Necrotica Of all the major bands who mix progressive metal and power metal, Evergrey have had one of the cleanest 50/50 ratios of the two. Sure, you can label Symphony X power/prog, but they clearly lean on the prog metal side; hence all the comparisons to bands like Dream Theater. On the other hand, groups like Blind Guardian and Kamelot – while having prog hallmarks like weird time signatures and elaborate arrangements – are still power metal at their core. But Evergrey? They meld the genres together in a near-seamless way, which is crucial to the atmosphere and aesthetics they’re going for. It allows them to explore a sound that’s equal parts propulsive and tragic; anthemic and haunting; upbeat and pensive.

Let’s take their most celebrated record for example. 2001’s In Search of Truth is a glorious marriage of complex songcraft, a haunting atmosphere, dramatic vocals, and a little dash of power metal cheese; the final result is one of the most compelling metal records of the 2000s. And frankly, that power/prog mix was a big reason that it worked so well. After all, how else could the band explore an outlandish concept (alien abductions), while exhibiting such an impressive sense of drama and mystery? For that last part, you can also thank frontman Tom S. Englund. The guy can read the damn phone book and make it interesting, as he’s adept at treating any subject with just the right level of grace and contemplation. And as Evergrey have soldiered on, Englund has applied this talent to a wide range of topics – be it religion, child abuse, personal strife, or cults.

The group’s newest offering Theories of Emptiness is largely a continuation of their trademark sound, but there are some notable tweaks to the formula this time around. The first change might not be immediately evident on opener “Falling from the Sun”, as this track is your quintessential Evergrey scorcher – rapid-fire chugs, anthemic chorus, impressive guitar wizardry, all that good stuff. But the second tune, “Misfortune”, reveals the record’s most standout feature: the fact that it sounds fucking huge. Much of this is attributed to the vastly improved production, which allows for a more spacious and panoramic take on the band’s sound. As the chasmic riffs of “Misfortune” lumber on, you can hear every little intricacy around you: the orchestral backdrop, the twinkling keyboard melodies in the verses, the subtly shifting bass lines, everything.

This larger-than-life approach applies to much of the tracklist, whether we’re talking about the sweeping gothic choruses of “Cold Dreams” (featuring Jonas Renkse of Katatonia fame!) or the soaring guitar harmonies of “One Heart”. But this isn’t to say the band watered down their sound in the process – the “Imagine Dragons-ification”, if you will. Instead Theories of Emptiness simply introduces a few new twists to their tried-and-true style. And while this is a decidedly less intense and heavy record than we might be used to from Evergrey, the moments in which they do exhibit that energy are as effective as ever. Take “We Are the North”, for instance: atmosphere and aggression collide, as the cinematic keys provide a backdrop for a series of off-kilter Meshuggah-esque chugs. Meanwhile, “Say” locks into an incredible midtempo groove for its main riff, which is equal parts heavy and catchy.

The other shift found on Theories of Emptiness is in the lyrical content – which is to say that it’s a bit more obtuse this time around. Much like The Fall of Hearts by the aforementioned Katatonia, this offering opts for a more abstract take on Evergrey’s usual topics. But it still effectively communicates the same feelings of melancholy, despair, and – of course – emptiness. The album title is pretty apt, as each song seems to explore the concept of emptiness in its own unique way. “Falling From the Sun” sets the stage for this quite nicely, as it details the age-old fight against one’s own darkness and desolation. From there, we get themes of identity (“To Become Someone Else”), personal loss (“Ghost of My Hero”), and general hopelessness (“Cold Dreams”), before wrapping everything up with the closing title track. The lyrics will certainly not be for everyone, as they tend to be very bleak and somber; still, I can’t deny that they’re compelling all the same.

Despite the changes I mentioned, this is still an Evergrey album at the end of the day. It retains the group’s core power/prog sound – albeit slower and more atmospheric this time around – and delivers the same dark, brooding energy they’ve given us for decades now. Theories of Emptiness doesn’t quite reinvent the wheel, but at this point in their career, I don’t think the band are striving for a radical reinvention anyway. This is just an incredibly solid slab of melodic metal, delivered with the band’s signature technical prowess and haunting vibes. Or in other words, another worthy entry in the vast Evergrey canon.