Alice in Chains The Devil Put Dinosaurs Here (2013)

Alice in Chains The Devil Put Dinosaurs Here stands as a bold statement of resilience and artistic evolution from a band that refused to let tragedy define their legacy.

Released in 2013, this fifth studio album marked the band’s second full-length effort with vocalist William DuVall.

The album showcased a matured sound that honored the past while carving new sonic territory.

Following the successful reunion documented on Alice in Chains Black Gives Way to Blue (2009), the band faced immense pressure to prove their comeback wasn’t a fluke.

Jerry Cantrell’s songwriting reached new depths of introspection and social commentary.

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Overview of Alice in Chains The Devil Put Dinosaurs Here

Alice in Chains The Devil Put Dinosaurs Here arrived four years after the band’s emotional reunion album.

The provocative title referenced creationist beliefs and set the tone for an album unafraid of controversy.

Spanning twelve tracks and over 67 minutes, the album represented the band’s longest studio effort.

The extended runtime allowed for expansive compositions that breathed with atmospheric tension.

Jerry Cantrell and William DuVall’s vocal harmonies had evolved into something uniquely their own.

The chemistry between these two voices no longer invited comparisons to the Layne Staley era.

Instead, they created a distinct sonic signature that honored tradition while forging ahead.

The album’s production emphasized space and dynamics over relentless heaviness.

Songs built slowly, allowing tension to accumulate before explosive releases.

This approach recalled the band’s earlier work on Alice in Chains Jar of Flies (1994), where restraint proved as powerful as aggression.

Thematically, the album explored religion, hypocrisy, and personal demons with unflinching honesty.

Cantrell’s lyrics questioned organized religion’s role in perpetuating ignorance and control.

The title track itself served as a scathing critique of fundamentalist thinking.

Yet the album also contained moments of vulnerability and introspection.

Songs like “Voices” and “Scalpel” examined internal struggles with addiction and self-destruction.

Recording History and Production

The band entered Studio 606 in Northridge, California, in 2011 to begin work on the album.

This facility, owned by Foo Fighters’ Dave Grohl, provided an inspiring environment for creation.

Nick Raskulinecz returned as producer after his successful collaboration on Black Gives Way to Blue.

His understanding of the band’s dynamics proved invaluable in capturing their evolving sound.

According to Wikipedia, the recording process stretched over several months with multiple sessions.

The band took their time, refusing to rush the creative process.

Jerry Cantrell brought in fully formed song ideas that the band then developed collectively.

Sean Kinney’s drumming became more nuanced and textural than on previous albums.

He employed unconventional rhythms and patterns that added complexity to the compositions.

Mike Inez’s bass work provided a foundation that was both heavy and melodic.

His lines often served as countermelodies to Cantrell’s guitar riffs.

The production emphasized clarity without sacrificing the band’s signature darkness.

Each instrument occupied its own sonic space in the mix.

Raskulinecz encouraged the band to experiment with different guitar tones and effects.

The result was a palette of sounds ranging from crushing distortion to shimmering clean tones.

Vocal tracking sessions focused on perfecting the harmonies between Cantrell and DuVall.

These harmonies had become the band’s calling card in their post-reunion era.

The two singers spent countless hours blending their voices into seamless unison.

Track-by-Track Highlights of Alice in Chains The Devil Put Dinosaurs Here

“Hollow” opens the album with a mid-tempo groove that immediately establishes the record’s mood.

The song’s chorus features one of the album’s most memorable vocal hooks.

Released as the lead single, it introduced fans to the album’s more measured approach.

“Pretty Done” follows with a heavier, more aggressive energy.

The track showcases the band’s ability to craft punishing riffs without sacrificing melody.

DuVall takes lead vocals on several verses, demonstrating his growing confidence.

“Stone” slows the pace with a doom-laden atmosphere reminiscent of Alice in Chains Dirt (1992).

The song builds tension through repetition and gradual dynamic shifts.

Cantrell’s guitar solo soars above the heavy foundation with emotional intensity.

