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EVERGREY

Progressive Metal • Sweden


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Evergrey biography
Founded in Gothenburg, Sweden in 1995

The mind child of Thomas ENGLUND (vocals, guitar) when he got together with Dan BRONELL (guitars) to write material for a debut album before recruiting Daniel NOJD (bass, backing vocals), Patrick CARLSSON (drums), and Will CHANDRA (keyboards). Although "The Dark Discovery" was written in 1996, difficulties in finding a label meant it wasn't released until 1998, on local label 'Gothenburg Noiseworks', with modest production quality. By this time, much of the material for the follow up had been written; resulting in both albums being released within a little over a year. Both "The Dark Discovery" and the sophomore "Solitude + Dominance + Tragedy" (1999) enabled EVERGREY to blaze their own trail as a melodically inclined dark progressive metal band, juxtaposing heavy, crunching riffs from the twin guitar and bass attack, with delicate moments of tender vocal reflection, wrapped up in the KING DIAMOND inspired, tortured and angst-ridden persona of talented frontman, ENGLUND. Although neither release could be described as having a concept, the track themes, often centring around loss, betrayal, paranoia and emotional pain, were harbingers of things to come, as EVERGREY forged their image and identity.

Despite the encouraging reception their 2nd release received, the band all but imploded in the aftermath. CHANDRA had left prior to the recording of "Solitude", his studio duties having been taken up by Zach STEPHENS. He was now followed by Daniel NOJD who was replaced on bass by Michael HAKANSSON, while Sven KARLSSON took over the vacant keyboard slot. Finally, Dan BRONELL called it a day, making way for Henrik DANHAGE on guitars, leaving only ENGLUND and drummer Patrick CARLSSON from the original line-up, amid questions over whether they would continue and if so, would the band be the same? The answer for most critics would be the affirmative, with EVERGREY heading into a three album purple patch during the first part of the decade.

Their third album, "In Search Of Truth" (2001), was notable for being the band's first full-blown concept, themed around paranoia, alien possession and abduction. Produced by KING DIAMOND guitarist Andy LAROCQUE (who also guests on slide guitar on the album), their sound undoubtedly matured, aided by the contributions toward both the song writing and arrangements which KARLSSON & DANHAGE in particular brought to the table. Musically, EVERGREY benefitted from an inspired pow...
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EVERGREY discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

EVERGREY top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 66 ratings
The Dark Discovery
1998
3.50 | 85 ratings
Solitude - Dominance - Tragedy
1999
4.07 | 189 ratings
In Search of Truth
2001
3.51 | 136 ratings
Recreation Day
2003
3.84 | 180 ratings
The Inner Circle
2004
2.90 | 91 ratings
Monday Morning Apocalypse
2006
2.75 | 69 ratings
Torn
2008
3.02 | 63 ratings
Glorious Collision
2011
3.85 | 97 ratings
Hymns For The Broken
2014
3.83 | 35 ratings
The Storm Within
2016
3.74 | 77 ratings
The Atlantic
2019
3.78 | 27 ratings
Escape of the Phoenix
2021

EVERGREY Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.86 | 33 ratings
A Night To Remember
2005

EVERGREY Videos (DVD, Blu-ray, VHS etc)

4.14 | 25 ratings
A Night to Remember - Live 2004
2005

EVERGREY Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.11 | 8 ratings
A Decade And A Half
2011

EVERGREY Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 4 ratings
I'm Sorry
2003
2.00 | 2 ratings
Monday Morning Apocalypse
2006

EVERGREY Reviews


Showing last 10 reviews only
 The Dark Discovery by EVERGREY album cover Studio Album, 1998
3.10 | 66 ratings

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The Dark Discovery
Evergrey Progressive Metal

Review by lukretio

2 stars Evergrey's debut album is a rather mixed affair. It already contains the blueprint of the distinctive sound the band will develop to amazing results in the course of their career, showing that Evergrey were unafraid to try and carve their own way in a scene ? that of progressive metal - that at the time was overcrowded with dozens of bands all sounding like clones of Dream Theater. However, one also has the definite impression that Evergrey did not quite yet know what to do with their newly-found sound: the songwriting is rather aimless and uninspired and the delivery seems rushed and underdeveloped. To make things worse, the production is atrocious: even for the standards of the time, the album sounds pretty bad and amateurish. As I said, quite a mixed affair.

