Formed almost thirty years ago in Gothenburg, Evergrey are now veterans of the rock and metal scene. During the past three decades, they have maintained a core sound defined by Tom Englund’s emotive vocals and their atmospheric blend of guitars and keyboards, even when they have explored different facets of metal and progressive rock. Their willingness to evolve, while staying true to their roots, has allowed them to remain a significant force. “For us, progression is paramount,” states Tom S. Englund when discussing their new eleven-track opus, Theories of Emptiness. “We're dedicated to ensuring that our music remains innovative and avoids stagnation. With each album, we strive to introduce something new — a unique flavour, a different key or chord, fresh voices in our writing, or innovative production techniques. In fact, no stone has been left unturned.”
From the first track Falling From The Sun, it is clear that Evergrey have found an enchanting balance between melody, progressive metal influences and innovative rhythmic structures. Beginning with rapid-fire drumming from Jonas Ekdahl (who has now left the band) and a heavier, almost staccato guitar riff, the album starts with controlled power. The chorus is irresistibly melodic, lush and memorable as Rikard Zander’s keyboards sparkle and cascade with the feel of a crystal-clear waterfall. Englund’s voice is both powerful and vulnerable during the dynamic changes the track offers as he delivers the words depicting a struggle between hope and despair. Initially, there is a sense of lost idealism but the lyrics go on to encourage perseverance and spirit. So, you keep stretching / Just reach for something / Can’t let these waves prevent you from moving / The time will come, our sun will rise again / We need to keep out the cold to keep on dreaming. As a track to lure the listener in, it performs its task wonderfully.
Second track Misfortune offers a slightly different timbre and while there is no shortage of sumptuous harmony, there is harder edge to the riffs and Englund’s vocal textures. Throughout the album, the guitar solos are gracefully co-ordinated to serve the song and not merely as instrumental embellishment. The defiant chorus will no doubt become a moment for audience participation in the live arena. Misfortune be gone! / Oh oh oh oh, oh oh oh / We won!
In complete contrast, To Become Somone else is a broodingly, analytical depiction of an individual’s internal struggle, transformation and longing for personal rebirth and the end of difficult phase in life. Let the blood flow the streets where I’m walking / I will drink from your soul/ Let me show you the demons I’m breeding / I’ll come down like a storm. There is a yearning for true understanding in Englund’s tormented words and his vocals are among the most anguished to be found on Theories of Emptiness. An exquisite, quieter central section strips away the guitars and drums, leaving swirling synths and an insistent piano motif that mirrors the contemplative introspection of the protagonist. When the rest of the band rejoin, these soundscapes continue alongside crunching guitar riffs to create a resplendent and skilfully arranged conclusion to the track.
Say, one of the two songs already released from Theories of Emptiness, is a superb example of the album’s admirable equilibrium between melody and strength. Ekdahl’s backing piano during the choruses add an epic feel and the hurricanic guitar solo is a masterclass in sonorous power. Ghost of My Hero brings the tempo down and finds Englund opening his heart as it bleeds with loss. There is a gut-wrenching struggle between wanting to move on and the fear of forgetting. This is what’s left of me I’m not gonna hide it / You’re still much a part of me and I won’t fight it / And all that I’m left with here is this violence This is what’s left of me / I’m going silent. As the song grows, glorious orchestral embellishments add to the tangible melancholy and pathos. In the hands of lesser bands, the track could have become overly sentimental but Evergrey manage the required balance proficiently.
We Are The North brings the band back to the euphoniously verdant realms of the forceful but harmonic tracks that began the album. One Heart, which – physically at least - will only feature on one version of the vinyl release of the album, is possibly the most generic song here. Live, this song is sure to become a favourite. A defiant call to arms featuring fans voices, it gives some – albeit inessential – respite from the more complex songs around it.
Much of the album deals with the theme of loss and isolation. The Night Within - which suggests a journey from self-alienation to self-discovery - urges the listener to move beyond their inner turmoil and embrace a sense of purpose. Let me be the start of the end of your hurting / Let me share your dark / I have also been where the dark feels never-ending / You need to leave the night, let darkness fall / Be the light that leaves the night within. Among the undulating keyboards and the driving guitar of Englund and Henrik Denhage, there is an inherent optimism to the track that makes us want to search for the sense of resilience that lurks within us all.
Cold Dreams – the longest song on the album at almost seven minutes - features vocal contributions from Jonas Renske of Katatonia and Tom’s daughter Salina. While most of the songs on the album feature differently formulated sections, this length allows the band the opportunity to experiment on the most sonically diverse track on the album. From swelling, grandiose synth driven moments, a combination of clean, ethereal and growling vocals, soaring guitar solos and moments of dynamic bass work from Johann Niemann, Cold Dreams is adventurous, epic and utterly captivating. Our Way Through Space continues the theme of displacement, loneliness and the struggle to find’s one place in the world but does so through the use of lyrics that inspire us to combat the emptiness with change, stunningly breathtaking, celestial melody, and a spine-tingling guitar solo that threatens to reach beyond the stratosphere. Ending with the two-minute piano led spoken word title track examining the meaning of emptiness, Evergrey give the listener the chance to reflect on everything that has transpired during the album.
With Theories of Emptiness, Evergrey has more than delivered on Tom Englund’s promise to avoid stagnation. It is, without doubt, worthy of a place amongst the very best of their albums. Melodically pleasing but with enough lyrical and musical depth to stand up to repeated listens, Theories of Emptiness is an entrancingly opulent but hauntingly exquisite listen.
Theories of Emptiness is released on 7th June 2024 on Napalm Records.
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