Tag Archives: Johan Niemann

Evergrey – The Storm Within


Evergrey – The Storm Within
AFM Records – 2016

The keyboard notes that hit during the intro of “Distance” really set the gravity of The Storm Within, which is all built around the concept of love.  When the guitars and drums come in 31 second mark, they tag along with the purposeful rhythm established.  Tom S. Englund sings with his heart wide open, as there is a vulnerability to his voice that allows him to sing about the deep feeling of affection. I’ve got to say I believe that this is the best playing I’ve ever heard from guitarists Henrik Danhage and Tom Englund.  They feel utterly connected to expressing their emotions through their six-string instruments, not just this song, but the entire album.   I adored the real dirty-grimy heavy guitar repeat pattern that runs through the song.  It’s brilliantly contrasted against the beautiful keyboard and even children’s choir voices later in the song.  You should definitely check out the music video by filmmaker Patrick Uuellas, as it visually matches the meaning of the song.

The band kicks things up a notch on “Passing Through.”  Like Evergrey’s instrumentation, Englund is more aggressive with his voice.  The harmonized guitars keep the rhythmic likability at a maximum.  The backing choir-like voices within the mix also take this tune into metallic celestial realm.  The vibrato in the guitar playing is tremendous and I love the way Danhage and Englund hand the guitar soloing baton off to each other.  I’m pretty certain that the chorus will stay with you long after you listen to this album a few times.

The ambient beginning of “Someday” sets a melancholy mood before the drums hit like a jackhammer.  The chorus is gigantic in this third tune and it’s accomplished with the musical environment instead of just producer’s knobs.  This takes real talent from a musical writing perspective.  I’m quite fond of when the guitars get muted and soft before the chorus returns.  I also like when the instruments drop out of the mix while the vocals sing the chorus.  Extremely well done.

I completely love how “Astray” begins with the guitars, Johan Niemann’s bass and drums hitting all at once like strategic metal missiles.  I had to turn up the volume on my stereo to crank it.  The guitar pattern picked is killer and the soft keyboard layered against it is pure genius.  Jonas Ekdahl’s drums are addictive and powerful.  The lead guitar work is real bluesy and contains deep felt emotion.  I couldn’t stop myself from banging my head to the heavy guitar part 4 minutes in.  Awesome to say the least.

Rikard Zander’s keyboard in “The Impossible” is touching and a perfect choice to underline Tom S. Englund’s masterful vocals.  The inclusion of orchestral touches (strings) gives this song incredible texture and warmth.

Guitars and drums strike like a bolt lightning in the sixth song “My Allied Ocean.”  The apocalyptic lyrics sound perfect with the stampeding drums and supercharged guitars.  I’m attached to the little guitar rhythmic pattern changes throughout.  Zander’s keyboard features a cool sound.  Henrik Danhage absolutely kills it on guitar with Tom S. Englund.  I’ve got to repeat this is the best guitar playing I’ve ever heard from Evergrey.  The Evergrey guitarists always deliver the goods, but this time they’ve taken their expressive playing to another level.  They do this in terms of power, feel and just their ability to communicate themselves on a poignant level through the six-string instrument.

The seventh song “In Orbit” features Nightwish vocalist Floor Jansen.  But before she does, listen to the keyboard cadence that is guaranteed to hook you.  The inclusion of Jansen’s powerful voice boosts the strength of the song even more.  Believe it or not the idea of pairing their voices together came from Tom Englund’s wife Carina Englund.  Something that I really loved about this song was the guitar rhythm part that sounds like the notes are vibrating from the tremolo bar being hit.  Both Danhage and Englund are fantastic playing super heart-rending lead guitar parts.    Without question, I hope to see a music video of this.

Jonas Ekdahl sets a real steady drum beat in “The Lonely Monarch.”  The guitars are really unique during the beginning of the lead section, when they play a dual harmony at a real high tone.  Also cool is the way Danhage and Englund trade-off taking turns the rest of the way.  The way the lead guitar echoes out at the end of the solo section and then has the acoustic guitar come in was stunning.

Rikard Zander is amazing with his exquisite keyboard playing in “The Paradox Of The Flame.”  The addition of orchestra and slide guitar really makes this song touching and soul deep.  Carina Englund sings her heart out with her husband and their duet is, as always a match made in heaven.  The solo guitar choices during this track show not only the band’s maturity but willingness to share the musical space (orchestral strings) for the betterment of the song.  Filmmaker Patrick Uuellas did a sensational job making the music video for this song.

Tom Englund lets his voice bleed-out completely during “Disconnect.”  He proves again why I feel he is absolutely one of the best vocalists in heavy metal.  Carina Englund’s backing voice is like an angel floating above the song’s mix.  Ekdahl pounds his kit with total conviction.  Rikard Zander’s keyboard brings a spiritual calmness to the proceedings.  The guitar soloing made the hairs stand straight up on my body because it’s done with such impassioned skill.  Danhage and Englund have outdone themselves on this record.  I love how the bass comes in and bridges the gap between solo section.  The backing female and male voices are simply astounding.  What’s so fantastic about the musicality of Evegrey and makes them quite unique, is how they are progressive without being making it feel like they are just trying to impress.  Wow, pick me off the floor after I got blown away by this incredible song.

