photo credit: Michelle Pemberton
9/24/09
"Heavily Ever After," by Devil to Pay, reviewed by Thom Daugherty of the Elms
Vocalist-guitarist Steve Janiak, drummer Chad Prifogle, bass player Matt Stokes and guitarist Rob Hough (the fourth person to fill this role since the band’s founding in 2002) made Devil to Pay’s third album at Azmyth Studios. Visit www.deviltopay.net.
Who is the audience for this recording?
Anybody who wants to hear well-played post-Alice In Chains/Soundgarden/Tool hard rock. Devil to Pay has more prowess than the glut of drop-tuning riffy bands of 2009.
Favorite song?
“When All Is Said & Done.” I like the shuffle, chorus and strange chord qualities.
What about this recording surprised you?
I initially was shocked that music this dark could also be this melodic. And the lyrics were much higher-IQ than I’m used to hearing from harder bands.
What strength does Devil to Pay have that you’d like to see in your own work?
Everybody in this band boasts mad chops. And just as I enjoy being in a band where no weak-link member plays catch-up with everyone else, I imagine the guys in Devil To Pay also find it easier to make music when everybody is accomplished enough at their post to play whatever’s required at the moment.
Given the chance to collaborate with Devil to Pay, what would you add to this recording?
Their guitar tones are pretty molten; I’d be curious what kind of interplay the guitars would have if I could play something a little less fuzzy, a little more midrange-y on top of what they have.
And I’d probably opt for a really dissonant wah-less guitar solo. Come on. Let me do it, guys. I’ll go out and get a plain black T-shirt.
Metromix verdict: On debut album “Thirty Pieces of Silver,” Devil to Pay resembled a slowly surging bulldozer. These days, the pace is accelerated.
The opening track of “Heavily Ever After” begins mid-gallop, and most songs on the album whip by in three or four minutes.
The fast work may be a result of new guitarist Hough meshing well with his band mates. When Janiak dials back the velocity on songs such as “Troglodyte Jive,” it’s a woozy walk through a minefield of satisfying sonic explosions.