ever has made a true heavy-record, tending to rely on being a band that is one of grunge’s more versatile bands, alongside Soundgarden, that knows how to perfectly mix albums with heavy, soft, dark ballads, uplifting sludge riffs with memorable melodies. How is that possible? I don’t know, it’s just Seattle at it’s best man. But that’s what they’ve been doing right since the late 80’s.

This record however for me was the first moment that I would say was a step-backward for AIC. Granted again, this is not a bad record. It also might be a slow burn for some ala King Animal, but despite the four years since Black Gives Way To Blue, this record finds AIC seemingly on cruise-control at the direction of Jerry Cantrell, and despite Jerry lyrically having several songs on the record that I would easily put up against Cornell’s stuff on King Animal, sonically something seems a tad phoned-in about the record.

If you loved Black Gives Way To Blue. You WILL LIKE this record. But because you like BGWTB, you WILL NOT love this record for the same reasons. No new ground is treaded here, so much to the point in several instances the songs kind of merge together with similar melodies, similar hooks, and although there are very much places of true Alice songs, for the first time ever (I did NOT say this with BGWTB), this record does indeed suffer the fate of several  Jerry Cantrell-solo songs, so much to the point that I wonder if the band was even consulted, other than to record their session work.
If this album is an extension of BGWTB, then The Devil Put Dinosaurs Here is very much AIC’s “Re-Load” moment. The album has some moments of great ideas, but none seem to quite capture that greatness, only settling for “being good enough” in many cases. The fact that several songs fail to exhibit melodies that separate them from other songs is almost bizarre, as it’s never been a Chains problem in the past. If anything the record comes across as grunge’s “Izzy Stradlin” moment. Pumping out a bunch of tracks that are good enough, and remind you of great talent, but not enough to blow your mind.

In the past AIC had typically EP’s in-between that featured the band’s best tracks at times of creative “re-working”, and TDPDH is an example of that “maybe you should’ve…” moment where an EP of the best songs might’ve been a better option, while the others stayed in the studio being re-worked.

Another first for me saying is this… either USE William DuVall – or fire him. Yes, I said it. I’m assuming DuVall just does not bring the creative force to the band that Jerry is looking for beyond just being a Layne-stand in on-stage across the world. I really don’t know, but DuVall is virtually absent on this record, and he wasn’t really used much on BGWTB. Now don’t get me wrong, I love Jerry, and to me HIS IS the frontman of AIC. But at the same time, if this is all you’re gonna do, why not just become a trio?

I made the ‘Reload’ reference earlier. For me a lot of the songs have the same kind of effect. They feel  tons like extensions of the previous record, but just not with the same effect, and in several cases a “been there, done that” kind of feel. As for the songs…

1) Hollow – originally seen by man as ‘not that impressive’, in hindsight, Hollow looks like one of the ace moments on the record. Obviously built to be the lead single, the song works on that level. Lyrically the song for Jerry is the equivalent of “Live To Rise” for Chris. Sure we Seattle boys can do that modern rock radio shit we created, but that’s boring, so why? Hollow comes across that way to me, and it’s a song that works. It might not be the strongest lead song on their albums, but it’s definitely in the same vein. Definitely an AIC-start to the album.

2) Pretty Done – immediately reminded me of “Take Her Out” off of BGWTB. Almost like the “Pretty Tied Up” to “Bad Obsession”. Kinda surprised this is the second cut on the album, as it very much has that late-album filler feel. Lyrically the chorus is memorable, but unfortunately the rest turns very Cantrell-solo, and is somewhat forgettable.

3) Stone – huh? I just DO NOT GET this song. Ironically “Stone” is one of the more interesting songs on the album, because it’s more different than most of the songs on the album. The song lyrically comes across as a criticism of the media, but I just don’t get the chorus. Memorable? Yes. Sensible? No.

4) Voices – finally something truly bad ass. Voices without a doubt is easily the best song on the album. Meant to be the third-single, this song is the first Jar of Flies-style track, and it shows. Immediately memorable melodies, and the song feels like full-effort has been applied. The song almost has a “Sap”-feel, because the song relies on it’s own instrumental melodies, as well as lyrics to let it shine, without being self-reliant on a catchy chorus, because the chorus is not immediately recognized. Several moments in the song could be ‘it’. Very-AIC. This song proves these father’s of grunge still got it. I’d hold this song up to anything on BGWTB or the rest of their catalog.

5) The Devil Put Dinosaurs Here – the title track of the song takes a cue from “A Looking In View” on the previous album, without near as much heavy as that song had. Lyrically the song is an obvious attack on the religious right, and although I agree with a lot of what’s said it in, especially the assumption that one can be wise in other ways, in some ways the song lyrically just doesn’t reach me. It sounds like a Vedder-moment that Jerry was going for and/or another Dirt-sequel, and that blowaway stanza or verse just isn’t there. Despite being the title track of the album, and force of the liner notes and album artwork, the song doesn’t live up to holding the jockstrap of the album (unlike Black Gives Way To Blue, the powerhouse ballad of the previous record). TDPDH wants to be something special, but instead becomes just a decent moment. This is the first song on the record I can honestly say is ACHING for “The Staley”. Layne would’ve absolutely brought this track into Tripod-level epicness. The darkness of the instrumentals, plus Layne’s sensibility later-on lyrically could’ve turned this into something amazing imo.