Evergrey are the kings of despair. All their albums are brooding, dark, melancholic beasts and The Dark Discovery is no exception. The band's sound is rooted in classic heavy metal (Iron Maiden, King Diamond, Savatage), but Evergrey brings in a lot of more contemporaneous influences, from US power/ thrash metal (Iced Earth come to mind), to symphonic and prog metal, and even gothic metal (for example, in the use of female vocals and choirs). The prog metal ambitions are also evident in the complexity of the compositions, with songs that are typically 4 to 5 minutes long and are occasionally weaved together by recurring themes, forming mini-suites in the classic progressive rock tradition ("As Light Is Our Darkness"; "Beyond Salvation"). However, the most distinctive element of Evergrey's sound is without doubt Tom S. Englund's voice. His vocal delivery ? here as in all subsequent albums of the band ? is unique. The typical male prog metal singer, especially at the time, is known for his high-pitched and cleanly aseptic vocals. Englund's delivery lies at the opposite end of the spectrum. His tone is dark and his voice is husky. Yet, his vocals are incredibly melodious, setting him apart from the heavier thrash metal canon where gravelly voices like Englund's are more common. Englund's singing is passionate and dramatic: he is one of those singers who seem to live on their skin the lyrics they sing. To this day, there are not many vocalists that sound like Englund, he is one of a kind and is widely recognized as such in the scene.

Although "The Dark Discovery" contains all the right ingredients to make for an interesting ride, it ultimately falls flat. There are two main reasons for this. First, the album mostly contains weak and forgettable material. Quite simply, the eleven songs of "The Dark Discovery" are not very good. I chalk this down largely to the band's inexperience. The songwriting feels directionless and underdeveloped. Most of the songs build and build, but do not really seem to go anywhere and they lack the melodic hooks to leave a lasting impression on the listener. Evergrey attempt to inject some dynamics in the songs, alternating quiet and heavy parts throughout the album, but in most cases the transitions are not very smooth and come across as rushed. The arrangements are also quite weak. For instance, the keyboard parts do not seem to really fit in with the rest of the music and in most songs they feel out of place. Patrick Carlsson's drum work is impressive, but his intricate drumming does not always gel well with the guitar and bass, which are instead quite basic and pedestrian. This is another issue I have with the album: neither Englund nor Dan Bronell strike me as very proficient guitar players. Their riffage is average and samey, which really bogs down most of the material of the album. The guitar solos also do not sound particularly inspired. The performances of guest musicians Andy LaRocque (King Diamond) and Mattias Ia Eklundh (Freak Kitchen), who provide solos on "Closed Eyes" and "When the River Calls", are far superior and make you wonder how much better this album could have been if Evergrey had a slightly more proficient guitar player in their rooster.

The second reason why I think the album does not really work is the sound production that is really poor even for 1990s standards. It is actually quite surprising that this is the case, given that the LP was recorded and mixed at Los Angered Recordings studios by Andy LaRocque, who will end up producing quite a few top-notch albums in his career. Yet, The Dark Discovery really sounds terrible. The guitars are murky and mushy to the point that, whatever riff Englund and Bronell manage to come up with, it all ends up sounding the same. Even Englund's vocals suffer from the rather poor mix by LaRocque, which makes the singer barely audible at times. That the mix is quite poor is also clear from the fact that the drums, keyboards and guitars do not really gel well in any of the songs.

Overall, The Dark Discovery is really only an album for completionists. It contains mostly weak material that is badly produced and has not aged well at all. Yet, this is where the Evergrey magic started, so the album remains archaeologically interesting for those who are curious to track down the roots of the sound that brought Evergrey to fame. And that sound is all already here ? dark, gloomy and dramatic, Evergrey have been sounding like Evergrey since the very beginning.

