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EVERGREY

Progressive Metal • Sweden


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Evergrey biography
Hailing from Gothenburg, Sweden, EVERGREY, the mind child of Thomas ENGLUND (vocals, guitar), was formed in 1995, 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 f...
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Hymns For The Broken (ltd. 2CD digipak edition)Hymns For The Broken (ltd. 2CD digipak edition)
Limited Edition
AFM Records 2014
Audio CD$10.99
$14.99 (used)
Evergrey - A Night To Remember: Live 2004Evergrey - A Night To Remember: Live 2004
Inside Out U.S. 2005
DVD$25.07
$6.16 (used)
Inner CircleInner Circle
Steamhammer / SPV 2004
Audio CD$4.99
$1.25 (used)
TornTorn
Steamhammer / SPV 2008
Audio CD$4.84
$3.00 (used)
Night to Remember: Live 2004Night to Remember: Live 2004
Import
Steamhammer Us 2005
Audio CD$6.13
$4.00 (used)
In Search of TruthIn Search of Truth
Steamhammer / SPV 2001
Audio CD$4.99
$4.23 (used)
Recreation DayRecreation Day
Limited Edition · Extra tracks
Steamhammer / SPV 2003
Audio CD$6.37
$4.98 (used)
Glorious CollisionGlorious Collision
Extra tracks · Limited Edition
Spv U.S. 2011
Audio CD$6.97
$5.98 (used)
Monday Morning ApocalypseMonday Morning Apocalypse
Steamhammer / SPV 2006
Audio CD$4.41
$2.20 (used)
Solitude Dominance & TragedySolitude Dominance & Tragedy
Import
2000
Audio CD$49.98
$17.17 (used)
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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)

3.08 | 53 ratings
The Dark Discovery
1998
3.52 | 68 ratings
Solitude + Dominance + Tragedy
1999
4.05 | 160 ratings
In Search Of Truth
2001
3.50 | 112 ratings
Recreation Day
2003
3.87 | 158 ratings
The Inner Circle
2004
2.76 | 78 ratings
Monday Morning Apocalypse
2006
2.74 | 57 ratings
Torn
2008
3.01 | 50 ratings
Glorious Collision
2011
3.77 | 79 ratings
Hymns for the Broken
2014
0.00 | 0 ratings
The Storm Within
2016

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

3.86 | 29 ratings
A Night To Remember
2005

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

4.12 | 20 ratings
A Night to Remember - Live 2004
2005

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

3.07 | 7 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
3.00 | 1 ratings
Monday Morning Apocalypse
2006

EVERGREY Reviews


Showing last 10 reviews only
 Hymns for the Broken by EVERGREY album cover Studio Album, 2014
3.77 | 79 ratings

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Hymns for the Broken
Evergrey Progressive Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Swedish band EVERGREY have been a presence in the metal circuit since 1998, with nine studio albums to their name at the time of writing. "Hymns for the Broken" is the most recent of these, and was released through German label AFM Records in the fall of 2014.

I understand that the circumstances behind the creation of this album wasn't the easiest, and that the line-up of the band was revamped while this CD was recorded. The members who left have been replaced by old hands though, so as far as line-up alterations goes these ones presumably weren't the most dramatic as such, at least not for long time fans of the band.

I'm not overly familiar with the past exploits by this band, but did encounter what appears to have been one of their weaker albums a few years back, a production called "Monday Morning Apocalypse", and while not what I'd describe as a bad album as such, at least not these days, it is a CD that y and large left me a bit indifferent. This time around I'm rather more impressed on this band's take on what I think might be described as an accessible variety of progressive metal.

