MrKnickerbocker
clap hands
w00f. It's gonna take me awhile to catch up here, folks. Hopefully this week.
Evergrey
- Thread starter MindRuler
- Start date
MindRuler
Ancient Mariner
Don´t worry! You´ll catch up eventually, crazy to think around Easter we´ll be allready halfway the discography.
MindRuler
Ancient Mariner
A Touch Of Blessing
Clean guitar riff fading in and Tom sings the first part of the verse. Then distorted guitars and more aggressive vocal lines. Cool keyboard lines in the background and great riff before chorus.
Second verse and a softer bridge, the addictive riff (can´t get enough of it!) and chorus and guitar solo´s! The second one reminded me of the melody of Recreation Day chorus. My favourite Evergrey song of all time which I nominated for the GMSC (unfortunately it failed terribly) and an easy 10/10 !
Ambassador
After a vocal intro we get heavy riffing and synths. Awesome intro. Male choir in the verses, slow doomy bridge with captivating keyboards and a sparse but effective chorus.
After the second verse we get a short instrumental bridge before repeating the chorus. Great melodic guitar solo, cool fastpaced instrumental section with haunting keyboards and another guitar solo before ending with the chorus. Another easy 10/10 !
In The Wake Of The Weary
Fast intro with less catchy vocal lines but the chorus is catchy as hell. Quiet part with some aaah´s and then fast and heavy again. Carina in the bridge and guitar solo! After the chorus we get aaah´s and a great instrumental section with some nice twin guitar riffing, gothic sounding part played by a string quartet from the Gothenburg Symphonic Orchestra. Nice song! 8/10
Harmless Wishes
Intro sounds abit like this comes of the In Search Of Truth album. Acoustic guitars in the verse and quite emotional Tom. Cool riff followed by the chorus where the string quartet shows up again. Great riffing before the second verse. Fantastic vocal lines of Tom here! Chorus with Tom and Carina and the a quiet part with only piano and Tom. This part is abit cheesy but the following guitar solo makes it great again!
Tempted to give this an 8 but I keep it on a 7/10.
Waking Up Blind
The cheesiness returns with the first ballad of the album. (yes there are two!) Not so keen on the intro but the guitar solo makes it better! The second verse is abit better but there's still a little cheese smell. Two weaker songs bring the album down a bit. 6/10
More Than Ever
And now we´re talking again! Awesome typical Evergrey chuggy riff in the intro and spooky keyboards in the verse where an aggressive Tom rules! Some high notes there! Super catchy chorus followed by a cool Maiden riff! Top notch song allready! After the chugging and the second verse we get a little proggy section that's abit Symphony X. Two great guitar solo´s and chorus time again. Proggy outro with short neoclassical solo. Perfect song so 10/10.
The Essence Of Conviction
Very Dream Theaterish intro, emotional Tom in the verse where piano and riff go hand in hand.
The chorus has some Recreation Day vibes. In the second verse there are some cool guitar riffs.
Section with spoken words accompanied by Maidenish riff and then the emotional chorus.
In the outro the song slows down with a fantastic guitar solo flowing into the Maidenish riff. We hear a baby crying and the song ends in a fade out. 10/10
Where All Good Sleep
According to Tom this is where pain and sorrow meet. Quite simple verses but great chorus. After the second chorus the song changes its tempo and we get a nice Instrumental section and a bridge turning into haunting singing Carina which floats into the chorus. 7/10
Faith Restored
The second ballad of the album has a high Fates Warning vibe. I could almost hear Ray Alder singing this! (Funny detail: Tom sings also in the band Redemption where he replaced... Ray Alder) Only acoustic guitar and Tom.
Spoken part followed by the chorus again where the string quartet makes the song even more emotional. Great how they use the same notes as Toms vocal lines. 8/10
When The Walls Go Down
Piano...spoken part...string quartet.
The final song of this album is quite special!
Very emotional spoken sample and then the drums enter the song. Still quite slow but you allready feel they're building towards a climax, a catharsis. What's next you need to experience by yourself. Great piano, drums and bam: Distorted riffs! And ending with the piano notes. Good album closer! 8/10
Evergrey Top 10 after 5 albums:
1. A Touch Of Blessing
2. Solitude Within
3. Recreation Day
4. Nosferatu
5. More Than Ever
6. End Of Your Days
7. She Speaks To The Dead
8. The Masterplan
9. Ambassador
10. Your Darkest Hour
Clean guitar riff fading in and Tom sings the first part of the verse. Then distorted guitars and more aggressive vocal lines. Cool keyboard lines in the background and great riff before chorus.
Second verse and a softer bridge, the addictive riff (can´t get enough of it!) and chorus and guitar solo´s! The second one reminded me of the melody of Recreation Day chorus. My favourite Evergrey song of all time which I nominated for the GMSC (unfortunately it failed terribly) and an easy 10/10 !
Ambassador
After a vocal intro we get heavy riffing and synths. Awesome intro. Male choir in the verses, slow doomy bridge with captivating keyboards and a sparse but effective chorus.
After the second verse we get a short instrumental bridge before repeating the chorus. Great melodic guitar solo, cool fastpaced instrumental section with haunting keyboards and another guitar solo before ending with the chorus. Another easy 10/10 !
In The Wake Of The Weary
Fast intro with less catchy vocal lines but the chorus is catchy as hell. Quiet part with some aaah´s and then fast and heavy again. Carina in the bridge and guitar solo! After the chorus we get aaah´s and a great instrumental section with some nice twin guitar riffing, gothic sounding part played by a string quartet from the Gothenburg Symphonic Orchestra. Nice song! 8/10
Harmless Wishes
Intro sounds abit like this comes of the In Search Of Truth album. Acoustic guitars in the verse and quite emotional Tom. Cool riff followed by the chorus where the string quartet shows up again. Great riffing before the second verse. Fantastic vocal lines of Tom here! Chorus with Tom and Carina and the a quiet part with only piano and Tom. This part is abit cheesy but the following guitar solo makes it great again!
Tempted to give this an 8 but I keep it on a 7/10.
Waking Up Blind
The cheesiness returns with the first ballad of the album. (yes there are two!) Not so keen on the intro but the guitar solo makes it better! The second verse is abit better but there's still a little cheese smell. Two weaker songs bring the album down a bit. 6/10
More Than Ever
And now we´re talking again! Awesome typical Evergrey chuggy riff in the intro and spooky keyboards in the verse where an aggressive Tom rules! Some high notes there! Super catchy chorus followed by a cool Maiden riff! Top notch song allready! After the chugging and the second verse we get a little proggy section that's abit Symphony X. Two great guitar solo´s and chorus time again. Proggy outro with short neoclassical solo. Perfect song so 10/10.
The Essence Of Conviction
Very Dream Theaterish intro, emotional Tom in the verse where piano and riff go hand in hand.
The chorus has some Recreation Day vibes. In the second verse there are some cool guitar riffs.
Section with spoken words accompanied by Maidenish riff and then the emotional chorus.
