Evergrey's 'Escape of the Phoenix' - Album Review

When the Swedish progressive metal band Evergrey wound up a loose trilogy of albums in 2019 with the release of the excellent The Atlantic (which I reviewed here) in the January of that year, many wondered where the band would go next. Despite the band's catalogue largely being consistent in terms of quality, there is certainly a sense within the band's fanbase that Evergrey have really upped their game over the past few years. The band's frontman, and sole-remaining founding member, Tom Englund has made no secret of the fact that the band nearly broke up during the early part of the 2010s; but such thoughts were cast aside back in 2014 when two long-time members returned to the fold after a few years away. Guitarist Henrik Danhage and drummer Jonas Ekdahl's return helped to revitalise Englund - with 2011's Glorious Collision, the only album the band put out between Danhage and Ekdahl's hiatus, being perhaps less inspired than usual - and the album that followed, 2014's Hymns for the Broken (which I reviewed here), showed that Evergrey were back - and back with a vengeance. I had been a casual Evergrey fan for a while before Hymns for the Broken released, but I became a fully-fledged fan after hearing it. Evergrey's sound is like no other bands', and there is a melancholic darkness constantly interwoven within their soaring melodies. Part progressive, part power, and part gothic metal; Evergrey really can do it all. In many ways, the band eschew the tropes of all of those genres just as much as they embrace them - and that is what makes Evergrey so interesting. I had sometimes found the band's albums to be difficult listens, but Hymns for the Broken made everything fall into place. I am now a huge convert to the band's dense sound, and it is my view that the band have been in the form of their life since Hymns for the Broken's release. Both 2016's The Storm Within (which I reviewed here) and The Atlantic built on the excellence of Hymns for the Broken to form a loose trilogy - and the positive reviews kept rolling in. As mentioned earlier, there were many fans wondering where the band would go following The Atlantic, but it seems that the band were quite happy just to keep the train rolling - and last month they unleashed their twelfth studio album Escape of the Phoenix onto their excited fanbase. Sound wise, Escape of the Phoenix perfectly continues on the vibes that the band have been cultivating over the past few albums. It is not too dissimilar to The Atlantic, but perhaps with a little more of a look to the past than the band have often allowed themselves of late. The band's recent albums have certainly upped the heaviness in comparison to the rest of their catalogue, something which remains throughout much of Escape of the Phoenix, but there is also more of a warmth to be found this time around - with albums like 2001's In Search of Truth channelled too with plenty of extremely melodic keyboard work courtesy of Rikard Zander. This leads to an album that is perhaps a touch more old-school sounding than the band's other recent releases, but there is still enough of the modern, angular riffing that Evergrey have been employing of late to ensure that it fits nicely into their modern canon. This mix of crushingly heavy and more warmer moments helps Escape of the Phoenix to stand out, and become another stellar entry into the band's catalogue.

Despite the more old-school sound that is present throughout, Escape of the Phoenix is an album that comes roaring out of the blocks. Pushing any kind of atmospheric intro or build-up out of the way, it kicks off with the heavy single Forever Outsider, a song that perfectly continues the sound established two years ago on The Atlantic. Ekdahl's short drum barrage opens the song up, before the first of many big guitar riffs kicks in - Englund and Danhage teaming up for the barrelling, mid-paced pattern - which perfectly sets the tone for what is to come. This is possibly the heaviest opening to an Evergrey album to date - and it certainly hits like a tonne of bricks. It is really effective however, and it makes the statement early on that this is an album that is not going to take any prisoners. There are classic Evergrey melodies to be found, especially during the chorus which features some trademark soulful Englund vocals, but this is mostly a dense progressive metal track with some inventive drumming from Ekdahl and a busy, shredded Danhage guitar solo. Despite the fact that the track might be too abrasive for some, in my opinion it is the perfect opening number for this diverse album - and it is great to see the band really embracing their heavier side. Where August Mourn reigns in the heaviness somewhat, and goes for a more dynamic approach - with a sound that includes a little bit of everything that has made the band great over the years. There are big riffs here, but it is perhaps the synth work of Zander that stands out the most - his playful melodies during the song's intro and the chorus providing a digital hook that is easy to latch onto - while the sparse verses allow Johan Niemann's thick bassline to shine and drive everything forward. Zander is the star of the track for me however, and everyone who appreciates his understated, yet all-enveloping, style will find a lot to enjoy here. His soundscapes are a big part of the band's sound, and the lengthy instrumental section part-way through that culminates in another great Danhage guitar solo is dominated by his textures and subtle synth melodies. Stories is also a great showcase for Zander's playing, especially early on, as the track opens with some dark piano melodies which Englund proceeds to sing over in his inimitable and heart-breaking style. While he may not have the biggest range out of his peers, Englund has become one of my favourite metal singers over the years. You can never fail to be moved by his voice, and this track is another one that really shines the spotlight on his talents. Stories is a track that moves back and forth between gentle piano-led sections, and slow-burning doomy sections with crushing riffs and an extremely dense atmosphere. Evergrey sometimes have the power to be somewhat unsettling in their approach, and this a track that revels in such a sound - but it really works. It is the sort of song that only Evergrey could ever really make work; the constant changes in pace and denseness building that mysticism that the band are known for - while still including plenty of hooks.