[Also published on metal-archives.com]

 Solitude - Dominance - Tragedy by EVERGREY album cover Studio Album, 1999
3.50 | 85 ratings

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Solitude - Dominance - Tragedy
Evergrey Progressive Metal

Review by lukretio

3 stars The sophomore album of Swedish dark prog metallers Evergrey is a massive improvement over their uncertain debut album, The Dark Discovery. Released only one year after that album, Solitude, Dominance, Tragedy follows closely in the footsteps of its predecessor, but manages to fix many of the pitfalls that had plagued that album. It showcases a more assured songwriting, more nuanced arrangements and also a better production. Moreover, although not all material on Solitude, Dominance, Tragedy stood the test of time, the album contains a couple of early classic Evergrey masterpieces ("Solitude Within", "Nosferatu") that remain among the best material the band have written to date.

Evergrey's line-up on this record is essentially the same as the one that had recorded the debut album, minus keyboard player Will Chandra who is here replaced by a session musician, Zachary Stephens. This effectively makes Evergrey a quartet, comprised of singer/ guitarist Tom S. Englund, guitarist Dan Bronell, drummer Patrick Carlsson and bassist Daniel Nojd. The band continue to propose what had already characterized their debut album: a dark, melancholic blend of progressive metal that takes inspiration in equal parts from classic heavy metal (Iron Maiden, King Diamond, Savatage), power metal, and thrash. The band enrichens this basic sound with gothic and symphonic undercurrents through the use of solemn choirs, haunting female vocals (provided by Englund's then partner Carina Kjellberg), harp and violin interludes, and lush orchestral arrangements. It's a rich and thick sonic tapestry that offers a slightly different take on the standard progressive metal sound, one that is gloomier and more dramatic, with less emphasis on technical proficiency and more attention to melody and emotions. Singer Tom Englund plays a big part in this, his melancholic and dramatic vocal delivery being one of the standout aspects of Evergrey's music. This more visceral and emotional form of prog metal is a welcome change of direction for the scene, especially given how a lot of the prog metal that was coming out at the time used to sound so aseptic, lifeless and emotionally detached - the exact opposite of how the Swedish quartet sound here.

The songrwriting on Solitude? has clearly improved compared to the debut LP. Songs like "Solitude Within" and "Nosferatu" are very convincing. They are structurally complex, containing multiple sections and rich arrangements, but at the same time they feature strong melodic hooks that have a lasting impression on the listener and make the tracks instantly likeable and memorable. Unfortunately, not all tracks on the album reach this level of quality. In fact, after this opening pair of songs, there is a sensible dip in the quality of the record, and a fair share of what comes in the middle of Solitude? sounds drearily similar to the weaker material that had appeared on The Dark Discovery. Tracks like "A Scattered Me", "She Speaks to the Dead" and "Damnation" are uninspired and directionless, resulting overall forgettable. This is not unusual for Evergrey, whose albums often contain a mixed bag of strong and weak material. On Solitude? the share is probably slightly tilted towards the weaker material, which is why I cannot really rate this album higher. The album closes strongly, though. "When Darkness Falls" is a powerful and dramatic piece with a good chorus, while the ballad "Words Mean Nothing" is a welcome change of pace and features some excellent vocals by Englund. Closing track "The Carey Curse" is another strong piece, bringing to the fore the prog/power metal influences of the band and reminding me of Iced Earth.

One issue that had plagued Evergrey's debut was the sound production. Things have improved on Solitude?, although not yet to a point where I can say that the album sounds good, even considering the time when it was produced. The sound is too dark and murky, with lots of emphasis on the bass tones. This may fit the overall gloomy tone of the album material, but at the same time makes the music feel colourless and dull. My guess is that producer Andy LaRocque (King Diamond) was trying to emphasize the dark, brooding nature of Evergrey's music, but he overdid it. I also dislike the mix of the album. Englund's vocals sound muddled and sit too far back in the mix, and so do the drums. Moreover, the keyboard arrangements are still not well integrated with the rest of the music. At times, it almost feels like the keyboard parts were added ex-post, once the rest of the music had been arranged and recorded.