In the outro the song slows down with a fantastic guitar solo flowing into the Maidenish riff. We hear a baby crying and the song ends in a fade out. 10/10
Where All Good Sleep
According to Tom this is where pain and sorrow meet. Quite simple verses but great chorus. After the second chorus the song changes its tempo and we get a nice Instrumental section and a bridge turning into haunting singing Carina which floats into the chorus. 7/10
Faith Restored
The second ballad of the album has a high Fates Warning vibe. I could almost hear Ray Alder singing this! (Funny detail: Tom sings also in the band Redemption where he replaced... Ray Alder) Only acoustic guitar and Tom.
Spoken part followed by the chorus again where the string quartet makes the song even more emotional. Great how they use the same notes as Toms vocal lines. 8/10
When The Walls Go Down
Piano...spoken part...string quartet.
The final song of this album is quite special!
Very emotional spoken sample and then the drums enter the song. Still quite slow but you allready feel they're building towards a climax, a catharsis. What's next you need to experience by yourself. Great piano, drums and bam: Distorted riffs! And ending with the piano notes. Good album closer! 8/10
Evergrey Top 10 after 5 albums:
1. A Touch Of Blessing
2. Solitude Within
3. Recreation Day
4. Nosferatu
5. More Than Ever
6. End Of Your Days
7. She Speaks To The Dead
8. The Masterplan
9. Ambassador
10. Your Darkest Hour
Last edited:
MrKnickerbocker
clap hands
Recreation Day
First impressions: what happened to the good production? Why has the lyric and melody writing actually gotten worse? Hmmmmmmmmmm. Let's delve deeper.
The Great Deceiver
Absolutely killer opening riffage and solos here, it's very neoclassical and pummeling. The first two lines of each grouping in the verses are killer and then Tom gets overly wordy again. There's no real transition into the chorus, which is odd, but it's an alright chorus. The staccato riffing with the piano, strings and vocal chants around 1:35 is cool...I just wish it were recorded or mixed well and that they had chosen a less dulcet keyboard patch. Sounds like it's supposed to be a Gregorian-style chant or something, but it's not mixed properly. Luckily the song ends like it began and that's easily the best part. It's not a bad song, it's just nothing special. 7/10
End of Your Days
I am...perplexed by the opening riff timing. It's maybe a polyrhythm? But something sounds off. The second riff is stellar, though! Like Opeth writing in Symphony X tonality. Much better melodies here and an always-welcome appearance of Carina. I love the way this song kind of builds and dips, it's an interesting composition. Unfortunately, I find the chorus incredibly unsatisfying (and the quiet, mumbling chorus in the middle even worse). Very cool solo, though. Beautiful stuff. I wish it never went back to the chorus. I also wish the final chorus didn't last a full minute. I don't know. This isn't doing it for me. 7/10
As I Lie Here Bleeding
Another song that absolutely rips from the start, this time with the addition of a lovely and spooky organ patch! Tight riffing that opens up into a very nice verse. The chorus is also nice and feels more cohesive than the previous two songs. Tom sounds great on this song, I just wish someone could buy this guy a fucking lyric editor! He's so needlessly verbose that he ruins what could be some great melodies. A nice touch: the bass fills in the middle of the chorus. I really enjoy the shifting drumbeats on this tune, too, it adds some special character. The solos are fantastic. The ending is a bit rushed, but best song yet, easily. 9/10
Recreation Day
Very nice, downtuned main riff again! This album really knows how to start songs, even if they don't always succeed. I love the way it drops down for the verse to just bass, drums, subtle keys and Tom's soulful voice. He's still a little too wordy here, but it doesn't offend me much. The chorus is anthemic, but...I can't help feeling like we're getting seriously lost in translation here. So, if I'm right, and I'm 99% sure that I am...Tom is saying that no matter what happens to bring him down, he creates a new version of himself every morning. He re-creates himself. Now, that's a nice sentiment. But...the world recreation is just not commonly used for that meaning. So it feels like Tom is singing this emotional, heart-wrenching metal tune about like...going bowling, reading a good book, or enjoying the beach. Anyway, great solo, great piano section and buildup back into the final chorus. And it's a powerful ending chorus too, with many many Tom's singing their hearts out about a nice trip to a bistro on a sunny afternoon. It's a great song, but that lyrical quirk is always going to make me laugh. 10/10
You're exactly on point here. It's a massive lyrical shortcoming based on language differences and the fact that they went so far as to name the album after it is just mind-boggling.
Visions
We start incredibly heavy, again, and it's still good, though a bit mushy this time around. The spiraling riffing doesn't totally fit with the keys behind it and I think the section goes for a bit too long. The verses are fine, I guess? I like the chunky riffing around 1:30. The chorus, however, goes absolutely nowhere. The verses have a ton of get-up-and-go, which I enjoy, and Tom sounds fired up just in time for...a somber guitar solo tempo shift? It's a cool solo, but so, so, so so weird. Shifting the drum patterns under the outro riff is super cool, but the riff is just not good enough to go on for over a minute. Also, fade outs suck. This is filler. 5/10
I'm Sorry
This is a giant brick of cheese. It's both fresh and rotten. It's dripping everywhere. It's just incredibly cheesy. I really, really want to see Tom crush this kind of song because he does have the voice for it, but the lyrics are so overwrought again and his phrasing is just odd at certain points. Not even a good melodic guitar lead will save this stinky cheese. 3/10
Blinded
And now for something completely different! Love the quick neoclassical shred and subsequent riffing in the intro here. Damn, I just wish this whole album were as good as the first 30 seconds of every song. Tom's verses are messy and the pre-chorus is truly quite bad. The chorus is fine, but as with a couple more choruses on this album: too simplistic. Tom at least sounds very good on the chorus vocals (and that vocal bridge is cool too). The chugging part before the final chorus is a nice dynamic but once again goes literally nowhere. More filler, but weaker. 5/10
Fragments
A cool chordal opening riff changes the pace slightly from the majority of songs so far, and then explodes into a very, very cool swinging prog riff with some bonus shredding at the end. This is easily my favorite instrumental passage so far on the record! We get another slightly subdued verse to make room for Tom's voice and it's solid (but still too wordy). Vocally, this one carries over nicely into the pre-chorus. The low chanting chorus is so very bizarre. It's kind of cool, but it's definitely odd as hell. Nice to hear Tom letting loose over the backing vocals, though. We get a short solo, a bit of a different verse with Tom literally screaming before a very proggy section with some electric organ punches. I wish they had developed this bridge more before returning to the chorus, but oh well. Unfortunately the extended chorus just absolutely murders the song. What's the deal with the ludicrous ending chorus repetitions on this album? Blarg. A wasted opportunity. 6/10
Madness Caught Another Victim
Ah, acoustics! Interesting. This one starts promising, with Tom really giving space for his vocals but, as usual, it quickly becomes too wordy. Lyrics ruin what could have been a pretty powerful interlude-ish track. I really, truly want Tom to knock one of these songs out of the park. Come on, Tom! He really needs a producer to work with him on melody phrasing. 5/10
Your Darkest Hour
The phaser on the intro sounds like a demo, but things get better once the full band kicks in. I find the transition into the verse to be incredibly jarring. Guys, I don't know. This album just isn't for me, I think. The chorus is once again very awkward. The melody is fine, but the lyrics are so boring and odd. I do really enjoy the swirling keyboard throughout, though. Choosing to stop the momentum multiple times within the same song for piano interludes is strange. It's a cool dynamic, but I'm not sure if it's warranted. The second piano bridge becomes a spotlight for Carina to warble indistinctly in the background and I am once again wishing she sang a lot more...and I am once again wishing they did not return to the chorus...and I am once again wishing they didn't fade out on the same riff over and over again. Another meh. 6/10 (mostly for Carina)
Unforgivable
The sludgy riff that propels this tune is another nice change of pace. It's got a very cool tone to it and it's nice to hear both guitars complimenting each other. Another quiet verse, another verbose one, but it works alright here. I like that Tom gets very passionate on the line "we're only bringers of sorrow" but the instrumental waits another beat before getting heavy during the chorus. It's a simple chorus, but it works. The second verse is basically a cappella, and that's kinda cool. This is their best attempt at the "quiet verse, loud chorus" template so far on this album, and yes, that's very much in part due to Carina's appearance in the "holy water" section before the second chorus. Easily the coolest vocal on the album. We get another piano interlude before...no, wait, that's the end of the song? There's no solo? No bridge? What the fuck? They should have cut 2 minutes from the previous song and added them here. Still, this is the third best song on the album. 8/10
Album Ratings
Recreation Day - 6.4/10
In Search of Truth - 8/10
Solitude, Dominance, Tragedy - 7.3/10
The Dark Discovery - 5.5/10
I'm making a playlist of all my favorite tracks from these albums (essentially anything I rate an 8-10/10).