Relatively short and tight songs appears to be a specialty of this band, at least in their current line-up, and they use a select few approaches and arrangements to very good effect throughout. Generally speaking, the songs will have an opening section, either gentle or more in your face, and an intermediate build-up and transition phase may also appear prior to hitting an initial verse section, which will often be relatively gentle, in the context of that particular song. A chorus section follows, at times with a transitional phase leading into it, and the chorus section will by and large be honing in on a more majestic arrangement, at times fairly grandiose at that, where guitar riffs and riff barrages, surging, floating or orchestral oriented keyboard textures and a wandering piano motif is paired off with the powerful, emotional lead vocals of band leader Tom Englund. Usually we'll have another transition phase back to the verse again after this, and the second and following verses tends to be harder edged or more majestic in construction than the initial ones. Some interludes and usually one or more breaks are then tucked into appropriate places in between whatever verse and chorus sections remains, and the compositions then ends in some manner or other, with everything from gentle lead outs and sudden stops to transitional phases into the following track and elongated fadeouts employed.

A key feature throughout are the emotional lead vocals of Tom Englund, who is a quality powerful singer, but a more subtle recurring detail is the elegant use of the piano to add a gentler and delicate touch to the proceedings, functioning at times brilliantly as a contrast to the more powerful sounds that dominates the greater majority of the compositions.

While I do find this album to be an enjoyable and solid one throughout, with only a token few creations not quite as interesting at the others, the most impressive composition has been tucked in towards the end here. The Grand Collapse is the name of this particular song, and besides using the aforementioned elements to a higher level of superiority here, this is also a creation that sports a more liberal use of instrumental passages, some extremely effective gentler, atmospheric laden interludes but also a piece that sports perhaps the most majestic, dramatic arrangements on this CD as well. Stronger contrasts, more focus on instrumentation and perhaps even a stronger focus on the dramatic and majestic too. Whatever the more appealing elements may be if this song is broken down and analyzed is hard to place, and for me it is the grand totality, all these elements combined in just this manner, that makes the end result here as impressive. As far as individual tracks go, this one is high on my list of favorites from 2014.

All in all, a rather impressive album by this Swedish band, a solid quality production with a fdew weak spots and a potent, vital breath of fresh air thrown in towards the end. Those who have a tendency to enjoy dramatic, majestic and accessible progressive metal, arguably with half a foot or so inside a power metal or symphonic metal sphere of reference, should most likely treasure the contents of this production.

 In Search Of Truth by EVERGREY album cover Studio Album, 2001
4.05 | 160 ratings

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In Search Of Truth
Evergrey Progressive Metal

Review by FragileKings
Prog Reviewer

4 stars Everygrey's 'In Search of Truth' caught my attention after their latest release 'Hymns for the Broken' started getting good reviews on ProgArchives. I decided to get their best rated album which, aside from the great ratings of 'Hymns', was this album. It is based on the book 'Communion' by Whitley Strieber, recounting through lyrics and spoken sections the allegedly factual account of Strieber's repeated abduction by aliens.

Though I'm no expert in this field of metal, I would say the album is mostly symphonic metal with possibly some power metal similarities in a few parts and the odd bit of thrash, though actually all these components may make this out to be exactly symphonic metal. Or maybe it's this meticulous and crafty blend of metal elements that make it prog-metal. The guitar sound is wonderfully brain-mulching and heavy but there is also a very strong and up-front piano presence and lots of synthesizer. One thing I really love about the album is how well it uses piano in tandem with the heavy metal band sound. There's also a bit of electronic effects here and there, a choir sounding totally boss in 'Dark Waters', and a beautiful acoustic guitar / piano duo in 'Different Worlds'. Of course there is your double bass drum beats in places and lots of symphonic metal guitar shredding in spots, too. I find the music very satisfying and full of enough variety in both metal and otherwise. The songs can be at times really dark and heavy and other times sad and beautiful.

Special mention must go to Tom S. Englund who does a great job of affecting emotion in his singing. He is not only singing the lyrics to this story of self-doubting and the loneliness and destitution of this incredible experience but he also speaks some parts as the story teller is recording his thoughts into a tape recorded. He starts out pretty bold but near the end, in 'Different Worlds' he is whimpering like a child as he sobs, 'Oh, god, it's happening again. They're here' Please don't touch me. I don't wanna be here. I wanna go home.' His vocal performance is very convincing, and the 12-year-old boy in me wonders how he could keep a straight face saying those lines. But with the beautiful minor key piano it's easy to conjure up an image of a man scared and alone as the mysterious extraterrestrials come silently for him yet again.