Nevertheless, Solitude, Dominance, Tragedy is a convincing sophomore album for Evergrey. If with The Dark Discovery the band had surprised the prog metal community with its dark, melancholic blend of prog metal that certainly stood out relative to the rest of the scene, on Solitude? Evergrey show that they start to have ideas of what to actually do with that sound. The songwriting has matured and shows a sense of purpose and direction, even if only in about half of the songs of the album. The delivery and production are also more assured. Overall, the album is a definite step-up relative to the band's debut record and it shows that Evergrey are getting ready for their big breakthrough album that will come in 2001, when the band released their masterpiece In Search of Truth.

[Also published on metal-archives.com]

 Escape of the Phoenix by EVERGREY album cover Studio Album, 2021
3.78 | 27 ratings

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Escape of the Phoenix
Evergrey Progressive Metal

Review by ssmarcus

4 stars In all honesty, it would be difficult to attempt and try to add anything to the analysis of this record that has not already been expertly argued by Angry Metal Guy's Steel Druhm in his recent review (can't seem to leave a URL in the text here, so just google it). Starting with his concerns regarding the expected post-lockdown explosion of new music and Evergrey continuing to push their unique but repetitive brand of ""mope-core,"" the writer ultimately comes to the conclusion that, on Escape of the Phoenix, Evergrey actually manages to tighten their song writing and put together an improvement on their formula.

With all that mind, I simply wish to add that if there is any artist I genuinely want to hear in our still healing almost post-lockdown world, Evergrey is certainly one of them. Of the legacy prog metal giants, Everygrey really was the only one that could consistently tap into the melancholy and angst many of us felt as a teenagers growing up in the early 'oughts. As COVID catapults us as adults back into the same sea of emotions, I am grateful to have a strong Evergrey record to help us steer through it.

It is worth mentioning that I strongly disagree with Steel Druhm's take on James Labrie's duet with Tom Enguld on ""The Beholder."" The harmonies the duo generate in the bridge are absolutely gut wrenching. While it is short lived, it constitutes one of the emotional climaxes of the record.

Escape is a record that has fewer moments of prog-greatness when compared to 2019's The Atlantic. But overall, its hard not see this as a stronger and tighter record than its predecessor. When Fans eventually evaluate the band's legacy, I believe it will be Escape that stands up as the strongest record from this phase in the band's discography. "

 The Atlantic by EVERGREY album cover Studio Album, 2019
3.74 | 77 ratings

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The Atlantic
Evergrey Progressive Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I'm not sure, but I think the last Evergrey album I heard prior to this one was 'Monday Morning Apocalypse', which came out in 2006, but apart from bassist Johan Niemann the line-up is exactly the same as it was back then. Tom S. Englund provides vocals and guitars, and he is joined by Henrik Danhage (guitars), Rikard Zander (keyboards) and Jonas Ekdahl (drums). Back in 2004, when reviewing 'The Inner Circle' I said, 'They are more to the metal end of the prog metal genre than their contemporaries, and the result is a type of music that is extremely loud and heavy while maintaining the melody and invention of the genre.' In very many ways that is still true today, except there are passages when they show they can hit into ballads when the time is right.

They are a very heavy band, with harmony vocals, loads of commercial hooks and a production which takes off the rough edges without ever losing the majesty of the performance. They have a huge sound, and one can imagine Devin Townsend being involved with production, as they convey images of Muse with Opeth yet still hitting mainstream hooks and sounds. Unlike certain bands from their hometown of Gothenburg, they continue to delight, and show no sign at all of moving away from their determined path. I do regret missing out on the last four studio albums, and if they are nearly as good as this, I see I have some investment to undertake. Twenty years on, Everygrey are still delivering the progtastic metallic goods.