Playlist Additions
Recreation Day - 3 songs
In Search of Truth - 6 songs
Solitude, Dominance, Tragedy - 5 songs
The Dark Discovery - 1 song
First impressions: what happened to the good production? Why has the lyric and melody writing actually gotten worse? Hmmmmmmmmmm. Let's delve deeper.
The Great Deceiver
Absolutely killer opening riffage and solos here, it's very neoclassical and pummeling. The first two lines of each grouping in the verses are killer and then Tom gets overly wordy again. There's no real transition into the chorus, which is odd, but it's an alright chorus. The staccato riffing with the piano, strings and vocal chants around 1:35 is cool...I just wish it were recorded or mixed well and that they had chosen a less dulcet keyboard patch. Sounds like it's supposed to be a Gregorian-style chant or something, but it's not mixed properly. Luckily the song ends like it began and that's easily the best part. It's not a bad song, it's just nothing special. 7/10
End of Your Days
I am...perplexed by the opening riff timing. It's maybe a polyrhythm? But something sounds off. The second riff is stellar, though! Like Opeth writing in Symphony X tonality. Much better melodies here and an always-welcome appearance of Carina. I love the way this song kind of builds and dips, it's an interesting composition. Unfortunately, I find the chorus incredibly unsatisfying (and the quiet, mumbling chorus in the middle even worse). Very cool solo, though. Beautiful stuff. I wish it never went back to the chorus. I also wish the final chorus didn't last a full minute. I don't know. This isn't doing it for me. 7/10
As I Lie Here Bleeding
Another song that absolutely rips from the start, this time with the addition of a lovely and spooky organ patch! Tight riffing that opens up into a very nice verse. The chorus is also nice and feels more cohesive than the previous two songs. Tom sounds great on this song, I just wish someone could buy this guy a fucking lyric editor! He's so needlessly verbose that he ruins what could be some great melodies. A nice touch: the bass fills in the middle of the chorus. I really enjoy the shifting drumbeats on this tune, too, it adds some special character. The solos are fantastic. The ending is a bit rushed, but best song yet, easily. 9/10
Recreation Day
Very nice, downtuned main riff again! This album really knows how to start songs, even if they don't always succeed. I love the way it drops down for the verse to just bass, drums, subtle keys and Tom's soulful voice. He's still a little too wordy here, but it doesn't offend me much. The chorus is anthemic, but...I can't help feeling like we're getting seriously lost in translation here. So, if I'm right, and I'm 99% sure that I am...Tom is saying that no matter what happens to bring him down, he creates a new version of himself every morning. He re-creates himself. Now, that's a nice sentiment. But...the world recreation is just not commonly used for that meaning. So it feels like Tom is singing this emotional, heart-wrenching metal tune about like...going bowling, reading a good book, or enjoying the beach. Anyway, great solo, great piano section and buildup back into the final chorus. And it's a powerful ending chorus too, with many many Tom's singing their hearts out about a nice trip to a bistro on a sunny afternoon. It's a great song, but that lyrical quirk is always going to make me laugh. 10/10
You're exactly on point here. It's a massive lyrical shortcoming based on language differences and the fact that they went so far as to name the album after it is just mind-boggling.