Though I think this is an excellent concept album and I can really enjoy listening to it for all the riches of metal sounds and symphonic metal parts and the vocal performance as well, there is still this lingering aftertaste of the entire album being very much the same thing. There's another piano intro. There's another thrashy, heavy part. So I can't smack this baby with a full five-star rating. But a very solid four stars is easily deserved.

 Hymns for the Broken by EVERGREY album cover Studio Album, 2014
3.77 | 79 ratings

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Hymns for the Broken
Evergrey Progressive Metal

Review by Prog Leviathan
Prog Reviewer

3 stars Evergrey is just one of those bands that recently seems to make music that always good, but never truly great. Their brand of dark, emotional, energetic, heavy prog-metal on Hymns for the Broken is almost impossible to criticize objectively; it's well-played, full of excitement, and thoughtfully composed, but there remains some missing spark to make it fully connect with the listener. Still, Hymns for the Broken is a great collection of metal music that will greatly appeal to fans of the band, and probably win over more mainstream metal heads to more progressive leanings.

This time Englund and crew are chugging out loosely connected songs about unity, acceptance, and the struggle to give live meaning. At least that what's I read into it. The cover and surface of the songs give these themes a motif of a civil revolution, but this is only skin deep. The lyrics aren't quite as depressing as Evergrey's standard fare, but Englund's vocals are just as good as always. Everything this guy sings is full of emotion and power. He never phones it in, and seems to strive to reach new heights with his range, and just nails it. His masculine vocals are still one of the highlights of the band and probably the best thing about Hymns for the Broken.

Musically the band is playing in very familiar territory: five minute songs, heavy chugging supported by keyboard textures, juxtaposed by the occasional dynamic or tonal shift to something down-tempo but not-quite-mellow. One thing I like about Evergrey is the exposed and straight-forward guitar soloing. More and more I hear modern prog metal bands creating such layered overdubs that sometimes soloing becomes lost or too busy to enjoy; not so here. While the group's performances aren't the most creative, they are just plain rock solid, which is refreshing.

But like I said before, Hymns for the Broken lacks that "spark" that really captures me. It's fun for a heavy, badass bit of crunchy metal, but it lacks the depth and variety to sustain it's 60 minute run time. There are no real stand-up-and-shout moments, just massive, dark, epic chugging. Sometimes that's just what you need, and Evergrey delivers. Recommended for fans of the band or if you need something heavy for your collection that features clean vocals unique among all the growling and soprano sustains the genre is known for.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 3

 Hymns for the Broken by EVERGREY album cover Studio Album, 2014
3.77 | 79 ratings

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Hymns for the Broken
Evergrey Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Hymns for the Broken" is the 9th full-length studio album by Swedish heavy/power metal act Evergrey. The album was released through AFM Records in September 2014. It's the successor to "Glorious Collision" from 2011. The last five years have been very troubled for Evergrey, who has seen quite a few lineup changes (and a near split-up), and again on "Hymns for the Broken" there have been a couple of changes to the lineup compared to the lineup who recorded "Glorious Collision (2011)". Drummer Hannes Van Dahl has left to join Sabaton and is replaced here by Jonas Ekdahl, and guitarist Marcus Jidell has also left to be replaced by Henrik Danhage. Both "new" members left Evergrey in 2010 during the first round of lineup turmoil, and had both been part of the band for a longer period before the breakup. So in that respect "Hymns for the Broken" is sort of a reunion album.

Stylistically the music on "Hymns for the Broken" is Evergrey like we know them. Dark/melancholic, epic, and heavy power metal with Tom S. Englund's characteristic sounding voice and vocal delivery in front. Keyboards/piano share an equally important role in the music as guitars, bass, and drums. The music isn't build around riffs or focused on instrumental performances though (although Henrik Danhage as usual plays some great melodic solos), but rather around the vocal melodies, which means that there aren't that many killer riffs on the album (or at least not riffs that are out of the ordinary for the style), but instead some pretty intricate arrangements.