A Dandelion Cipher opens with a riff that is somewhat reminiscent of the opening to Forever Outsider but, while the song does certainly channel this heaviness in a big way, there is a bit more light and shade to be found this time. The dry, modern riffing that the band started to use in a big way on The Atlantic is present here, with the heavier sections really creating a strong energy due to Ekdahl's double bass drumming and the driving riffs, but there are also sections that slow things down and allow Englund's more contemplative vocals to fill the void. In many ways, this is a song that is a real mix of old and new. The modern riffing style that the band has been experimenting with is given plenty of time to shine here, but the atmospheric style that Evergrey have pioneered over the years is still present - and the constant back and forth allows both sides to shine equally. The Beholder, which features some guest vocals from James LaBrie (Winter Rose; Dream Theater; Mullmuzzler), certainly has a bit more an old-school feel throughout - with plenty of space for Zander's synth soundscapes to shine. It is more of a mid-paced groove-based track, and the riffing has been paired back somewhat to allow for a dense, more atmospheric, sound to develop. LaBrie does not get a lot of time at the mic, but his subtle harmonies enhance Englund's sorrowful cries at points - and his breathy style is put to good use during a synth-heavy bridge, his vocal style perfectly contrasting with Englund's deep baritone. This is a track that old-school Evergrey fans will instantly lap up, as it is packed with a gothic darkness that has been perhaps less prevalent on the band's other recent albums due to their heavier forays. In the Absence of Sun continues on with an old-school approach, with the song being something of a twisted ballad - with Zander's warm piano melodies setting the tone early on. These melodies are never too far away from the fore, but the song does develop as it moves along - with occasional heavier sections adding both depth and emotion when needed. Those who enjoy the more gothic side of Evergrey will love this piece, as there is a real mournful quality to much of the track. There is so much emotion in Englund's voice throughout, and he even adds a melancholic guitar solo that is almost laid back in its approach - which contrasts nicely with the somewhat overwrought atmosphere present throughout. It also contrasts well with Danhage's more traditional guitar solo that follows later - which sits atop one of the song's heaviest riffs. Those looking for Evergrey at their most anthemic and melodies should look no further than Eternal Nocturnal - a driving single that is similar to singles of the band's past such as Weightless. The riffs here are heavy, yet catchy, and there is a big emphasis placed on Englund's voice throughout - with his melodies being much more accessible and hooky than usual. This allows the song's chorus to really hit home, which is helped by some 1980s-esque keyboard melodies from Zander which are uncharacteristically jaunty for Evergrey. They work within the context of the song however, and they help the track to be one of the catchiest Evergrey songs in recent years. As much as I like the band's dense sound, I also like their more unabashed melodic metal tunes - and this is a great example of the style. The lengthy guitar solo, which is started by Englund and finished by Danhage, is also great - and the track is a melodic feast as a result.

The album's title track follows, and it ups the heaviness again with some of the Gojira-esque riffing that the band have been toying with of late dominating the song's intro and verses. This is a track that really takes the sound that the band were crafting on The Atlantic and running with it - with occasional melancholic and melodic moments cutting through the dense riffing to add changes of pace. I love this heavier side of the band however, but this song possibly sees the best integration of it within the band's more classic sound. Many of the riffs that are featured throughout this song would have never been attempted by the band throughout the 1990s and the 2000s, but here they have been interwoven perfectly with warm keyboard melodies to create something heavy, yet instantly recognisable as Evergrey. The best part of the song for me however is the guitar solo section, which is easily the heaviest thing ever recorded by the band. The riffing that backs the solo is almost death metal-esque, and the energy that it creates is second to none. You From You returns to the band's more typical sound however, with heavier sections sitting side-by-side with more atmospheric sections to create a dense, mid-paced crooning track that is instantly Evergrey. There is lots of great keyboard playing from Zander throughout the song, which helps to boost its atmospheric qualities, but it is perhaps Englund's guitar solo that best exemplifies this. While Danhage takes the lion's share of the solos throughout Evergrey's music, Englund's occasional offerings allow for a different sound - and his Pink Floyd-esque addition to the song really helps to elevate it. His spacy melodies fit perfectly within the keyboard-heavy track - meaning that You From You is a showcase for all things Englund. Leaden Saints ups the heaviness again, but like the album's title track is another great mix of old and new. The opening riff is crushingly heavy, and recalls the opening moments of Forever Outsider again, but the song is another that goes back and forth between heavy and atmospheric. The emphasis however is certainly more on the former, and the pace never really lets up despite the fact that the riffing sometimes takes a bit of a back seat. These moments see more of Zander's keyboards, but on the whole this is a heavier piece that allows its pace and energy to dictate play - although Englund's vocals throughout are still as mournful as ever. As a result, this is a track that sees Ekdahl dominate, his driving drum grooves perfectly encapsulating everything that is great about the song. The album comes to a close with Run, another dynamic song that harks back to the older Evergrey sound a little more - with lots of great keyboard textures and a somewhat more gothic approach. Despite a few big riffs, this is a song that is less heavy than much of the rest of the album. Instead, it wraps the album up in a warm blanket of atmosphere and keyboard soundscapes - all while Englund delivers yet more emotionally charged vocal lines. As much of the album that preceded Run is more in-your-face, this relatively more gentle conclusion works really well. There is still weight to be found here, but it also feels somewhat more reflective - which allows the album to come to a more subtle close, with a Zander keyboard solo being the last action. It is a great end to a great album; with Escape of the Phoenix being another excellent addition to Evergrey's impressive discography. I like the fact that the band have allowed themselves to look to the past a little more here. With the last three albums modernising the band's sound somewhat, and solidifying the current line-up, Escape of the Phoenix is the perfect mix of old and new - and is an album that should please all sides of their fanbase equally.

The album was released on 26th February 2021 via AFM Records. Below is the band's promotional video for Eternal Nocturnal.