Evergrey has always possessed the power to move me emotionally. They have long been my favorite metal band for this reason. So, yes, this is a fan review of their new album Theories of Emptiness, which releases on June 7th through Napalm Records. So, while I wouldn’t say this is the best album they’ve ever made, I will say that it is yet another amazingly strong and vibrant work.
The band comes to us from Sweden, and they are well-known as masters in both the progressive and Gothic metal spheres. Things are changing for them, though. The line-up on this album is Tom S. Englund on vocals and guitars, Henrik Danhage on guitars, Rikard Zander on keys, Jonas Ekdahl on drums, and Johan Niemann on bass. Jonas, however, recently announced his departure, hinted at in the video for the single “Say”, and then announced soon thereafter. Drummer Simen Sandnes will be taking his place. Jonas has a distinctive style, not one full of flourishes and flash, but of purposeful beats and great fills. He will be missed.
Evergrey has come off a string of strong releases; I love all their albums, but the last several have been nothing short of phenomenal. Theories of Emptiness shows the band changing somewhat, while also holding on to their classic sound. Yes, this sounds like Evergrey deeply, but I detect fresh ways of achieving rhythm and a focus on lumbering instrumental interludes within songs; I hear a greater balance between catchiness and progressive structure. The riff is king on this record, and Tom and Henrik manipulate it in creative and brilliant ways. The band has also taken up some crowd singing, which isn’t always my thing, but I’m surprised at how addictive it is here.
Theories of Emptiness wasn’t an immediate album for me. I loved both singles, “Falling from the Sun” and “Say” for their heavy, driving intensity and brilliantly catchy choruses. I love the bulky, riffy instrumental in “Say”, especially. But the album as a whole takes some getting used to, so give it time to grow and breathe. I’ll mention that there isn’t a traditional Evergrey ballad on the album, which is one of my favorite styles they play since they are masters of that type of expression, but I’ve learned to deal with it.
The first half of the album is probably the strongest. “Misfortune” is an amazing track with a crowd singing chorus, but, damn it, I find myself singing it all the time. I can’t help but love it, especially for Rikard’s piercing synth melody that adds so much. “To Become Someone Else” might be my favorite on the album; it is both a tender and vicious piece with lots of piano and atmosphere, but also razor-sharp riffs. I love the ambient interlude in the middle, and I love how the guitars come back in with powerful, purposeful force to continue the instrumental portion. The first half ends with “Ghost of My Hero”, something of a ballad, though it has plenty of riffs, too. I’ll admit that it sounded a smidge cheesy the first time I heard it, but the more I listen, the more I love it, and I especially like the second part for how beautiful and orchestral it sounds. I particularly like how soulful Tom sounds on it.
The second half has some great tracks, too. “We Are the North” is a puzzling song, I’ll admit; I really like the chorus and the hazy sort of tone it has, but the vocals sound garbled in post-production somewhat. I’m not sure what’s going on there. “One Heart” is the song that won’t be on the vinyl outside of one special edition, and it’s the song that they put fan voices in, too. It’s a good one with a marching, shouting sort of vibe that can make you feel very enthusiastic. “The Night Within” has the hovering Gothic ambience I so love, and though it feels reserved and shadowy at first, a monster solo breaks out in the middle, and the song feels appropriately contrasted with itself.
I really like the last three tunes. “Cold Dreams” features Jonas Renkse of Katatonia, and it is a terrific song. It is darker, as expected, and Jonas even offers some of his harsh vox; the song is suitably heavy and vicious and raw, and I absolutely adored it after processing it for a few listens. I’d like to hear Tom and Jonas sing together more. “Our Way Through Silence” is a soulful and even bright tune with Tom nailing an illustrious vocal melody that becomes addictive. It feels like the closer, honestly, and almost like a declaration of “coming out the other end of the tunnel”, so to speak, both for the band, and maybe for us, too. The title track comes last and is basically an outro with spoken word. I find it hopeful and vindicating, and I love the feelings it leaves with me.
Theories of Emptiness proves to be an excellent final outing for Jonas Ekdahl as he moves on to other things. For the band, though, it is further proof that they are at the top of their game still, and that they can change and morph and offer new ideas even this far into their magnificent career. This is a hauntingly beautiful album, one full of emotional lyrics, intense performances, and memorable choruses. The band has the gas pedal firmly planted to the floor of the proverbial vehicle, and I’m here for the ride.
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