Visions
We start incredibly heavy, again, and it's still good, though a bit mushy this time around. The spiraling riffing doesn't totally fit with the keys behind it and I think the section goes for a bit too long. The verses are fine, I guess? I like the chunky riffing around 1:30. The chorus, however, goes absolutely nowhere. The verses have a ton of get-up-and-go, which I enjoy, and Tom sounds fired up just in time for...a somber guitar solo tempo shift? It's a cool solo, but so, so, so so weird. Shifting the drum patterns under the outro riff is super cool, but the riff is just not good enough to go on for over a minute. Also, fade outs suck. This is filler. 5/10
I'm Sorry
This is a giant brick of cheese. It's both fresh and rotten. It's dripping everywhere. It's just incredibly cheesy. I really, really want to see Tom crush this kind of song because he does have the voice for it, but the lyrics are so overwrought again and his phrasing is just odd at certain points. Not even a good melodic guitar lead will save this stinky cheese. 3/10
Blinded
And now for something completely different! Love the quick neoclassical shred and subsequent riffing in the intro here. Damn, I just wish this whole album were as good as the first 30 seconds of every song. Tom's verses are messy and the pre-chorus is truly quite bad. The chorus is fine, but as with a couple more choruses on this album: too simplistic. Tom at least sounds very good on the chorus vocals (and that vocal bridge is cool too). The chugging part before the final chorus is a nice dynamic but once again goes literally nowhere. More filler, but weaker. 5/10
Fragments
A cool chordal opening riff changes the pace slightly from the majority of songs so far, and then explodes into a very, very cool swinging prog riff with some bonus shredding at the end. This is easily my favorite instrumental passage so far on the record! We get another slightly subdued verse to make room for Tom's voice and it's solid (but still too wordy). Vocally, this one carries over nicely into the pre-chorus. The low chanting chorus is so very bizarre. It's kind of cool, but it's definitely odd as hell. Nice to hear Tom letting loose over the backing vocals, though. We get a short solo, a bit of a different verse with Tom literally screaming before a very proggy section with some electric organ punches. I wish they had developed this bridge more before returning to the chorus, but oh well. Unfortunately the extended chorus just absolutely murders the song. What's the deal with the ludicrous ending chorus repetitions on this album? Blarg. A wasted opportunity. 6/10
Madness Caught Another Victim
Ah, acoustics! Interesting. This one starts promising, with Tom really giving space for his vocals but, as usual, it quickly becomes too wordy. Lyrics ruin what could have been a pretty powerful interlude-ish track. I really, truly want Tom to knock one of these songs out of the park. Come on, Tom! He really needs a producer to work with him on melody phrasing. 5/10
Your Darkest Hour
The phaser on the intro sounds like a demo, but things get better once the full band kicks in. I find the transition into the verse to be incredibly jarring. Guys, I don't know. This album just isn't for me, I think. The chorus is once again very awkward. The melody is fine, but the lyrics are so boring and odd. I do really enjoy the swirling keyboard throughout, though. Choosing to stop the momentum multiple times within the same song for piano interludes is strange. It's a cool dynamic, but I'm not sure if it's warranted. The second piano bridge becomes a spotlight for Carina to warble indistinctly in the background and I am once again wishing she sang a lot more...and I am once again wishing they did not return to the chorus...and I am once again wishing they didn't fade out on the same riff over and over again. Another meh. 6/10 (mostly for Carina)
Unforgivable
The sludgy riff that propels this tune is another nice change of pace. It's got a very cool tone to it and it's nice to hear both guitars complimenting each other. Another quiet verse, another verbose one, but it works alright here. I like that Tom gets very passionate on the line "we're only bringers of sorrow" but the instrumental waits another beat before getting heavy during the chorus. It's a simple chorus, but it works. The second verse is basically a cappella, and that's kinda cool. This is their best attempt at the "quiet verse, loud chorus" template so far on this album, and yes, that's very much in part due to Carina's appearance in the "holy water" section before the second chorus. Easily the coolest vocal on the album. We get another piano interlude before...no, wait, that's the end of the song? There's no solo? No bridge? What the fuck? They should have cut 2 minutes from the previous song and added them here. Still, this is the third best song on the album. 8/10
Album Ratings
Recreation Day - 6.4/10
In Search of Truth - 8/10
Solitude, Dominance, Tragedy - 7.3/10
The Dark Discovery - 5.5/10
I'm making a playlist of all my favorite tracks from these albums (essentially anything I rate an 8-10/10).
Playlist Additions
Recreation Day - 3 songs
In Search of Truth - 6 songs
Solitude, Dominance, Tragedy - 5 songs
The Dark Discovery - 1 song
MrKnickerbocker
clap hands
I just realized this is the first album without any spoken vocal FX/samples!
MindRuler
Ancient Mariner
MindRuler
Ancient Mariner
Looking forward to it!I'll be traveling later so I'll probably listen to The Inner Circle (spoiler: one of my favorite albums) and post the review tonight
MindRuler
Ancient Mariner
@MrKnickerbocker Nightprowlered me! 
MrKnickerbocker
clap hands
THE INNER CIRCLE
The production is thankfully much, much cleaner this time around! It's far too crisp, actually. I have to turn the treble way down when listening because it's too sharp. Anyway, I'm happy to report that Tom's vocals are more confident than ever here! It seems like he's finally employing a bit of self-editing and the melodies are generally more stable across the board. One major complaint, of course, is the insane amount of vocal samples. I know this is a concept album and I think most are pretty decently incorporated here, but I still find their inclusion incredibly taxing. I'd rather have vocals or just straight instrumentals that capture the mood of what those spoken bits are trying to achieve.
A Touch of Blessing
A mournful clean guitar motif fades in, letting us know we're in for a more subdued affair than the previous album. Tom's sorrowful voice cuts in with a nice, thoughtful melody. I love the way it subtly builds to the heavy part. Tom sounds incredibly confident here. I think his voice has finally started to come into its own. The lead guitar break before the first chorus is nice and, yes, what a chorus it! Thanks, Carina! This tune is truly magnificent. The solos are great and the small riff changes in the bridge are nice. I love the vocal variations that Tom employs during the final chorus and that outro riff is very nice. I don't know if it's my favorite song they've written so far, but I do think it is possibly their most well composed song yet. 10/10
Ambassador
The heavy intro riffs return! A nice interplay with a swirly keyboard before the first verse, too. The lower vocals here are dumb. They don't sound good in either the verse layer or the pre-chorus. The chorus is clunky, but damn that main keyboard part is great. I really enjoy the classical-sounding musical part before the second chorus. Thankfully, the vocal samples are brief and don't detract from the song. The first solo is fine but the bridge that follows is incredible! From the heaviness to the synth layers to the second solo - all very cool. Tom also sounds great throughout, I just wish the chorus were better. 8/10
In The Wake of The Weary
A nice chordal heavy riff kicks this one off and I love the way the drums just pummel away under the verse instead of dropping down. It's a really cool dynamic and it really makes the half-time, "ahh ahh" section after the chorus (?) stand out. Tom sounds fantastic here. And so does Carina! Yay, more Carina! It's really nice to hear her get a solo lead section. Honestly, I'll say it again: I wish they were a dual vocalist band. The movement on this song is just infectious and all of the transitions are pretty perfectly placed. Whenever it hits the "your angels are calling" I start nodding my head and making stank face. The proggy bit before the (unnecessary) spoken word sample is super cool and we've got another awesome bridge to swoon over, with killer riffing, soloing, and a string spotlight! This is a great song. 10/10
Harmless Wishes
Chunky, djenty riffs and a bit of keyboard before Drama Tom appears for a subdued verse. His phrasing is light years better than before and he allows the lyrics some room to breathe throughout the verse. The chorus is kind of awkward but also kind of awesome, with the dramatic synth break at the end and the choir really elevating it. Tom is hitting his vocal stride here. I think the piano-led chorus is a bit pointless, honestly. Tom sounds silly. But the buildup into the solo is nice. The second half of the song loses some steam, but I always welcome more Carina. 9/10
Waking Up Blind
Incredibly quiet electric piano chords leave all the space for Tom to warble out the albums first ballad. I actually like the intro, but once the whole band kicks in there is an overwhelming smell of cheese that I simply cannot overlook. And the cheese is covering up a lot of corn. It feels like a what a Scandinavian metal band thinks an R&B slow jam should sound like. By the time the backing line of "unfaithful" is whispered over the sexy boom-bap, I truly can't tell if this is supposed to be a joke or not (spoiler: it really isn't). Possibly one of their worst songs yet. The guitar solo at the end is truly very nice, though. Beautiful Satch-like phrasing. 3/10
More Than Ever
Luckily the ballad goes away quickly and the chunky riffs return! The intro riff here won't win any awards, but it's serviceable and it sets up the staccato verse nicely. The verse lines are a bit awkward, but they also work. The chorus is a bit stock but it's also quite catchy (thanks, Carina!). I love the little riff additions before/after the choruses, too. Once again, we're back to the bridges just being fantastic! I really missed that on the last couple albums. Killer riffing, nice solo, smooth transition back to the chorus - it's all pretty gravy here. I like this song more and more as it goes, which is always nice. A very cool neoclassical outro, too! I was gonna give this a 9/10, but I think the outro earns it another 10/10.