The material on the 12 track, 61:13 minutes long album is well written and relatively memorable, but a bit more variation in atmosphere and pace could have elevated the album to a higher level. As it is now it's a bit one-dimensionally heavy and mid-paced, with some relatively generic soft/heavy dynamics, and a couple of faster paced or maybe more progressive oriented tunes would have made wonders for the overall flow of the album. The two closing tracks "The Grand Collapse" and "The Aftermath" are actually quite progressive in sound, but it's a bit too little too late. On the plus side the music is skillfully played/sung and the album is also very well produced, featuring a clear, and powerful sound production, which is a perfect match for the music. So despite a few issues in the variation department "Hymns for the Broken" is still a quality release on most parameters and a 3.5 star (70%) rating is deserved.

 Hymns for the Broken by EVERGREY album cover Studio Album, 2014
3.77 | 79 ratings

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Hymns for the Broken
Evergrey Progressive Metal

Review by Mebert78

4 stars For my first review, I've decided to write about my most favorite release of 2014: Evergrey's Hymns for the Broken. The truth is, I'd never listened to Evergrey prior to this album. Sure, I'd heard of the band. I just hadn't listened to them. For whatever reason, they were never recommended to me by my immediate circle of prog pals. But I'd seen their name pop up frequently on the Dream Theater Forums, which I visit quite regularly, and I noticed the high praise for the new tunes. And so, during a slow day at work, I finally decided to check out this band once and for all.

As someone approaching the band with fresh ears, I unfortunately can't compare Hymns for the Broken to the band's past albums. But I can say is that this album has made me a fan that plans to check out those past albums. From the album's earliest moments, you know you're in for something more than just a collection of songs -- you're in for a special journey. The album starts with sounds of war -- galloping horses, a helicopter, voices crying in pain. Then a speaking voice. "We've crowned a king with no soul; when all doors are closed we walk alone." You can quickly tell that this is an album about an internal struggle -- a battle between happiness and sadness, or good and evil, or self worth and self loathing -- all told with a well-crafted war metaphor. It's a fight we've all experienced at some point in our life. It's something we can all relate to. And Evergrey unifies us through our common sorrow.

The album's single, "King of Errors," is the first track after the intro. It's a beast of a song that's hard not to love. It starts off with an instrumental section that briefly reminds me of "Anarchy-X" from Queensr che's Operation: Mindcrime. But by the end, it is all Evergrey. Tom Englund's emotional voice shines from the very first lines and a scorching guitar solo demonstrates this band has the technical abilities to hold their own against any of today's progressive metal juggernauts. It would be easy for the energy to dip a bit after a monster like "King of Errors." But it doesn't. In fact, there are no weak songs on the album at all. They all firmly rank between an 8.5 and 9.5, in my opinion. It reminded me of Megadeth's Youthanasia album in that way -- or most recent Rush albums. Solid from start to finish.

Hymns is also a very well-balanced album. Englund channels his inner Michael Bolton on the piano ballad "Missing You," followed by crushing riffs in tunes like "The Grand Collapse." The latter is the album's longest song at 7:48. It is also, no doubt, is the most progressive. The middle of the song is filled with more war sounds, leaving you to wonder who ultimately won the internal battle -- a question that is answered on the final track. I'd be lying if I said the progressiveness of "The Grand Collapse" didn't make me wish that the previous, more straightforward, songs had some more progressive elements on this level. If they did, this album would easily be a 10/10. But that's the closest I can come to a Hymns criticism.

I was shocked to learn in interviews that Evergrey considered disbanding prior to writing and recording this album. What a crime that would have been. This is clearly a band with a lot left in the tank and a lot left to say. If Hymns is any taste of what the future might hold for Evergrey, then the band's fans are in for a major treat in the years, and albums, to come.