The title track “The Storm Within” wraps the album with devine feel the band is striving for.  I believe Evergrey wants the listener to not only visualize their music and lyrics, but to have it seep into your moral core and to affect you on the innermost level.

There’s no way a better album comes out this year than The Storm Within.  I found it very telling and interesting when I’ve asked a couple other metal writers what they’ve thought of this album they responded with, “I think Evergrey is my favorite band.”  To be honest I’m not surprised Evergrey are making others feel the same way I have felt for many years now.

Evergrey – Glorious Collision


Evergrey – Glorious Collision

SPV/Steamhammer Records – 2011

Incredibly consistent with massive heavy riffs, one of the best voices in all of heavy metal and top-flight song writing are just a few of the reasons why Evergrey is my second favorite band.

A lesser band might have panicked when losing three-fifths of their line-up.  Not the Gothenburg, Sweden powerhouse, as they have re-grouped and come back better than ever with Glorious Collision.

In the more than capable hands of mastermind Tom S. Englund and his stalwart keyboardist Rikard Zander, Glorious Collision is multi-layered juggernaut of beautiful keyboards, heavy guitars, pounding drums and driving bass.

Guitars thunder across “Leave It Behind Us” with Zander’s keyboard alternating between delicate piano and a fluctuating electronic signal.  The majestic background vocals from Englund’s wife Carina, set a grand stage for new guitarist Marcus Jidell and Tom Englund to solo with blinding hair-raising effect.

The dark heavy riff of “You” sounds remarkable against Zander’s soft keyboard touch.  The dual soloing is insanely fast and when they take turns trading off, each guitarist brings a unique approach.  I can’t forget the terrific drum work by Hannes Van Dahl.  The parts of the song where he kicks the double bass pedals with heavy guitar rhythm will kick your ass!

I love when the band cuts back the heaviness to allow the piano and percussion breathe softly in “Wrong.”  On the other hand, the double bass drums kick the harder parts with authority.

Speaking of drums, they fall on top of you like an avalanche in “Frozen.”  The stop and go of heavy distortion and free space is presented as an art-form in this fourth tune.  One of the guitars speaks together with the keyboard to create beautiful instrumental voicing.  I think the little keyboard sounds in this track are absolutely genius.

Though it’s heavy, I haven’t got the faintest idea why “Restoring the Loss” isn’t played on every rock radio station across the globe.  It’s melodic with hook power to snare anyone.  This fifth song should reach the masses.  If it doesn’t, it is a criminal act of negligence by radio programmers.

Try not banging your head to the colossal riffs and drum beat in “To Fit the Mold.”  The lead guitar work is fluid and played with outpouring of emotion.

“Out of Reach” has such an amazing melody that  it felt like I recognized it on a subconscious level.  It’s pure Evergrey with Englund telling a story while the guitars fire away from two sides.  The drums and Johan Niemann’s bass unite for a Tour de Force of a song.

An acoustic guitar plays while Englund sings with great sensitivity in “The Phantom Letters.”  The harder parts of the song punctuate the tune with the band’s aggressive inflection.  I love how the picking guitar rhythm plays along with the kick of the bass drum.  The speed picking guitar runs are just wicked quick.

The muted distorted guitar in the back of the keyboard is an awesome intro to “The Disease.”  Zander’s keyboard and Van Dahl’s drums take turns leading the way for the band to rip it.  Englund and Jidell’s dual harmony towards the end is Maidenish.

Carina Englund’s voice beams from heaven before an onslaught of instrumental power strikes like a hailstorm of sledgehammers in “It Comes From Within.”

The opening keyboard in “Free” has almost a cool 70s soundtrack tone (ala John Carpenter ASSAULT ON PRECINCT 13).  The layers of vocals fit nicely with the acoustic guitars and the drums are mixed just right to not overpower the softer instrumentation.

I’m astonished how the soft, fluffy keyboard mixes right in with the vicious distorted guitars of “I’m Drowning Alone.”  The harmonic heavy riffage is breathtaking!  The break with the child singing before the big riffs come back is brilliantly conceived and executed.

Tom & Carina Englund sing a duet in “…And the Distance.”  I like how it’s not just a ballad but infused with Evergrey’s attacking instrumental fortitude.

As you already know from the beginning of this review, Evergrey is my second favorite band.  I like and even love everything they have recorded and released.  Their album In Search of Truth is a masterwork of a concept album.  I regard Monday Morning Apocalypse in the tip-top selection of my all-time favorite albums.  But to be brutally honest, Glorious Collision just might be the best album Evergrey has done so far.