The Essence of Conviction
Swirling keyboards once again lull us in before the heavy guitars crush through. Some basic riffing here, but the keyboard layers add a lot. I really enjoy the contrast of the soft piano over the pummeling verse riff. The chorus is a stinker, though, and Tom falls back into his old habits of overwrought lyrics in the second verse...which are then unfortunately followed by an elongated spoken word preacher bit. Tom sounds really good belting "You lied to me!" and the mournful guitar solo/unison are very nice, but I could really do without literally the entire outro. It's repetitive as hell and...yeah, I don't ever, ever want to hear a crying baby in my music. Fucking awful. 6/10
Where All Good Sleep
Synths, bass and drums are joined by some chordal riffing again for this slightly gothic, mid-tempo tune. I don't know what to make of the vocals in this one. The chorus is anthemic but not super catchy, the verses are powerful but fall short of greatness. The guitar lead before the second chorus is cool, though. A nice proggy beat shift around the halfway point makes me far more interested! The tonality here is very interesting and menacing, with Tom getting a little spooky before the heavy riffs return and Carina appears to be good once again. Unfortunately we then just go back to the chorus for another minute...which is meh. Not bad, not great. 7/10
Faith Restored
Ah. Unfortunately another sappy ballad. This one is a bit better, with some nice melodic vocal phrasing and some well-placed Carina backing vocals. When Tom sings "heal me, relieve me" his control is incredibly impressive. It's like he's belting in a breathy tone - which is not easy to do. Some of the backing vocals feel like church choir, which of course suits the material rather well. The spoken word bit is an intrusion, but it's not terrible here. This is their most successful ballad yet. 8/10
When The Walls Go Down
The album concludes with a nearly 6-minute instrumental accompanied with rampant vocal samples. It's very, very dramatic and sometimes works, but I can't say I would ever listen to this song actively. The music is very nice and I'd prefer to hear it in a simplified form (probably trimming some sections) and obviously without the dramatic monologue. The riff at 4:25 is worth the price of admission, but it's still a weird ending to the album. 6/10
Album Ratings
The Inner Circle - 7.7/10
Recreation Day - 6.4/10
In Search of Truth - 8/10
Solitude, Dominance, Tragedy - 7.3/10
The Dark Discovery - 5.5/10
I'm making a playlist of all my favorite tracks from these albums (essentially anything I rate an 8-10/10).
Playlist Additions
The Inner Circle - 6 songs
Recreation Day - 3 songs
In Search of Truth - 6 songs
Solitude, Dominance, Tragedy - 5 songs
The Dark Discovery - 1 song
The production is thankfully much, much cleaner this time around! It's far too crisp, actually. I have to turn the treble way down when listening because it's too sharp. Anyway, I'm happy to report that Tom's vocals are more confident than ever here! It seems like he's finally employing a bit of self-editing and the melodies are generally more stable across the board. One major complaint, of course, is the insane amount of vocal samples. I know this is a concept album and I think most are pretty decently incorporated here, but I still find their inclusion incredibly taxing. I'd rather have vocals or just straight instrumentals that capture the mood of what those spoken bits are trying to achieve.
A Touch of Blessing
A mournful clean guitar motif fades in, letting us know we're in for a more subdued affair than the previous album. Tom's sorrowful voice cuts in with a nice, thoughtful melody. I love the way it subtly builds to the heavy part. Tom sounds incredibly confident here. I think his voice has finally started to come into its own. The lead guitar break before the first chorus is nice and, yes, what a chorus it! Thanks, Carina! This tune is truly magnificent. The solos are great and the small riff changes in the bridge are nice. I love the vocal variations that Tom employs during the final chorus and that outro riff is very nice. I don't know if it's my favorite song they've written so far, but I do think it is possibly their most well composed song yet. 10/10
Ambassador
The heavy intro riffs return! A nice interplay with a swirly keyboard before the first verse, too. The lower vocals here are dumb. They don't sound good in either the verse layer or the pre-chorus. The chorus is clunky, but damn that main keyboard part is great. I really enjoy the classical-sounding musical part before the second chorus. Thankfully, the vocal samples are brief and don't detract from the song. The first solo is fine but the bridge that follows is incredible! From the heaviness to the synth layers to the second solo - all very cool. Tom also sounds great throughout, I just wish the chorus were better. 8/10
In The Wake of The Weary
A nice chordal heavy riff kicks this one off and I love the way the drums just pummel away under the verse instead of dropping down. It's a really cool dynamic and it really makes the half-time, "ahh ahh" section after the chorus (?) stand out. Tom sounds fantastic here. And so does Carina! Yay, more Carina! It's really nice to hear her get a solo lead section. Honestly, I'll say it again: I wish they were a dual vocalist band. The movement on this song is just infectious and all of the transitions are pretty perfectly placed. Whenever it hits the "your angels are calling" I start nodding my head and making stank face. The proggy bit before the (unnecessary) spoken word sample is super cool and we've got another awesome bridge to swoon over, with killer riffing, soloing, and a string spotlight! This is a great song. 10/10
Harmless Wishes
Chunky, djenty riffs and a bit of keyboard before Drama Tom appears for a subdued verse. His phrasing is light years better than before and he allows the lyrics some room to breathe throughout the verse. The chorus is kind of awkward but also kind of awesome, with the dramatic synth break at the end and the choir really elevating it. Tom is hitting his vocal stride here. I think the piano-led chorus is a bit pointless, honestly. Tom sounds silly. But the buildup into the solo is nice. The second half of the song loses some steam, but I always welcome more Carina. 9/10
Waking Up Blind
Incredibly quiet electric piano chords leave all the space for Tom to warble out the albums first ballad. I actually like the intro, but once the whole band kicks in there is an overwhelming smell of cheese that I simply cannot overlook. And the cheese is covering up a lot of corn. It feels like a what a Scandinavian metal band thinks an R&B slow jam should sound like. By the time the backing line of "unfaithful" is whispered over the sexy boom-bap, I truly can't tell if this is supposed to be a joke or not (spoiler: it really isn't). Possibly one of their worst songs yet. The guitar solo at the end is truly very nice, though. Beautiful Satch-like phrasing. 3/10
More Than Ever
Luckily the ballad goes away quickly and the chunky riffs return! The intro riff here won't win any awards, but it's serviceable and it sets up the staccato verse nicely. The verse lines are a bit awkward, but they also work. The chorus is a bit stock but it's also quite catchy (thanks, Carina!). I love the little riff additions before/after the choruses, too. Once again, we're back to the bridges just being fantastic! I really missed that on the last couple albums. Killer riffing, nice solo, smooth transition back to the chorus - it's all pretty gravy here. I like this song more and more as it goes, which is always nice. A very cool neoclassical outro, too! I was gonna give this a 9/10, but I think the outro earns it another 10/10.