- Michael R. Ebert (progzombie.blogspot.com)

 Glorious Collision by EVERGREY album cover Studio Album, 2011
3.01 | 50 ratings

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Glorious Collision
Evergrey Progressive Metal

Review by Progrussia

3 stars By 2011, only founder Thomas Englund remained from the line-up of the breakthrough In Search of Truth album. Sound on Glorious Collision is minimally progressive, but tries to be hip. Its all about overproduced guitars, electronic synths (which are admittedly more diverse than usual for Evergrey) and the passionate choruses, though I must say that Englund a rare vocalist who still keeps getting better after so many years. Even more, I've seen them in concert on the Glorious Collision tour, and he's even better live. In fact, Englund could be a power metal version of the American Idol alumnee Daughtry of the often disliked too-commercial-to-be-genuine "post-grunge" style, whom I nevertheless must shamefully confess a soft spot for.
 The Inner Circle by EVERGREY album cover Studio Album, 2004
3.87 | 158 ratings

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The Inner Circle
Evergrey Progressive Metal

Review by Progrussia

3 stars The Inner Circle concludes (almost) everyone's favorite trilogy of Evergrey classic albums (In Search of Truth, Recreation Day). I've always thought that Englund's confessional, gruff style vocals and concepts about alien abduction and doomsday cults (predominantly American cultural phenomena) gave Evergrey a certain American feel. That's why the integration of power metal and gospel-like sounds was a good idea. In the Wake of the Weary is a great example of this, while A Touch of Blessing is a candidate for a mid-paced anthem of the year. The rest of the songs get less consistent (always a problem with Evergrey). After that band simplified their sound and entered a period of personnel turmoil and tanked with critics and fans, as evidenced by a drop in their ratings here on PA. However, I think that altering the style was a logical step, since Evergrey gave us three good albums and formula started to wear a little thin.
 Recreation Day by EVERGREY album cover Studio Album, 2003
3.50 | 112 ratings

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Recreation Day
Evergrey Progressive Metal

Review by Progrussia

4 stars On Recreation Day (don't let title confuse you - its about facing death), follow-up to their first nig success, In Search of Truth, Sweden's Evergrey refine their trademark brand of dark, soul-drenching power prog. In Search of Truth is more popular with reviewers here than Recreation Day, but I think the latter is a slicker record, more diverse in sound and tempo (although I'd still like to see more variety here), with songs like End of Your Days, As I Lie Here Bleeding and namesake just screaming to be shouted out loud with your fists in the air, while Your Darkest Hour provides some simple, but appealing keyboard melodies and tempo changes.
 In Search Of Truth by EVERGREY album cover Studio Album, 2001
4.05 | 160 ratings

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In Search Of Truth
Evergrey Progressive Metal

Review by Progrussia

4 stars Shame on me and my preconceptions. I've thought Evergrey, being from Gothernburg, to be a Swedish doomy-depressive band a la Catatonia. While this is certainly not happy music and every album deals this way or another with man's inner turmoil, its actually of the gothic-laced power prog variety, all pounding riffs and catchy choruses with keyboard embellishments. While most bands of this type deal in musical cheese or esotericism, Evergrey's leader, Thomas Englund, sounds like a guy ripping his shirt and exposing his innermost to the world. This style calls for soulfulness, and Evergrey wisely use it occasionally to enhance their sound with gospel-like female vocals. If I had a problem with Evergrey is that they tend to front-load their albums and not enough variety, as the same type of pounding riffs and intense vocals get tiresome after a while with just a brief, perfunctionary respite in form of generic ballads and softer vocals.
 Hymns for the Broken by EVERGREY album cover Studio Album, 2014
3.77 | 79 ratings

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Hymns for the Broken
Evergrey Progressive Metal

Review by Progrussia

3 stars Since Thomas Englund discovered his vocal abilities go beyond dark baritone croon about alien abductions and doomsday cults towards an anthemic emotional experience, Evergrey has joined the burgeoning ranks of radio-friendly prog-lite metal bands. Rarely has a title like Hymns for the Broken reflect the songs on the album. This is music for the depressed, but not the kind that hunker down, rather those who want to scream out loud about their emotions. Hymns are lush enough for goth teen radio, yet retain the riffing and metal sensibility to make sure that some of the listeners are boys with long hair. And you know what? Some of these songs are not half bad. Like Barricades with its blues-styled solo break, brooding Black Undertow or King of Errors and Archaic Rage (which is actually quite lush) with their melodic change-ups. Others, however, are more bland.
Thanks to ProgLucky for the artist addition.

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