Evergrey
Glorious Collision

There is still hope in the desert of metal. There are still those who, with tenacity and above all class, manage to find a path through the stony sands of that sunlit desert. We don’t see an oasis, but a timid flower emerges precisely in that infernal ground where we never expected to see it grow.

It is like a flower in the Sahara, this "Glorious collision," the latest release by Evergrey, a Swedish band capable of blending the melody of power, the sudden bursts of progressive, and a romantic and decadent atmosphere perfectly governed by the voice of Tom Englund, one of the best voices in the entire metal panorama.

The tired and dry air that has swept over that desert for many years, petrifying it even more, seemed to be the undisputed master of the territory. It brought an indefinite multitude of clone groups, all anchored to the idea that a catchy chorus and a bit of melody were enough to produce good results. Over time, this became an awareness, a "way of being" of a genre now adrift. But then there's always something and someone that surprise you, and Evergrey has been that marriage of diversity that has generated (and still partially continues to generate) renewed hope in power/progressive.

"Glorious collision" was born amid endless lineup problems, which after "Torn" led the band to almost completely reinvent themselves. Compared to the previous work, the only ones remaining are the singer and guitarist Tom Englund and the keyboardist Rikard Zander. Danhage, Ekdahl, and Kainulainen are no longer there, which is why the gestation of Glorious collision was complex: after 3 difficult years of work, on February 25 of this 2011, the latest cry of the Swedes was published under the aegis of Steamhammer.

The Gothenburg band knows that relying on the now overused formula of the simple chorus supported by keyboards does not (nowadays) solve what is the audience's demand. For this reason, the group develops a derivative way of approaching metal, still managing to give a personal touch increasingly rare within these sounds. A hint of Blind Guardian-style symphony, a large dose of Scandinavian romanticism, and the precision of musicians who know what they want. The richness, but above all the quality of the initial "Leave it behind us", paves the way for the entire album: an opening between melodic escalations, well-placed vocal lines, and swift electronic salutations. All of this is enriched by Englund's splendid voice.

The melancholic tradition of Sweden, but more generally of the Scandinavian peninsula, can be felt throughout the duration of the cd. However, Evergrey does not shy away from stepping on the accelerator, as in "Frozen", where the boldness of the guitars once again merges with truly noteworthy vocal and melodic choices. In "Glorious collision," there are no obvious drops in tone: the general quality of the tracks is high. The one that stands out more than the others is the semi-ballad "Free", yet another demonstration of class by Evergrey and Englund in particular.

Perhaps "Glorious collision" will not serve many to quench their thirst in the stony desert of power/progressive. Many, too many, are probably already "dead" under the sandstorms of recent years. Yet that little flower brings hope, fueling the idea that further on, behind the enormous golden dunes, a green and lush oasis might one day emerge...

1. "Leave It Behind Us" (5:09)
2. "You" (6:23)
3. "Wrong" (5:07)
4. "Frozen" (4:57)
5. "Restoring The Loss" (4:40)
6. "To Fit The Mold" (5:21)
7. "Out Of Reach" (3:40)
8. "The Phantom Letters" (5:31)
9. "The Disease..." (4:10)
10. "It Comes From Within" (4:22)
11. "Free" (3:42)
12. "I'm Drowning Alone" (4:11)
13. "...And The Distance" (3:47)