So, I have written about Evergrey a few times on this blog now. I don’t think that I’ve ever made it a secret that I really love this band. So, in that case, I don’t know if that puts me in a better or worse position to write about their new albums. As a fan, this might come off a bias. Yet, I think that having a deep love for this band makes me qualified to tell you what works and doesn’t work about their fifteenth album, Architects Of A New Weave. Ever since their 2014 album, Hymns For The Broken, it’s been clear that Evergrey has gone in a little bit of a different direction from their earlier work. They didn’t outright abandon the progressive metal label; however, it does feel that they're chasing that anthemic, stadium rock sound. Big catchy chorus lines and more punchy guitar solos. This isn’t a bad thing per se; it’s just different. The band have been writing for that bigger audience sound. Which certainly fits them, with a sound that hits the rafters and just keeps on going. Also, progressive rock and metal have always been able to reach large crowds. It has its place in the cultural zeitgeist, so it’s not like Evergrey has to wholly abandon the progressive label as such. When I tell you that this band has serious chops, I mean it. I will forever count their 2019 album, The Atlantic, as one of my all-time favourites.
This new record has one big difference going for it. The lineup changes. The first I’ll mention is the departure of long-time guitarist Henrik Danhage, who has played on the majority of their discography. In his place, we have Stephen Platt, a UK based-guitarist most notable for his work in Collibus. The other line-up change going into this album is that the drummer, Jonas Ekdahl, left in 2024, and in his place we now have Simen Sandnes. He has been killing it on tours and now enters the studio for his first album appearance. We got a really great taste of what this album was going to be from prior months. At the tail end of last year, we got the stand-alone single “Oxygen!”, which was a mammoth-sounding song, and I believe it to be a proof of concept going into this new album. The first single we had going into this new album was the title track “Architects Of A New Weave”, followed by the high-energy single “Leave The Emptiness Behind”. Needless to say, my appetite was whetted for a new record. After their last album left me wanting more, I will say this new album more than delivers.
The album opens with this very foreboding spoken word intro. It certainly sets a tone. It also builds up to the album really well, almost foreshadowing all of the lyrical themes that the album is going to cover. We then crash into the first song on the album, “The Shadow Self”. Immediately, I know what we’re in for. The production is punchy and delivers that firm anthemic stadium rock sound that they have been delivering for a while. Evergrey are a true testament to the saying, The whole is greater than the sum of its parts. Every little complex thing is sewn into the musical fabric. The intricate little guitar parts are overlaying the roaring rhythm guitar. The keyboards are creating that epic-sounding atmosphere; it’s almost operatic in feel with how much it overwhelmed me on the first listen. The chorus might leave a little to be desired lyrically. I can also say the same about the title track. The chorus is them just saying “We Are The Architects” repeatedly. However, like with a lot of things in progressive metal, it’s more about the atmosphere than lyrical content. That’s why I was able to overlook it.
Something that I love about Evergrey’s songwriting is their ability to take complex musical ideas and blend them together. The intricate drum work from Sandnes is quite interesting to listen to on tracks like “The World Is On Fire” and “Chains Of Shame”; once you notice it, you can’t unhear it. Then, just chugging away underneath the production layers, you have Niemann on bass. He keeps the rhythm section in check while also making some interesting musical decisions on certain tracks. Johan Niemann provides some great solo elements to songs like “Heaven” and “Leave The Emptiness Behind”. When you take those excellent bass guitar elements and combine them with the breathtaking guitar work from Tom Englund and the fantastic keyboard work from Rikard Zander, you get such an anthemic, almost cinematic sound. Then, when integrated with the flow of the songs, the tone of the tunes just captivated me.
After a few listens to this record, I found myself consistently going back to the start and listening to it over again. Instead of picking individual favourites. If I had to pick my favourite songs from this record, there are a couple that come to mind. One that immediately comes to mind would be “A Burning Flame”, which features the vocals of Mikael Stanne (from acts like Dark Tranquillity, The Halo Effect, Grand Cadaver, Cemetery Skyline). I always love it when Englund gets to share the microphone with someone who harmonises with him so well. Another song that I could mention as a favourite would be “Heaven”. A true Evergrey masterpiece that fits in so well with their history.
This is an absolutely sensational album and one that I was really looking forward to. As a fan of the band, this album was a delight to get into. I wasn’t the biggest fan of the last record, so, for me, this is a return to form for my ears. The new members shine in the mix, and this feels like a powerhouse record. The compositions are so wonderfully put together, and each song flows so well into the next. I think that this one is on the board as one of their strongest outings. It’s definitely my favourite since The Atlantic in 2019. There’s just something here that I adore. The gothic melodies, the emotional lyricism and the powerful and commanding production make this an excellent listening experience for fans of old and for newcomers alike.
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