The Essence of Conviction
Swirling keyboards once again lull us in before the heavy guitars crush through. Some basic riffing here, but the keyboard layers add a lot. I really enjoy the contrast of the soft piano over the pummeling verse riff. The chorus is a stinker, though, and Tom falls back into his old habits of overwrought lyrics in the second verse...which are then unfortunately followed by an elongated spoken word preacher bit. Tom sounds really good belting "You lied to me!" and the mournful guitar solo/unison are very nice, but I could really do without literally the entire outro. It's repetitive as hell and...yeah, I don't ever, ever want to hear a crying baby in my music. Fucking awful. 6/10
Where All Good Sleep
Synths, bass and drums are joined by some chordal riffing again for this slightly gothic, mid-tempo tune. I don't know what to make of the vocals in this one. The chorus is anthemic but not super catchy, the verses are powerful but fall short of greatness. The guitar lead before the second chorus is cool, though. A nice proggy beat shift around the halfway point makes me far more interested! The tonality here is very interesting and menacing, with Tom getting a little spooky before the heavy riffs return and Carina appears to be good once again. Unfortunately we then just go back to the chorus for another minute...which is meh. Not bad, not great. 7/10
Faith Restored
Ah. Unfortunately another sappy ballad. This one is a bit better, with some nice melodic vocal phrasing and some well-placed Carina backing vocals. When Tom sings "heal me, relieve me" his control is incredibly impressive. It's like he's belting in a breathy tone - which is not easy to do. Some of the backing vocals feel like church choir, which of course suits the material rather well. The spoken word bit is an intrusion, but it's not terrible here. This is their most successful ballad yet. 8/10
When The Walls Go Down
The album concludes with a nearly 6-minute instrumental accompanied with rampant vocal samples. It's very, very dramatic and sometimes works, but I can't say I would ever listen to this song actively. The music is very nice and I'd prefer to hear it in a simplified form (probably trimming some sections) and obviously without the dramatic monologue. The riff at 4:25 is worth the price of admission, but it's still a weird ending to the album. 6/10
Album Ratings
The Inner Circle - 7.7/10
Recreation Day - 6.4/10
In Search of Truth - 8/10
Solitude, Dominance, Tragedy - 7.3/10
The Dark Discovery - 5.5/10
I'm making a playlist of all my favorite tracks from these albums (essentially anything I rate an 8-10/10).
Playlist Additions
The Inner Circle - 6 songs
Recreation Day - 3 songs
In Search of Truth - 6 songs
Solitude, Dominance, Tragedy - 5 songs
The Dark Discovery - 1 song
Vaenyr
Ancient Mariner
The Inner Circle
As much as I enjoyed Recreation Day, this album is an improvement on almost every single metric. The album cover, while nothing spectacular, doesn't feature a crying toddler and the cold white/dark blue aesthetic fits with the overall atmosphere of the album. The production is leagues ahead, though I'm not the biggest fan of the drum sound this time around. Tom delivers some of his most powerful performances of his career here. The backing vocals really help sell the anthemic feel and vibes of many of the choruses. We even get some guest musicians playing live strings on a couple of songs.
Thematically the entire record revolves around the abuse of children in the (catholic?) church, a topic first encountered on Unforgivable, the closing track of the previous album. The samples and spoken word sections return once again, but I feel they truly enhance the material this time around. Well, maybe not the one with the crying baby lol, but more on that later.
A Touch Of Blessing
One of their classics, one of my favorites, the second Evergrey song I ever heard. Love how Tom sounds in the intro and even more once he switches to his higher register. This album probably features my favorite performances by him.
The brief lead guitar interlude right before the chorus is reminiscent of a similar section in Solitude Within. The chorus is a highlight, featuring Carina (who'll be heard prominently on multiple songs) and really like how the first chorus stops abruptly.
We also get a bit of variety in tempo and dynamics, as well as a lengthy solo section. Thankfully they seem to have learned from their "repeat the chorus riff for more than a minute and fade out" style of writing on the previous album. Instead, we get a unique riff after the final chorus to end the song on a high note. Easy 10/10.
Ambassador
Time for a somewhat unorthodox Evergrey song. We get a distorted vocal sample before being pummeled by syncompated staccato guitars and drums, before a synth lead is added to the mix. The verse tries out a few new things and we even get guest vocals? A choir? Not exactly sure, but it is interesting. The chorus is the big departure though: A bunch of Evergrey songs dabble with phrygian in the verses or instrumental sections, only for the chorus to return to more melodic writing in standard minor keys. This one dials down the aggressio of the riff a bit by slowing the tempo, but we actually get a chorus in phrygian. Neat!
Between the second verse and chorus we get a brief section where we hear the string quartet for the first time. They are generally implemented well throughout the album and they'll get a chance to shine in a minute. The prog elements are back, though not as extensive as on the third album. We get one pretty cool solo before moving on to one of the coolest moments on the record. The bass drums, the palm muted guitars and the string quartet never let up with a constant barrage of 16th notes. After that we get another solo before returning to the chorus and a proper end to the song. Yeah, you'd think writing an ending wouldn't require being pointed out, but after the previous album it's somewhat necessary. Tom ends the song with a scream, though that's not something that we'll hear often. A fantastic song but not quite as catchy as most other tracks on the album, so I'll go with an 8/10.
In The Wake Of The Weary
We continue with a high tempo but also very melodic song. There are moments of reprieve here and there, like the short interlude right after the chorus with almost gospel-y backing vocals. Carina gets a proper lead vocal section (in addition to her backing vocal duties) before a guitar solo brings us back to the chorus.
After the second chorus we get some really cool instrumental parts. The distorted samples of an angry priest are a perfect fit and I love how his recordings are used. The phrasing at the end of the sample flows into an awesome 12/8 section and I'm glad this album doesn't shy away from having a few unique riffs during the instrumental sections, instead of being overly formulaic. Another short guitar solo and then we get the string quartet again. Their inclusion never feels ham-fisted and I like how it enhances the overall sound. The drum fill that returns us to the chorus feels quite amateurish though.
Carina returns for the final chorus with a performance that never fails to give me goosebumps. Tom is really going for it in the outro as well. Phenomenal song, 9/10.
Harmless Wishes
Gotta get one of my petty criticisms out of the way early: The way the vocals are produced during the verse make Tom's little gasps for air before every line very apparent and veeery annoying. It's a shame, because the music and melodies are great. I really like the use of clean guitars, as well as how they sound. Thankfully we have the live version that we can listen to instead.
The string quartet is used again for the post-chorus part. They probably thought "we've already hired them, better usem the extensively" lol.
