I’m sure many fans were worried, what with the wing stretching Monday Morning Apocalypse (accompanied by just a bizarre, C-market support tour of the US Southern states), then the inactivity following Torn and ultimate dissolution of what some view as the definitive EVERGREY line-up. Fret not, the good ship Evergrey has been retooled and ready for smooth sailing!

‘Leave It Behind’ – The opening children’s choir and odd organ accompaniment are overrun by the band in full gallop. Tom Englund’s mournful voice is up front, punctuated by piano from the only other holdover, Rikard Zander. Opens the album signifying “old” Evergrey is back.

‘You’ – Dirty, grittier guitar and mid-tempo. A guy’s dissolution with his (ex-) woman’s claims: “You said you would be there. Always claimed you would see me. Never ever forget, always try to forgive, always be understanding. If I was wrong you’d believe me. If things were hard you would ease them. Things would stay the same, we’d never change.” Ends with lone piano notes.

‘Wrong’ – Nearly a cappella start, just Englund’s voice, gently backed by synth, gradually adding more instrumental layers. Still a power ballady number. “I always thought that I would know. That when things were broken it would show. Somehow I thought I always knew the difference between a lie and truth. I always thought I’d live a little longer, to have a chance to grow a little stronger. Maybe I was wrong.” Apart from the break (backing “ah, ah”), song offers minimal instrumentation through, lyrics at the fore.

‘Frozen’ – Heavy, full metallic introduction. A Phillip Glass influenced keyboard filters throughout the remainder.

‘Restoring The Loss’ – Familiar bass/drum barrage to open, with swirls of Zander’s synth. “The lack of sleep serves as morphine.” Orchestral elements in the background.

‘To Fit The Mold’ – “We are liars and vultures. Rapists of the weak.” Thus begins the acoustic tinged track. Eventually, the tune picks up, from it’s soliloquy intro, but not without another brief acoustic guitar flourish during the mid-section, which is reprised at the end, as Englund sings atop a lone, electricity-less six-string (much as it all began).

‘Out Of Reach’ – Classic ‘Grey sound, heavy on the rhythm section, mid-to-up tempo and Englund wearing his heart on his sleeve. At 3:43, the shortest track (‘Free is just two seconds longer)

‘The Phantom Letters’ – More acoustic guitar, to start. ‘Can’t stop my world from burning down. These things are all my fault. When the ashes fall from Heaven, they fall as my compassion.” Clean guitar break.

‘The Disease…’ – Drums and keyboards dominate the opening.

‘It Comes From Within’ – Lively kick off. Probably the most guitar histrionics of any track. “For as long as I remember, I’ve fought this war alone. The blood on my hands, the weight of the cross, I it alone.” Ends with same revved up tempo.

‘Free’ – Englund atop sporadic electric piano notes to open this break-up song. “I’ve read your words. I understand. It’s said. It’s done. I walk away in fear of what you said I’ve become. Can’t change your words. They are stains made to stay. Won’t be erased.” Gradually adds instruments and intensity, but never above a synthesized orchestral backdrop ballad.

‘I’m Drowning Alone’ – “The feelings of emptiness devours me, quickly. But I need you to help me. Release me from darkness. Release me from all that chains me here. I’m drowning in silence and I’m drowning alone. I hate to ask, but I wouldn’t if I didn’t need it. Not stronger on my own, I’m weaker, just so much weaker.” Familiar Englund territory, with trademark music to boot! Unheard elsewhere, the echo of children’s voices precedes the final chorus.

‘…And The Distance’ – Bookended around opening and closing sections of sporadic piano notes, this duet with Tom’s wife (Carina) starts with lone male voice atop what appears to be muted coronet/trumpet (synthesized?). “We tried. We fought. We lost. We cried. We saw it fall. We lost this game to forgiving needs. Carve the wound until it bleeds. You’re keeping your distance. You’re pushing me away. You never let me say the words I want to say. Our time here has withered Our circumstances have changed, because you never let me say the words I want to say.” A different version, (presumably with Carina doing leads) will be available as a bonus.

Evergrey's eighth studio album, Glorious Collision, is due for release on February 8th in Japan, February 22nd in North America, February 25th in Germany and February 28th throughout Europe via SPV/Steamhammer. Audio samples from the entire album can be heard at this location.