 The Atlantic by EVERGREY album cover Studio Album, 2019
3.74 | 77 ratings

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The Atlantic
Evergrey Progressive Metal

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars The band's name is Evergrey and the music is pure Progressive Metal. This band has been around since 1996 and have released their 11th album in January 2019 called "The Atlantic". This album finishes a trilogy of albums that were ocean themed. Their last three albums have been top notch progressive metal with a strong sense of melody, smart lyrics and strong and solid metal which can only be considered metal. I remember hearing this band many years ago, probably around their beginnings and thought it was awful, but obviously, the band has done a lot of growing in the last several years. The founder and lead singer Tom S. Englund has cleaned up his vocals and really made some top quality and mature progressive metal. Also, they have brought their keyboards to the front of the mix, and even though they still play their hard and heavy dark riffs with lots of bass, their melodies are much more melodic, and Tom's clean vocals are excellent and full of emotion.

Right from the beginning, you will be blasted with heavy dark metal, the kind with complex rhythms and blistering riffs. But, if that is too much for you, keep with it because you will be surprised about the depth and melody of this music as it continues. "A Secret Arc" will blow you away, but don't worry because it doesn't end there. This album reeks of quality progressive metal and complexity, along the lines of Opeth, but not sounding like them much at all. There are also nice harmonics, like in the track "A Secret Atlantis" which also has a solo in it that will have you air shredding. Then there is the melancholic guitar solo at the end of "Currents" that will convince you that metal can be beautiful too. Another high point is "Departure" that has a lovely piano and acoustic section that sounds perfectly at home among the louder tracks.

Apparently, the studio the band was working in got broken into and all of the music that was being prepared for this album was stolen. The band had to start almost from square 1, but according to Englund, it turned out to be a good thing because if that didn't happen, this album would have been completely different. Who knows what it would have sounded like, but what you get here is pretty amazing. Anyone who tells you that metal can't be melodic and heavy at the same time will be proven wrong with this album. This album is definitely a front runner for Progressive and Emotional Melodic Metal for this year. Not quite a masterpiece, but it is very close to it.

 In Search of Truth by EVERGREY album cover Studio Album, 2001
4.07 | 189 ratings

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In Search of Truth
Evergrey Progressive Metal

Review by Kingsnake

5 stars I don't what happened in the two years between their last album and this album, but for me this exactly what a metalalbum should sounds like: angry, gritty, emotional and versatile.

There's thrash-riffing and soloiing, progressive elements, great atmosferic synths, soulful vocals, lots of breakdowns and uptempo parts.

The production is much, much better, although the toms of the drums sound like cardboard boxes, but overall the guitars, bass, cymbals, vocals, synths are mixed so tight I'm not going to complain about the toms.

The songs have better structures (more pop-oriented) and sound like actual songs, with hooklines, chorusses, verses etc. The style of the music is still progressive metal, with gothic, industrial and thrash influences. In the softer parts there are even some gothpop and neoprog influences.

Of course the main attraction is leadvocalis Tom Englund, who doesn't sound like a Danzig-clone anymore. He has more grit, more soul, more anger. Several years later Machine Head had their comeback with a similar approach to metal, but Flynn could never get close to the vocal abilities of Tom Englund.

Highly, highly recommended. But if you don't like metal and guitarriffs and doublebass-acrobatics, maybe this is not your cup-of-tea.

 The Dark Discovery by EVERGREY album cover Studio Album, 1998
3.10 | 66 ratings

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The Dark Discovery
Evergrey Progressive Metal

Review by Kingsnake

2 stars It's always never a good idea to discover a band and listen to their albums in reverse order, ending with their debutalbum.

This debutalbum is much better if I heard in 1998 then listening to it now; especially the production and the aimlessness of the songs makes this album hard to listen through.

They sound hungry and ready to go, but the band doesn't have the skills yet to write coherent songs, nor money to pay for a good studio/producer.

They sound like a crossover of (early) Iced Earth and Danzig, wich is not a bad thing, but I like Evergrey better when they evolve into what they now are. That's also good news, because a band that only has a good debut and becomes worse over time is not exactly what a band wants.

In short: I wish I was there in 1998 to hear this album, but right now in 2018 I'd rather listen to their new albums.