The lyrics in the second verse take a very dark turn, but looking at the overall theme of the record it was inevitable. We get an almost jazzy piano interlude before moving on to a guitar solo section. We get a few variations on previous riffs and ideas for the ending of the song. Comparing this album to Recreation Day really makes the latter seem as if it was rushed and unfinished. Anyway, don't wanna ramble too much, another 8/10.
Waking Up Blind
Gotta admit, this one doesn't do much for me. I usually end up skipping this one, unless I listen to the entire album. There are some cool parts. I like the little electric guitar licks here and there. The harmonized lead acoustic guitars heard during the chorus are beatiful. The vocal melodies are pretty nice for the most part as well. It's not a bad song; it's simply unexciting, so I end up looking forward to it ending so I can move on to the next track. Also, boo at this of all songs fading out! Best I can give this one is a 4/10.
More Than Ever
This is much more up my alley. The intro riff is fantastic! The way it moves from the minor second to the major second and back somehow works really well (Bruce tried the same thing in Resurrection Men, but I hated it there). We even get Gojira-esque natural harmonic scrapes over all strings at points. Really fun.
The verse builds this oppressive atmosphere, really digging into the phrygian feel, which will fall away for the chorus (so, the opposite to Ambassador). The chorus is simple, but catchy. Gives me a bit of power metal vibes.
After the second verse we get a couple of proggy riffs. That's the musicianship I was missing on the previous album! We also get a duo of guitar solos, to really appreciate Henrik's and Tom's playing styles. This song is perfect for concerts but the studio version doesn't disappoint either. I like how we return to a variation of the proggy riff towards the end. Perfect return to form, if you will, with a strong 8/10.
The Essence Of Conviction
Another one of my favorites. We get a couple of riffs that are only heard in the beginning of the song and we finally get some odd-time fuckery as well. Really enjoy the 7/4 chorus riff in particular. Tom really gives it his all in this song, the aggression in his voices really lets this song shine.
The guitar work is as stellar as ever, with the instrumental section (+ samples) after the second verse being one of my favorites moments on the album. You have these lovely harmonized guitars, while the priest is preaching about having to sacrifice a newborn child in the name of God. Chilling stuff, if you consider that shit like that is actually happening somewhere out there.
The only real blemish is the end. It falls into the Recreation Day trap where the final part is repeated for ages. There's no reason to fade out and the crying baby samples are a tiny bit much as well. That shortcoming is fixed on the live version though! There's a super cool moment where all instruments drop away, to leave Tom and the backing vocalists (including Carina) to have a moment of a cappella fun.
Anyway, despite the couple of little criticisms a clear 10/10 for me.
Where All Good Sleep
And another one of my favorites. Fun fact: The name of my band, Into Denial, was taken from the chorus of this song!
I adore everything about it. The moody intro giving way to the chorus riff with the lead synth. Tom's vocals in the verse and the theremin-like synths. The way the backing vocals turn the chorus into a power metal anthem. The quieter interlude prior to the second chorus. The way the atmosphere of the song completely changes after the second chorus. The way Carina sings "Hide!" and "Run!" and how the latter is slightly delayed. The way Tom goes all out in the outro of the song. And how the song ends abruptly to flow directly into the next song. 10/10.
Faith Restored
The streak of fantastic songs continues, this time with a ballad though. I was already in love with Madness Caught Another Victim, but this one is even better. It rectifies the mistakes of Waking Up Blind, which felt like it was a single idea stretched into a whole song. Here we have plenty of variety, even some fun with the time signatures for a bit and we also get some fitting vocal samples. For the outro we get some vocal layers and the string quartet returns once again.
The guitars in the chorus are gorgeous and Tom sound so great throughout the track. Third 10/10 in a row.
When The Walls Come Down
The final track is a semi-instrumental, with the only vocals being the samples of the priest essentially having a mental breakdown and losing his mind. The string quartet plays a dominant role throughout the song's first half. The atmosphere is dark and oppressive. It's a song that I have to be in the right mood to enjoy, but when it hits it hits hard. It's the perfect way to end this album. We even get a bit of odd-time fun towars the end, changing from 7/8 to 4/4, which is a pretty cool effect. Kinda difficult scoring this one, but I think I'll go with a 7/10. It is amazing in the context of the album, but as a singular track it's lacking a bit.
My current ranking of Evergrey songs:
1. Solitude Within
2. The Essence Of Conviction
3. Where All Good Sleep
4. Mark Of The Triangle
5. As I Lie Here Bleeding
6. A Touch Of Blessing
7. When Darkness Falls
8. Faith Restored
9. The Encounter
10. Madness Caught Another Victim
Major shake-up in my top 10 and probably the single largest for the foreseeable future. The next album will see their style change a bit, but there are still some songs I adore on there. Curious to see the opinions on that one!
I will probably write a short review on the live album A Night To Remember next. I'll mention any cool differences and oddities compared to the studio version, but I won't go in depth and score the songs or anything.
As much as I enjoyed Recreation Day, this album is an improvement on almost every single metric. The album cover, while nothing spectacular, doesn't feature a crying toddler and the cold white/dark blue aesthetic fits with the overall atmosphere of the album. The production is leagues ahead, though I'm not the biggest fan of the drum sound this time around. Tom delivers some of his most powerful performances of his career here. The backing vocals really help sell the anthemic feel and vibes of many of the choruses. We even get some guest musicians playing live strings on a couple of songs.
Thematically the entire record revolves around the abuse of children in the (catholic?) church, a topic first encountered on Unforgivable, the closing track of the previous album. The samples and spoken word sections return once again, but I feel they truly enhance the material this time around. Well, maybe not the one with the crying baby lol, but more on that later.
A Touch Of Blessing
One of their classics, one of my favorites, the second Evergrey song I ever heard. Love how Tom sounds in the intro and even more once he switches to his higher register. This album probably features my favorite performances by him.
The brief lead guitar interlude right before the chorus is reminiscent of a similar section in Solitude Within. The chorus is a highlight, featuring Carina (who'll be heard prominently on multiple songs) and really like how the first chorus stops abruptly.
We also get a bit of variety in tempo and dynamics, as well as a lengthy solo section. Thankfully they seem to have learned from their "repeat the chorus riff for more than a minute and fade out" style of writing on the previous album. Instead, we get a unique riff after the final chorus to end the song on a high note. Easy 10/10.
Ambassador
Time for a somewhat unorthodox Evergrey song. We get a distorted vocal sample before being pummeled by syncompated staccato guitars and drums, before a synth lead is added to the mix. The verse tries out a few new things and we even get guest vocals? A choir? Not exactly sure, but it is interesting. The chorus is the big departure though: A bunch of Evergrey songs dabble with phrygian in the verses or instrumental sections, only for the chorus to return to more melodic writing in standard minor keys. This one dials down the aggressio of the riff a bit by slowing the tempo, but we actually get a chorus in phrygian. Neat!
