Evidence One arrived on the scene several years back. The first disc was a great melodic rock stickler, the follow up called "Tatooed Heart" had slipped and fallen into mediocrity - give or take a song here and there. It was less catchy, more mediocre and saw the band trying to bridge an impossible gap that just yawned over a chasm that left the disc scattered, shaky and unsure of itself. It was high time for a change and that's what the latest is all about. Three years later and we have it,
"The Sky is the Limit" is a reboot of the band's sound and approach. Now we find them putting a great emphasis on rumbling bass and guitars that overtake the tracks in gleeful displays of dominance. Carsten Schulz is the singer holding all the metallic trappings together, and his moody and often rage filled voice paints the songs with strong colours of emotion. There is no doubt what they are attempting to convey, and most songs come across as addictive and memorable pieces that are more metal than they are rock.
Brazen acidic rhythm riffs chug while splintery clean guitar slices through it. Swirly keyboards lend atmosphere and Carsten's slight rasp rock voice belts aggressively over the top. This is the start of the third
Evidence One album, and a fitting uptempo belter at that.
"Can't Fight the Past" has a repetitive chorus, but an addictive one. The guitar solo is liquid gold, sparkling across the musical landscape that is decidedly German. They definitely have the Euro flavor down pat. Strangely this is one of the weaker songs of the album, and an odd one to pick as the introduction to the band. Keeping the tempo steady and on the hard side is the thunder romp of
"Gallery of Broken Glass", another song that takes multiple spins to sink in, and an easy song to dismiss entirely. It's hooks are few and far inbetween, the verse is smoky but flat and the chorus is repeated like a broken record.
"Mindmines" is an excerise of metal power. Thick, crushing and heavy, guitars slathered on and set to flame, the bridge pure 80s metal and the smashing crack of the chorus brings to mind tough-as-nails outfits such as
Iron Maiden or
Judas Priest but with the catchy edge of darkly twisted WASP. The guitars are haunted and suitably mystifying, such as Ritchie Blackmore's wicked wizard's touch during the
Rainbow Dio-era albums.
"Mr Madness" is more uptempo gunning that layers vocals, strikes like a venomous snake for the chorus and sees Schulz snarling through the verses and countering that with a melodic enfused bridge. The wondrous dark and light play of the guitars for the mid section is truly the centerpiece here though. Otherwise it feels somewhat like a Andi Deris fronted
Helloween piece, both in sound and subject matter.
"Propaganda" widens the playing field up by using stark, poisonous verses that slowly smolder and build into a strangely delicious chorus concoction. Carsten seethes anger and the wall of electric guitars voice the blood red emotion with equal ferver.
"Raging Winds" is another hard edged smoker. The guitars are on point, and it unravels in a typical but satisfying manner. Acoustic clashing against the wall of electricity and a building bridge that spins into a slow burner of a chorus that deals with the tides of change. Diving dark and coming up shaking off droplets of opaque blackened water, its a spray of deep metal that comes out roaring for the haunting story of
"Rain Road". The guitar is superb, playing off of two axes that wax, wane and flare like underwater beacons playing amongst the bracken, rain swelled waters. Liquid electric and dangerously gorgeous.
"The Luxury of Losing Hope" slows down to another warped midtempo paced track is bright bold and utterly depressing, but selfknowing in the luxury of the emotion.
"The Sky is the Limit" a crackling rocker, this one aims for the sky and pushes the rock n roll ferocity to the limit. The chorus is a tad on the repetitious side, but the guitars absolutely save the song from obscurity. Darting, buzzing and ripping through the track like scathing comets of rhythm riffs and fire honed solos.
"Won't Sleep Alone" builds a wall around its heart, throwing illusions around this softer core. Exposed areas in the barricade allow a glimpse at the tenderness that haunts the soul of this track. It's mystical, strangely alluring and weaving a web of unique magic. Midtempo balladry that catches you unawares and leaves you bleeding fairy dust with images of tarot cards spinning in your head. Capping the album off as being a guitar lover's delight, this track doesn't hold back its bubbly show stealing electric acrobatics.
Evidence One's third disc is a double edged enigma. Their first (and still finest) was a polished slice of melodic edged European hard rock. Catchy tunes, crunchy guitars and very streamlined, it stuck in the head and stayed there. This latest however, is a different beast, and most of the melodic laden touches are gone. The band no longer fits in the league of candy coated acts like
Frontline or Shakra, and instead hits forcefully harder, like a bull ramming a fence over. The mysticism that prevails over the disc gives it a fresh flavor and the no-holds-barred approach of the songs is fresh and furious. There's much to love here, its just a different band at heart than the
Evidence One that we were introduced to at their debut. They have grown, matured and presented the metal community with a very solid disc that is peppered with highlights. Guitar lovers take note because there is a plethora of pulse racing riffs to soak in here.
"The Sky is the Limit" changes the name of the game, but for the best. A great disc that grows upon repeated listens. An album to crank and take in all the metallic goodness that comes washing over the speakers - it isn't all perfect, but there is definitely a good time to be had here.
Written by
Alanna Sunday, August 12, 2007
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