6) Lab Monkey – this is the first truly ‘heavy’ moment on the album for me in the true Alice-sense. This track is a pure Tripod-sequel. The fact that this band can pull this kind of stuff all still gives me all kinds of hope for the future. Easily as heavy as anything in their past, and instrumentally I’d put it right up with the heaviest stuff Soundgarden did in the past couple of years. I absolutely love this song. The lyrics are heavy as well, and vintage-Jerry, vintage-Seattle, with almost shades of Cobain on it. The song comes across as an allusion to the drug industry, but it’s so vague that it’s classic grunge in it’s message. The melody is solid, and despite the lack of Layne (who would’ve destroyed on stuff like this), he is not missing and on this track, Alice does show they can be heavy.

7) Low Ceiling – at this point the album is continuing to keep you interested, and lyrically this song seems to be a bit of a Jerry-solo moment. I never felt that way on the previous record, but this has Boggy Depot-all over it. The melody and chorus doesn’t pop enough to really grab you. Is it bad? No. But I can only imagine what  a Cornell would’ve done with this on a collab-situation ala Sap. The guitar solo is the best part of the song and possibly on the album, and puts Jerry easily up there with the solos from Kim or Mike elsewhere in Seattle.

8) Breath On A Window – like “Low Ceiling” before it, again this seems to be Jerry going off into solo territory. This is purely Degradation Trip stuff. Something about the song just doesn’t grab me. The little Alice moments thrown into, seem to be purely intentional in order to give it credibility. I don’t buy it. The little solo moments seem to be a separate entity. The song needs a lot more William (yeah, seriously), with Jerry trying to do his own harmonies and something about it just doesn’t work for me. The song seems to want to be something epic, but just ain’t quite there for me. Again, not bad, and some parts are enjoyable, but it’s largely forgettable.

9) Scalpel – fuck yeah, the next ‘big gun’ on the album. I gotta be honest, like Voices, this song hit me like a ton of bricks. Certain songs on King Animal hit me like a ton of bricks last November, describing issues in my own life to a precision. Chains provided a few that hit me right now at the right place, and Voices and Scalpel both did that. Lyrically Cantrell is showing in both he is equally a force to be reckoned with no different than Chris or Eddie from his generation, and that Jerry has lost no edge in these little moments. Lyrically this song is brilliance for me. It’s simplistic, but deep, and right on target. Melody is memorable, plus where back to Alice In Chains-styled songs at this point again. And to be honest, this song sounds like it easily could’ve been a ballad on Tripod.

10) Phantom Limb – oh hell yeah, this song immediately punches you in the face. Another heavy-moment on the album, and far better than the title track TDPDH. Phantom Limb being a late-album song shocks me, because it deserves to be higher. DuVall kicks tons of ass on this. The song sounds like a follow up to Frogs on Tripod. The closeout practically has Layne’s ghost on it. Very creepy in a satisfying way. One of the strongest songs on the album.

11) Hung On A Hook – Hook is a late-album song in a very Dirt-vein that imho could’ve been a bit more than it is. It wants to be that Angry Chair-moment, but lyrically it’s missing something, and it’s also missing that real hook or real melody or chorus that grabs you by the balls and never let’s go. Kudos to DuVall for doing a great job on his parts, and despite my critiques, it’s still one of the heavier songs on the album. I get the feeling this song is a grower. Something you might not get now, but later will love. Regardless it still might be one of the better songs pound-for-pound on the record, especially if you like that Hate To Feel, Angry Chair, Them Bones-family of songs.

12) Choke – Choke summed up easily, is the “Prostitute” closer of the album. Like Guns N’ Roses “Prostitute” of 2008’s “Chinese Democracy”, Prostitute seemed to be ‘one ballad too many’. So indulgent and you had already been beat to death on all these grandiose rock ballads on the record. Choke is that song for Alice’s “we invented it” modern rock song. The song is obviously built to be another radio-ready single. And although it holds on to that wonderful feeling of ‘grunge is still alive’, the song, had it been earlier on the record might’ve been better received by me, but instead it comes across as a late album B-side ballad, with a lot of Jerry-solo thrown into. Not a very AIC-song in sound. Lyrics seem to be self-important, and simplistic for it’s radio-ready nature. Definitely good, but forgettable ala Prostitute.

Final thoughts – in some ways this was not the follow up I expected for Black Gives Way To Blue, especially considering all of the comments coming out of the AIC camp of “heaviest ever” and shit like that. Apparently those in the room only heard Phantom Limb and Hung On A Hook before walking out the door. In other ways, this is exactly the record I expected. It showcases AIC, past and present versions, doing what they do best. Reminding the world THEY created the modern rock sound so many duplicated and stole from them, especially Layne’s vocals, and Layne & Jerry’s vocal harmonies. That’s showcased again here, minus Layne sadly (with thoughts and thanks going out to he and Mike Starr and their families in the album’s liner notes). AIC deserves respect that this isn’t just another cash cow modern rock record, but in fact a showcase from the pioneers that made it that can still compete, still be dark, and remind the world Seattle is still rainy and grunge is still a way of life. At the same time from an AIC fan’s point of view, this album will VERY MUCH have the same effect as Soundgarden’s King Animal did on it’s fans. A lot of division will exist. Some will say it sucks, a decline, others will say it’s better than Black, some will say it’s their best, some will say it’s okay, some will slag it as Degradation Trip II. But honestly unlike King Animal, the depth is just not on this album to truly state that Devil deserves the same respect as that record. Devil is at it’s best a half-hearted radio-ready sequel to Tripod and at it’s worse the Reload to BGWTB’s Load. Take from that what you want. But this is not an album you can just throw on and do stuff. This is an album that because of similarity deserves a second listen, maybe a third to fully immerse it in your brain, after then you’ll heard the little nuisances that make each track it’s own, and then you might appreciate at it more.

Not pharmaceutical grade Chains… but still a helluva spoonful.

Rating: 3.75/5 – Pretty Good