Between the second verse and chorus we get a brief section where we hear the string quartet for the first time. They are generally implemented well throughout the album and they'll get a chance to shine in a minute. The prog elements are back, though not as extensive as on the third album. We get one pretty cool solo before moving on to one of the coolest moments on the record. The bass drums, the palm muted guitars and the string quartet never let up with a constant barrage of 16th notes. After that we get another solo before returning to the chorus and a proper end to the song. Yeah, you'd think writing an ending wouldn't require being pointed out, but after the previous album it's somewhat necessary. Tom ends the song with a scream, though that's not something that we'll hear often. A fantastic song but not quite as catchy as most other tracks on the album, so I'll go with an 8/10.
In The Wake Of The Weary
We continue with a high tempo but also very melodic song. There are moments of reprieve here and there, like the short interlude right after the chorus with almost gospel-y backing vocals. Carina gets a proper lead vocal section (in addition to her backing vocal duties) before a guitar solo brings us back to the chorus.
After the second chorus we get some really cool instrumental parts. The distorted samples of an angry priest are a perfect fit and I love how his recordings are used. The phrasing at the end of the sample flows into an awesome 12/8 section and I'm glad this album doesn't shy away from having a few unique riffs during the instrumental sections, instead of being overly formulaic. Another short guitar solo and then we get the string quartet again. Their inclusion never feels ham-fisted and I like how it enhances the overall sound. The drum fill that returns us to the chorus feels quite amateurish though.
Carina returns for the final chorus with a performance that never fails to give me goosebumps. Tom is really going for it in the outro as well. Phenomenal song, 9/10.
Harmless Wishes
Gotta get one of my petty criticisms out of the way early: The way the vocals are produced during the verse make Tom's little gasps for air before every line very apparent and veeery annoying. It's a shame, because the music and melodies are great. I really like the use of clean guitars, as well as how they sound. Thankfully we have the live version that we can listen to instead.
The string quartet is used again for the post-chorus part. They probably thought "we've already hired them, better usem the extensively" lol.
The lyrics in the second verse take a very dark turn, but looking at the overall theme of the record it was inevitable. We get an almost jazzy piano interlude before moving on to a guitar solo section. We get a few variations on previous riffs and ideas for the ending of the song. Comparing this album to Recreation Day really makes the latter seem as if it was rushed and unfinished. Anyway, don't wanna ramble too much, another 8/10.
Waking Up Blind
Gotta admit, this one doesn't do much for me. I usually end up skipping this one, unless I listen to the entire album. There are some cool parts. I like the little electric guitar licks here and there. The harmonized lead acoustic guitars heard during the chorus are beatiful. The vocal melodies are pretty nice for the most part as well. It's not a bad song; it's simply unexciting, so I end up looking forward to it ending so I can move on to the next track. Also, boo at this of all songs fading out! Best I can give this one is a 4/10.
More Than Ever
This is much more up my alley. The intro riff is fantastic! The way it moves from the minor second to the major second and back somehow works really well (Bruce tried the same thing in Resurrection Men, but I hated it there). We even get Gojira-esque natural harmonic scrapes over all strings at points. Really fun.
The verse builds this oppressive atmosphere, really digging into the phrygian feel, which will fall away for the chorus (so, the opposite to Ambassador). The chorus is simple, but catchy. Gives me a bit of power metal vibes.
After the second verse we get a couple of proggy riffs. That's the musicianship I was missing on the previous album! We also get a duo of guitar solos, to really appreciate Henrik's and Tom's playing styles. This song is perfect for concerts but the studio version doesn't disappoint either. I like how we return to a variation of the proggy riff towards the end. Perfect return to form, if you will, with a strong 8/10.
The Essence Of Conviction
Another one of my favorites. We get a couple of riffs that are only heard in the beginning of the song and we finally get some odd-time fuckery as well. Really enjoy the 7/4 chorus riff in particular. Tom really gives it his all in this song, the aggression in his voices really lets this song shine.
The guitar work is as stellar as ever, with the instrumental section (+ samples) after the second verse being one of my favorites moments on the album. You have these lovely harmonized guitars, while the priest is preaching about having to sacrifice a newborn child in the name of God. Chilling stuff, if you consider that shit like that is actually happening somewhere out there.
The only real blemish is the end. It falls into the Recreation Day trap where the final part is repeated for ages. There's no reason to fade out and the crying baby samples are a tiny bit much as well. That shortcoming is fixed on the live version though! There's a super cool moment where all instruments drop away, to leave Tom and the backing vocalists (including Carina) to have a moment of a cappella fun.
Anyway, despite the couple of little criticisms a clear 10/10 for me.
Where All Good Sleep
And another one of my favorites. Fun fact: The name of my band, Into Denial, was taken from the chorus of this song!
I adore everything about it. The moody intro giving way to the chorus riff with the lead synth. Tom's vocals in the verse and the theremin-like synths. The way the backing vocals turn the chorus into a power metal anthem. The quieter interlude prior to the second chorus. The way the atmosphere of the song completely changes after the second chorus. The way Carina sings "Hide!" and "Run!" and how the latter is slightly delayed. The way Tom goes all out in the outro of the song. And how the song ends abruptly to flow directly into the next song. 10/10.
Faith Restored
The streak of fantastic songs continues, this time with a ballad though. I was already in love with Madness Caught Another Victim, but this one is even better. It rectifies the mistakes of Waking Up Blind, which felt like it was a single idea stretched into a whole song. Here we have plenty of variety, even some fun with the time signatures for a bit and we also get some fitting vocal samples. For the outro we get some vocal layers and the string quartet returns once again.
The guitars in the chorus are gorgeous and Tom sound so great throughout the track. Third 10/10 in a row.
When The Walls Come Down
The final track is a semi-instrumental, with the only vocals being the samples of the priest essentially having a mental breakdown and losing his mind. The string quartet plays a dominant role throughout the song's first half. The atmosphere is dark and oppressive. It's a song that I have to be in the right mood to enjoy, but when it hits it hits hard. It's the perfect way to end this album. We even get a bit of odd-time fun towars the end, changing from 7/8 to 4/4, which is a pretty cool effect. Kinda difficult scoring this one, but I think I'll go with a 7/10. It is amazing in the context of the album, but as a singular track it's lacking a bit.
My current ranking of Evergrey songs:
1. Solitude Within
2. The Essence Of Conviction
3. Where All Good Sleep
4. Mark Of The Triangle
5. As I Lie Here Bleeding
6. A Touch Of Blessing
7. When Darkness Falls
8. Faith Restored
9. The Encounter
10. Madness Caught Another Victim
Major shake-up in my top 10 and probably the single largest for the foreseeable future. The next album will see their style change a bit, but there are still some songs I adore on there. Curious to see the opinions on that one!
I will probably write a short review on the live album A Night To Remember next. I'll mention any cool differences and oddities compared to the studio version, but I won't go in depth and score the songs or anything.
Vaenyr
Ancient Mariner
I'll go through my rankings when I'm done with all reviews and might adjust a song here and there, which could lead to the rankings changing a bit. I think if we were to include the top 20 there would be more songs shared between the two lists.
On the other hand it's always fun seeing how different songs resonate with different people
On the other hand it's always fun seeing how different songs resonate with different people