Eventually, the tune picks up, from it’s soliloquy intro, but not without another brief acoustic guitar flourish during the mid-section, which is reprised at the end, as Englund sings atop a lone, electricity-less six-string (much as it all began). Rapists of the weak.” Thus begins the acoustic tinged track. ‘To Fit The Mold’ – “We are liars and vultures. “The lack of sleep serves as morphine.” Orchestral elements in the background. ‘Restoring The Loss’ – Familiar bass/drum barrage to open, with swirls of Zander’s synth. A Phillip Glass influenced keyboard filters throughout the remainder. ‘Frozen’ – Heavy, full metallic introduction. Maybe I was wrong.” Apart from the break (backing “ah, ah”), song offers minimal instrumentation through, lyrics at the fore. I always thought I’d live a little longer, to have a chance to grow a little stronger. Somehow I thought I always knew the difference between a lie and truth. That when things were broken it would show. ‘Wrong’ – Nearly a cappella start, just Englund’s voice, gently backed by synth, gradually adding more instrumental layers. Things would stay the same, we’d never change.” Ends with lone piano notes. Never ever forget, always try to forgive, always be understanding. A guy’s dissolution with his (ex-) woman’s claims: “You said you would be there. ‘You’ – Dirty, grittier guitar and mid-tempo. Opens the album signifying “old” Evergrey is back. ![]() Tom Englund’s mournful voice is up front, punctuated by piano from the only other holdover, Rikard Zander. ‘Leave It Behind’ – The opening children’s choir and odd organ accompaniment are overrun by the band in full gallop. ![]() Fret not, the good ship Evergrey has been retooled and ready for smooth sailing! I’m sure many fans were worried, what with the wing stretching Monday Morning Apocalypse (accompanied by just a bizarre, C-market support tour of the US Southern states), then the inactivity following Torn and ultimate dissolution of what some view as the definitive EVERGREY line-up.
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