Michele

The album is quite boring; it may be artistic, but it's still boring. I bought the album, kept it for a couple of years, forcing myself to listen to it multiple times in hopes that the spark would ignite, but nothing happened, so I sold it second-hand and I certainly don't miss it.

Oh no! The big chorus with the big guitar! Sorry, but I've never been able to stand him and his pompous and pathetic hard rock-pop. At this point, I'd prefer Nannini.

Nice review. Even though the album isn't too bad, the biggest limitation of O.M.D. is that they've never pushed beyond the usual pop song format.

Maybe, but to me they seem like a copy of Radiohead.

Led Zeppelin can only imitate them in the titles. For the rest, they seem to me like Piero Pelù singing with Equipe 84.

When I first listened to this album, I was struck by its predictability. It's not that I was expecting much, but I thought metal was something different from hard rock, and instead, all I heard was a slight update of the conventions of the latter genre. To my untrained ears, this record seems pointless.

Good album, it's a shame they messed it up in the following ones.

Great review. The album is indeed mediocre, neither remarkable nor disappointing.

Evanescence are one of those bands that use the easy formula of “big chorus with a heavy guitar” that is so trendy right now, but which has always been used by hard-rock bands of the past; in this sense, they could be seen as a sort of Bon Jovi of the 2000s. Their audience feels gratified by booming guitar riffs at full volume that surround a pathetic radio-friendly melody, allowing listeners to enjoy banal pop tunes while still feeling “alternative.” The relentless advertising, the band's stage presence, and the aforementioned compromise explain the millions of copies sold by what, alongside P.O.D. and Linkin Park, is the worst representative of this unintentionally grotesque genre. If you add some guitar strumming to the melody of “Torn” by Natalie Imbruglia, you get something very similar to “Bring Me to Life.” The entire album follows this formula of “golden little coin + a melting pot of rap-metal-electronic,” except for a few exclusively melodic episodes, like the pathetic ballad also released as a single that could easily fit on a Christina Aguilera album. I don’t know if Evanescence will vanish into thin air after this work, but they certainly won’t go down in the history of rock, nor in pop.

Evanescence are one of those bands that use the easy formula of “big chorus with a heavy guitar” that is so trendy right now, but which has always been used by hard-rock bands of the past; in this sense, they could be seen as a sort of Bon Jovi of the 2000s. Their audience feels gratified by booming guitar riffs at full volume that surround a pathetic radio-friendly melody, allowing listeners to enjoy banal pop tunes while still feeling “alternative.” The relentless advertising, the band's stage presence, and the aforementioned compromise explain the millions of copies sold by what, alongside P.O.D. and Linkin Park, is the worst representative of this unintentionally grotesque genre. If you add some guitar strumming to the melody of “Torn” by Natalie Imbruglia, you get something very similar to “Bring Me to Life.” The entire album follows this formula of “golden little coin + a melting pot of rap-metal-electronic,” except for a few exclusively melodic episodes, like the pathetic ballad also released as a single that could easily fit on a Christina Aguilera album. I don’t know if Evanescence will vanish into thin air after this work, but they certainly won’t go down in the history of rock, nor in pop.