Evanescence: Fallen Review

Copyright (c) Noelle Adams. All Rights Reserved.

Wake me up inside. Call my name and save me from the dark. 
Bid my blood to run before I come undone.
Save me from the nothing I’ve become. Bring me to life.

Their name means ‘a dissipation or disappearance like vapour’. But there’s nothing lightweight about Evanescence, easily one of the stand-out rock acts of 2003. Already, their debut album Fallen has gone double-platinum in the USA. The CD’s first released single, Bring Me To Life (also found on the Daredevil soundtrack) has topped music charts internationally, and even held the World Chart #1 slot for two weeks.

American band, Evanescence has been widely called ‘Linkin Park with a chick singer’. Far more accurate is the New York Times description, ‘Sarah McLahlan singing over Nine Inch Nails’. 

In fact, much of Evanescence’s success is due to the vocals of singer, and co-songwriter, Amy Lee. In an alternate-rock market over-stuffed with gruff male singers, Lee’s pure, classically-trained voice stands out. Everybody’s Fool, the third track on Fallen, particularly showcases the clarity and power of her voice. As Lee reaches the song’s climax, denouncing celebrities as false idols, you may even think you’re listening to a Lloyd-Webber rock opera.

Along with 21-year old Lee’s startling vocal range, another key to Evanescence’s success is the variety of their work. The subject matter is what you’d expect of a band that describes their music as ‘epic, dramatic, dark rock.’ Death, regret, redemption, suffering, and loneliness all feature prominently. But it’s their expression that’s surprising.

Drawing on an eclectic set of influences that include Bjork, Tori Amos and film composer Danny Elfman, Lee and guitarist Ben Moody ensure each track on Fallen offers the listener something new. Haunted is in super-Goth mode, like the CD cover. My Immortal, where Lee is accompanied solely by piano and strings, is probably the finest, most mournful, love song of the year. Smash-hit Bring Me To Life features guest male vocalist, Paul McCoy of 12 Stones. Choral arrangements and Latin chanting round off Whisper. For good measure there’s even some electronica scattered around the album.

Lee’s singing, over such diverse, sometimes clashing elements, keeps Fallen cohesive. In fact, Fallen is one of those strange CDs where you always find something different to enjoy each time you listen to it. And you certainly never get sick of Lee’s voice.

There has been a minor controversy over whether Evanescence is a Christian band or not. In the late 1990s, when Moody and Lee formed Evanescence, the group did promote Christianity. Today, the band refuses to endorse any religious agenda, but spiritual influences are still very much present on Fallen. Just look at the album title. Or listen to Tourniquet, another rock-opera track.

Evanescence is a welcome addition to the music scene. It’s always exciting to watch the emergence of another woman-fronted rock band, to join the likes of Blondie, The Pretenders, The Cranberries and Garbage.

Evanescence may also prove valuable to Nu-metal, attracting those listeners put off by the genre’s generally harsh, unvarying sound.

Most importantly, Evanescence and Fallen provide some refreshing drama in a world of bubblegum pop and superficiality.