EVERGREY
Theories of Emptiness
Napalm Records
I'm going to quote this until the day that I die, because the accuracy is just undeniable. Basically, Tom Englund has the type of voice "...widely known to have the power to make normally rational people weep uncontrollably..." (Dom Lawson). That's as good a starting point as any, right? But if you're here, on some level, you already know that. And, although it really should not bear any sort of need of repeating, don't listen to Theories of Emptiness through your phone.
The last time I wrote a review for an EVERGREY album, I was in my music room. Since that time, my wife and I have moved to our dream home. I mention that here only because there is a sense of, in this place and space, of it being always where we needed to be - we just couldn't get there until the time was right. We have always been strong, moving forward, and above all maintaining, with a clear vision of where we should be. Maintenance, it turns out, is just as important to the overall picture painted as is a commitment to growth, to excellence. In Theories of Emptiness, EVERGREY invite you to where they need to be. Feel the emptiness.
EVERGREY have maintained themselves for 30 years. Maintenance is not the same as stagnation, the band reinventing themselves every few years or albums and appearing fresh and vital every time. Over the course of what is now the last three albums within their oeuvre, the newest bar of maintenance to be considered is, in no uncertain terms and without hyperbole, excellence. While never lacking in emotive punch or in melancholic ruminations, the '20s version of EVERGREY is a completely different beast than any of the eras preceding. Confident, disarmingly self aware, and relentless - EVERGREY are the biggest band in their world - you're just banging your head in it.
"Falling From The Sun" kicks things off in albeit an expected fashion, the riffs as hot as the pyro in the music video. The bounce of the rhythm section batters you about. Englund's vocals soar. Musically, the song is almost a paint by numbers exercise in the EVERGREY school of rock. And, had the rest of the album continued in a similar vein, that would be fine. However, with a renewed outlook, a different viewpoint, everything looks a little brighter. "Misfortune" is a kick in the teeth. The back end of the track sounds, to me at least, like a hammer striking an anvil to keep the beat while the riff burrows its way into the very core of your being, mesmerizing before (wait for it) gang vocals and whoa-ohs. EVERGREY has never been a sing-along band of that type, but on "Misfortune" well, let's just say I'll be up front for that one. Can you make The Face while smiling ear to ear and then some? Fuck yes you can.
Lead single "Say" is a showstopper for certain, bringing in an old timey key section underneath a riff pregnant with possibilities carried to term. Lyrically, Tom is arguably at his best and most open, ever, and that's important as the album continues.
"Ghost of My Hero" marks the mid point of the album, a poignant power ballad, the meaning of which is ultimately left to the listener. The more I listen, personally, it's one of my most beloved EVERGREY songs. I think it may be about a parent, but that's just me. It is absolutely gobstoppingly beautiful. And then, the back end of the album begins. Empty your expectations.
Somehow, in a run of excellent albums, the most recent releases by EVERGREY have been confoundingly backloaded. The best material is late in the game, forcing the listener to engage with an album in full instead of cherry picking favorites from the first half. In an age of instant everything, this is a bold move that proves to pay substantial dividends. "We Are The North" is at once aggressive and contemplative with some quasi death metal moments vocally. The chorus is, not shockingly, the anchor for the whole exercise, oscillating between a punishing riff fest and more subdued melodicism. As the refrain indicates, run...
Sure to be a fan favorite, due to the inclusion of fans on the recording itself, "One Heart" is an immediate call to arms. Uplifting as all hell, it's another jewel in the crown which must be getting heavy at this point.
For me, "The Night Within" is the song that brings the waterworks - it's just beautiful and hits different. And the hits keep coming, bell or no bell, because "Cold Dreams" deserves its own review. Dense, suffocating, and featuring not only the talents of Salina Englund but also of Jonas Renske (and his growls for the first time in years), "Cold Dreams" is a standout among standouts.
Bringing the album to a close over the course of a final two songs, finale "A Theory of Emptiness" is perplexing because on the surface it seems anticlimactic. There are no metallic machinations, no headbang worthy riff feasts, no pummeling attack of drums (for the most part common now). The anthem is strong - and Tom hits that damn note that gets me every. time. The entirety of Theories of Emptiness encapsulates, well, hope. And it is that hope, I think, that feeling of unstoppable light, that keeps EVERGREY at the top of their game.
We hold that we love close, it gives us strength to weather the storms. I hope you find your way, and until you do, and after you do - EVERGREY will be there (and so will I).
Theories of Emptiness is anything but empty. Come and get your fill.
5.0 Out Of 5.0
