Cover of Evanescence The Open Door
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For fans of evanescence, alternative rock listeners, gothic rock enthusiasts, and those interested in band evolution after lineup changes
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THE REVIEW

For those who listened to the album "Fallen" that introduced this group to the entire world, the first impression when listening to "The Open Door" will probably be surprise. Whether positive or not depends on personal taste.

What is certain is that Ben Moody's departure from the group has inevitably impacted the sound of this Arkansas band. Hardcore fans will probably be pleased with this product. The element that stands out the most is the musical exploration. A constant search aiming for the elaboration of more complex melodies compared to "Fallen." This can certainly be a point in favor of Evanescence. But not necessarily, because during the listening, it becomes evident that Amy Lee & Co. have overexerted themselves. The themes of the lyrics are practically the same as the previous album, with more emphasis on the sentimental side.

The album begins with a song ("Sweet Sacrifice") that could easily be renamed "Going Under - pt. 2." This does not detract from its listening pleasure. "Call Me When You're Sober" is now known to everyone, and even if it doesn't repeat the success of "Bring Me To Life," it still achieves considerable success. Again, we find ballads reminiscent of "My Immortal" or the more sophisticated yet still beautiful "Hello." But this time, there is a distinct feeling that such a melody elaboration robs charm from what could potentially be beautiful songs. An example of this is "Good Enough," the closing track that fulfills this role well thanks to the vastness of the melody (much credit goes to the orchestra), but which cannot remotely compare to "Whisper," the concluding track of "Fallen."

"The Open Door" will certainly appeal to genre enthusiasts, but acquiring new fans remains to be seen. We are now curious to see the next step of this American band.

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Summary by Bot

The Open Door marks a clear shift in Evanescence's sound following Ben Moody's departure, highlighting complex melodies and emotional lyrics. While longtime fans may appreciate the musical exploration, some feel the album overreaches and lacks the charm of Fallen. Standout tracks include 'Call Me When You’re Sober' and 'Good Enough,' though the album's ability to attract new listeners remains uncertain.

Tracklist Lyrics Videos

01   Sweet Sacrifice (03:06)

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02   Call Me When You’re Sober (03:35)

03   Weight of the World (03:38)

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06   Snow White Queen (04:23)

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08   Like You (04:17)

09   Lose Control (04:50)

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10   The Only One (04:40)

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12   All That I’m Living For (03:49)

Evanescence

Evanescence are an American rock band centered around vocalist/pianist Amy Lee, known for blending heavy guitars with piano/strings and gothic-leaning atmospheres. They broke worldwide in 2003 with Fallen and later shifted styles across The Open Door (2006) and the self-titled Evanescence (2011), with notable lineup changes discussed heavily by reviewers.
15 Reviews

Other reviews

By Matt7

 "The Open Door is the perfect continuation of Fallen, and it almost results in a qualitative copy."

 "Amy Lee’s voice sounds great on this album, it will be seen live if she will maintain certain vocalizations...!"


By Il Grande Hallel

 The album immediately showcases the band’s unique characteristics right from the first listen: heavy guitar riffs in pure rock/metal style interspersed with keyboards, acoustic pieces, and piano, creating a very gothic atmosphere.

 The 13 songs that make up the album are true poems, beautifully sung by the angelic voice of vocalist Amy Lee, who seems to have even improved her style and power compared to the last album.


By Ophitae

 Evanescence is no longer the (fake) dark ones of the past, they are... refined, if I can say so.

 'Call Me When You're Sober'... has become too commercial. They could have directly eliminated it from the album.


By lovelorn

 "The Open Door is the best among Evanescence’s albums."

 "Amy’s voice states 'fear is only in our minds' and offers operatic hints in parts never excessive and always well dosed."