“Voices” stands as one of the album’s most introspective moments.

The lyrics explore the internal dialogue of addiction and self-doubt.

The vocal harmonies reach haunting heights during the chorus sections.

“The Devil Put Dinosaurs Here” serves as the album’s centerpiece and mission statement.

At over seven minutes, the song takes its time developing its themes.

The title phrase critiques religious fundamentalism with biting sarcasm.

“Lab Monkey” injects some much-needed energy into the album’s second half.

The track features some of Cantrell’s most inventive guitar work on the record.

Kinney’s drumming drives the song forward with relentless precision.

“Low Ceiling” explores themes of limitation and confinement.

The song’s structure defies conventional verse-chorus patterns.

Instead, it flows organically through different sections and moods.

“Breath on a Window” offers a brief acoustic interlude.

The track provides necessary breathing room in the album’s dense tracklist.

Cantrell’s fingerpicking creates a delicate, melancholic atmosphere.

“Scalpel” returns to heavier territory with surgical precision.

The lyrics cut deep, examining the pain of self-inflicted wounds.

The song’s dynamics shift dramatically between quiet verses and explosive choruses.

“Phantom Limb” showcases the band’s progressive tendencies.

Complex time signatures and unconventional arrangements keep listeners engaged.

The metaphor of a phantom limb represents lingering pain from past trauma.

“Hung on a Hook” delivers straightforward hard rock with a memorable chorus.

The song’s directness provides contrast to the album’s more experimental moments.

“Choke” closes the album with crushing heaviness and despair.

The final minutes fade into feedback and ambient noise, leaving listeners in contemplation.

Chart Performance of Alice in Chains The Devil Put Dinosaurs Here

Alice in Chains The Devil Put Dinosaurs Here debuted at number two on the Billboard 200.

The album sold approximately 62,000 copies in its first week.

This performance demonstrated the band’s continued commercial viability in the 2010s.

The album topped the Billboard Rock Albums chart upon release.

It also reached number one on the Alternative Albums and Hard Rock Albums charts.

Internationally, the album charted in multiple countries including Canada, Australia, and the UK.

In Canada, it peaked at number four on the main albums chart.

The UK chart position reached number 34, showing strong European interest.

“Hollow” became the album’s most successful single on rock radio.

The song reached number one on Billboard’s Mainstream Rock chart.

It remained on the chart for over 20 weeks, demonstrating impressive staying power.

“Stone” also performed well as a follow-up single.

The track reached the top ten on the Mainstream Rock chart.

“Voices” received significant airplay despite not being released as an official single.

The album’s commercial success validated the band’s artistic choices.

Critics and fans alike embraced the mature, expansive sound.

Sales remained steady throughout 2013 and into 2014.

Legacy and Cultural Impact

Alice in Chains The Devil Put Dinosaurs Here solidified the band’s successful second chapter.

The album proved that Alice in Chains could create relevant, powerful music without their original vocalist.

This achievement inspired other bands facing similar lineup changes.

The album’s willingness to tackle controversial religious themes sparked important conversations.

Some religious groups criticized the title and lyrical content.

However, the band stood by their artistic vision and message.

Musically, the album influenced a new generation of heavy rock bands.

Its emphasis on dynamics and atmosphere over constant aggression became a blueprint.

Younger bands cited the album as proof that heaviness could coexist with sophistication.

The vocal harmony approach between Cantrell and DuVall became widely imitated.

Many modern rock duos studied their technique and interplay.

The album’s production quality set a high standard for rock records in the 2010s.

Raskulinecz’s work demonstrated that modern production could enhance rather than sanitize heavy music.

Tours supporting the album brought Alice in Chains to audiences worldwide.

The band’s live performances proved they could deliver the album’s complex arrangements on stage.

Festival appearances introduced the new material to younger fans unfamiliar with the classic era.

You can experience the album’s power in this official video for “Hollow.”

The album’s legacy continues to grow as new listeners discover its depths.