 The Storm Within by EVERGREY album cover Studio Album, 2016
3.83 | 35 ratings

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The Storm Within
Evergrey Progressive Metal

Review by Kingsnake

4 stars This one got me by suprise. The pop/rock approach of the metalband really appeals to me. The songs have pop- structures (verse-chorus-verse-chorus-breakdown/solo-chorus-outtro) and great hooklines and actual lyrics with a message.

The band often reminds a bit of Nevermore but with more heavy vocals reminiscent of Spiritual Beggars and Grand Magus. The music is really heavy and riff-oriented. Heavy, distorted, lowtuned riffs with great double-basswork of the drummer, giving it a bit of a powermetal-groove, but not fastpaced and jumpy like most powermetalbands.

I like the gothic approach in some of the song, without being too much. I think that's the great thing about this band and this album, nothing here is overdone and it all sounds really balanced.

I must also praise the vocals skills of Tom Englund, it seems that Sweden boasts really great metal-vocalists. The Swedish approach of heavy metal had always grabbed me more than the american approach. Evergrey is a really solid and talented band that are actually capable of writing and playing actual songs that stick in your head.

I must really check out all of their other albums.

 The Inner Circle by EVERGREY album cover Studio Album, 2004
3.84 | 180 ratings

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The Inner Circle
Evergrey Progressive Metal

Review by martindavey87

4 stars Put your sad faces on, this is not going to be pretty. Evergrey's 2004 release, 'The Inner Circle', is a concept album that focuses on themes of religion and abuse. Sounds pleasant, right? It's a very dark and gritty record, that pulls no punches as it tackles some deeply disturbing subject matter.

One of the things I like about Evergrey is their ability to be insanely heavy and brutal, yet maintain a sense of melody in their music. A heavy focus on strings gives this album a gothic feel, which suits the dark nature of the lyrics. And the production packs one hell of a punch, giving the heavy songs the balls they need and the softer songs the essence of melancholy and dreariness.

I told you, this won't be pretty.

The musicianship is top notch here, disregarding the common misconception that every progressive metal album involves endless solos and self-indulgent musical passages, 'The Inner Circle' focuses on atmosphere, with all guitar and keyboard solos being suited to the music perfectly. This is evident in songs such as 'Ambassador', 'The Essence of Conviction', 'A Touch of Blessing' and 'Harmless Wishes'.

This is arguably one of the most depressive albums you'll ever hear, but for all that gloom and doom, there is also some compelling, well-written music, which makes 'The Inner Circle' a worthy addition to your metal collection.

Now, cheer up, mate!

 Recreation Day by EVERGREY album cover Studio Album, 2003
3.51 | 136 ratings

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Recreation Day
Evergrey Progressive Metal

Review by martindavey87

4 stars 'Recreation Day' served as my introduction to Evergrey. I can't remember anything in particular that prompted me to check them out, it was an album I bought completely on a whim. But I'm glad I did, because it's a fantastic release that perfectly blends brutally heavy riffs with melodic singing, throw in some keyboards and prog-inspired song structures and you've got yourself some damn good metal.

With a much clearer production and a more progressive feel than previous releases, 'Recreation Day' is one of Evergrey's finest works, with consistently strong songwriting that doesn't stray too far from the bands firmly established, gloomy style. The interplay between crushingly heavy guitar riffs and crystalline keyboard melodies is incredible, and makes me regret all those days in my youth when I believed there was no place for keyboards in metal (let's be honest, we've all been there).

An absolute onslaught of intense progressive metal that doesn't let up for one second, the album kicks off relentlessly with 'The Great Deceiver', and follows up with the likes of 'As I Lie Here Bleeding', 'Blinded', 'End of Your Days' and the title track, each song a barrage of riffs that will have your neck aching in the morning. There's a few ballads in here too, most notably 'I'm Sorry', but the lyrical content and the sincerity in the vocals means that this is no safe haven from the underlying sense of dread and uneasiness surrounding each song.

'Recreation Day' is a dark, grim and merciless album from start to finish. There's nothing pretty about it, and that's pretty much why I love it.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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