With the release of its major label debut, “City of Evil,” Orange County metal band Avenged Sevenfold has again reinvented itself, this time opting to ditch its punk roots almost entirely.

The metalcore screaming vocals so prevalent on its first two albums are all but absent. After a few tracks, one realizes why lead vocalist M. Shadows screamed all the time — his singing voice isn’t all that great. The lyrics are typical tortured-soul, blood and gore metal fare.

The members of Avenged Sevenfold are undeniably talented, and “City of Evil” combines elements from many genres of music — 80s power metal, punk, metalcore, progressive rock and flamenco guitar, to name a few. It is obviously a very ambitious project. Unfortunately, a city without a good foundation will inevitably collapse under its own weight, and that is exactly what happens with “City of Evil.”

As influences and inspirations collide, the music loses direction, sounding less like a coherent, well-crafted whole and more like a sort of genre-bending mush. Genre-bending, yes, but it’s still mush. Most of the droning tracks long overstay their welcome, clocking in at well over five minutes in a failed attempt to be “epic.”

One gets the sense that if the pieces had been more carefully assembled, this album could have been incredible, but it ultimately falls short. It is not without its moments — most notably the anthemic “Bat Country,”a tribute to the late gonzo journalist Hunter S. Thompson. But to get to these gems in “City of Evil,” one must wade through a great deal of rubbish.

— Collin Bockman

Matthew West has a big heart, and this is reflected through the catchy and vibrant choruses of his songs.

West is a Christian pop artist with the talent of mainstream artists like Jack Johnson or Jason Mraz, and his songs are just as, if not more, upbeat than his poppy counterparts.

The music and lyrics on “History” are straightforward and to the point.

West lays his convictions and beliefs out on the table with no hint of subtlety anywhere.

West’s beliefs are made particularly obvious on “Next Thing You Know,” “I Know You’re There” and “The Last Ones.”

On “The Last Ones,” West reflects on a little girl with down syndrome who he met before one of his shows and how much God has been able to use her to touch people’s lives, despite her handicap.

The best track on this album, “The Day Before You,” is the perfect song for a guy to play for his girlfriend or wife.

West actually wrote it for his wife so he could play it at their wedding.

The song has been out for a while because Rascal Flatts originally recorded it right after West wrote it.

Matthew West’s music may be called clich‚ and stereotypical radio rock, but it is artists like West who prove talent, conviction and a good heart can make people throw aside petty, immature judgments and listen to the music for the enjoyment of music and not for what it is or is not artistically.

— Dan Hopper