It stands as evidence that artistic evolution doesn’t require abandoning core identity.

Listener’s Note

When I first heard this album, I was skeptical about whether Alice in Chains could maintain momentum.

Black Gives Way to Blue had been a beautiful tribute and reunion, but could they do it again?

The opening notes of “Hollow” immediately dispelled my doubts.

This wasn’t a band resting on past glories or simply recreating old formulas.

The Devil Put Dinosaurs Here revealed a band willing to take risks and push boundaries.

I remember listening to the title track for the first time and being struck by its boldness.

The lyrics didn’t pull punches, and the music matched that fearlessness.

What impressed me most was the album’s patience.

In an era of short attention spans, Alice in Chains crafted songs that demanded full engagement.

Tracks like “Phantom Limb” and “Stone” revealed new layers with each listen.

The album became a companion during difficult personal times.

Its themes of struggle and perseverance resonated deeply.

I found myself returning to “Voices” whenever I needed to confront my own demons.

The connection to earlier works like Alice in Chains Facelift (1990) was evident but not derivative.

The band had grown and evolved while maintaining their essential character.

Years later, this album remains in my regular rotation.

It represents everything I love about Alice in Chains: darkness, melody, and uncompromising honesty.

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Collector’s Corner

Alice in Chains The Devil Put Dinosaurs Here was released in multiple formats for collectors.

The standard CD version featured the twelve-track album in a jewel case.

A deluxe edition included bonus content and enhanced packaging.

Vinyl enthusiasts could purchase the album as a double LP on 180-gram vinyl.

The vinyl pressing captured the album’s dynamic range beautifully.

Many collectors consider the vinyl version the definitive way to experience the record.

Limited edition colored vinyl variants were released through select retailers.

These special pressings have become sought-after items in the collector’s market.

The album artwork, featuring a skeletal dinosaur, makes for striking display pieces.

Original promotional materials and posters from the album cycle are also collectible.

Add Alice in Chains The Devil Put Dinosaurs Here to your collection on Amazon and experience this powerful album in its full glory.

Whether you choose vinyl, CD, or digital, this album deserves a place in every rock collection.

FAQ About Alice in Chains The Devil Put Dinosaurs Here

What does the album title Alice in Chains The Devil Put Dinosaurs Here mean?

The title references a creationist belief that the devil planted dinosaur fossils to test faith.

Jerry Cantrell used this concept to critique religious fundamentalism and willful ignorance.

The phrase serves as a metaphor for how institutions manipulate truth to maintain control.

It represents the album’s broader themes of questioning authority and dogma.

How does this album compare to Alice in Chains’ earlier work?

The Devil Put Dinosaurs Here shares DNA with classics like Alice in Chains Self Titled Album (1995) but with a more mature perspective.

The album is longer and more expansive than most of their earlier releases.

It emphasizes atmosphere and dynamics over the raw aggression of their debut era.

The vocal harmonies between Cantrell and DuVall create a different but equally compelling sound.

Production values are more polished while maintaining the band’s essential darkness.

Who wrote the songs on Alice in Chains The Devil Put Dinosaurs Here?

Jerry Cantrell wrote or co-wrote all twelve tracks on the album.

William DuVall contributed to the writing process on several songs.

The entire band collaborated on arrangements and musical development.

Cantrell’s songwriting had evolved to incorporate more social commentary alongside personal themes.

The collaborative process allowed each member’s strengths to shine through.

What are the best songs on The Devil Put Dinosaurs Here?

“Hollow” stands out as the album’s most accessible and radio-friendly track.

“Stone” delivers crushing heaviness with memorable melodic hooks.

“Voices” showcases the band’s introspective side with haunting harmonies.

The title track serves as the album’s ambitious centerpiece and thematic core.

“Phantom Limb” demonstrates the band’s progressive tendencies and musical complexity.

Alice in Chains The Devil Put Dinosaurs Here remains a testament to artistic perseverance and evolution in the face of tragedy and doubt.