I’ve found out some days ago that Bloodred Hourglass is on tour with Evergrey and that they’ll come to my city next March. I’m so excited to see BRHG live, but also wanted to enjoy the Evergrey concert as well, so that I decided to check out their last album, The Atlantic (2019), released some days ago, on 25th January.
Evergrey is a Swedish prog/power metal band founded almost twenty-five years ago by Tom S. Englund, the only member of the band that remains from the original formation and through all the story of the band. With their 11th album, they bring us what seems a conceptual album about travelling across the ocean. The first song, A Silent Arc opens strongly with heavy riffing and drums to evolve into a slow and melancholic chorus with epic lead guitar. It can be clearly noted, by the composition, production and instrumentation, that we are facing a quality album made by a band that has reached its maturity. The first song leaves a very good taste and for me it is one of the best on the album.
Weightless takes a more progressive approach with its initial riffs to take us to a chorus of the most catchy that we can find in the album that alternates with harder interludes that express the fear of the sailor lost in the middle of the sea. The surprising All I Have follows. I’ve never thought that metal is the place for beautiful love ballads, but rather for the sadness and the rage of heartbreak and loss. Evergrey almost convinced me of the contrary. With a dark and unsettling beginning that lead us into a sweet chorus with piano notes in the background and a lead guitar on the bridge that transform the song into a full-fledged power ballad. After so much passion, A Secret Atlantis opens with some mysterious and atmospheric notes that lead to one of the hardest songs on the album. Tidal Wave has another original introduction by keyboards, almost spatial sounding, and an epic tone is maintained throughout the song. This is also one of the ones I liked the most. Currents hasn’t caught much my attention for any of its elements, which were just another example of what is in other previous songs. Something more original is Departure, with its sadder melody and the accompaniment of the keyboard, which is in the limelight during a large part of the song, in which the bass line also shines. The Beacon is in the line of Currents, a good song that does not add anything new either, but it is enjoyable, as is the case with The Ocean, which closes the album, with a chorus to which the rhythmic guitar makes alive.
Although The Atlantic isn’t a masterpiece and its melodies and choruses are a bit conventional (with its exceptions), it’s still a very enjoyable album, with good themes, instrumentation, vocals and production, capable of giving some good moments.