EVERGREY – Monday Morning Apocalypse

Swedish Metal is definitely in the midst of an upswing these days -– and it’s probably been the case for the last two decades or so -– the point is, many Swedish bands are enjoying great success, and Evergrey have done their best to continue that tradition. The band, having had a stable line-up of Tom A. Englund (guitars, vocals), Henrik Danhage (guitars), Miche Håkansson (bass), Rikard Zander (keys), and Jonas Ekdahl for some time now, have seen the sales numbers grow steadily as the albums In Search Of Truth, Recreation Day, and Inner Circle were released, culminating with the incredible live DVD A Night To Remember released last year, where the band performed a two hour set with a string quartet and choir onstage.

Still, Monday Morning Apocalypse in many ways represents sort of a new direction for the band. Although the sound is as grey as ever (get it?), the production and approach is somewhat different that what it had been in the past. The progressive flair found in albums like the phenomenal Solitude, Dominance, Tragedy, has been left entirely behind, opening the door for a rawer, more simplistic (and probably more commercially successful) approach. There’s still plenty of trademark lines and chunks in here to glue it all together, though, and you’re not at all dealing with another major Swedish act being Limp Bizkit-ifised (pointing at the reason why Soilwork are In Flames; The Haunted made them do it!). Englund’s voice is still among the strongest and most characteristic in the business, and he and Danhage make for one hell of a double-guitar attack. Micke Håkansson is as steady as ever, while drummer Jonas Ekdahl still hasn’t aquired his predecessor Patrick Carlsson’s sheer temper and attitude, but (almost) makes up for this with his technique and musicality. Richard Zander has quite a different role this time around … he’s far from as prominent as on the earlier releases, but he really shines when allowed to step forward. The beautiful “Til Dagmar,” for example, composed by him and originally performed at his grandmother’s funeral (RIP), is gorgeous.

Despite the slightly critical tone so far in this review, the album still has plenty of gems to offer. The title track is one –- a chubby, groovy number very typical of the “new” Evergrey –- with simple, yet very effective, riffs, huge vocals, and an incredible chorus. “Unspeakable” is (even) darker, almost reminding of Iced Earth in the opening chords, and is another very strong track.

“Lost” is one of the tracks with the biggest hit potential, and along with the f-a-n-t-a-s-t-i-c “In Remembrance” (the best Goth/Dark Metal song in 15 years?), it’s destined to enjoy lots and lots of airplay throughout Europe, Japan, and wherever. The song itself is pretty good too … the chorus is killer, and the solo is as cute as Tom Englund’s rather puffy cheeks, but the intro riff is too much of a brush-up on certain Evergrey trademarks for the song to get full score, but that may be inconsequential to some people.

“Obedience” is a more traditional Evergrey track, and unfortunately this kinda comes through less than stellar. The melodies are not up to par, and this is among the album’s weakest tracks. “The Curtain Falls,” on the other hand, once again shows off the band’s newfound simplistic approach to composing. With very simple riffs and an instantly haunting chorus, this is another killer track. After the aforementioned “In Remembrance” comes “At Loss For Words,” and now we’re really talking. This track mixes the “old” and “new” Evergrey together with some unbelievable melodies, and this is –- together with the title track, and “In Remembrance” -– the album’s ace.

The beautiful “Til Dagmar” is next and gives Richard Zander some space to shine, while at the same time giving the listener a much-needed rest before “Still in the Water” takes over with even more gloom and crunch. This is another very dark number, and a very strong one. This could fit very well on Inner Circle, and many old fans will probably embrace its structure, guitar punch, and heartfelt vocals. Great stuff.

“The Dark I Walk You Through” is in the same vein, but not at all that strong. This is the album’s second weak spot. Luckily “I Should” makes up for this in an instant with a magnificent opening riff. The way it builds before the big explosion is immediately goosebump activating, and the high standard is withheld throughout, although the chorus is not on level with the album’s top ones. The guitar work, however, is great. The emotional “Closure” closes things off, and this is another very beautiful piano-driven ballad. Englund delivers another thrilling performance on this one, and when this track is played during the closing hours of Europe’s Metal discos, the guys regret they’re both married and parents.

Evergrey has delivered another awesome album – not at the level of Recreation Day or Inner Circle (writers always like to make comparisons), but still better than 98% of what’s being released these days. Whether you like it or not, this disc is going to be in your lives in no time at all, because Evergrey is onto something big …