Evanescence

Let's face it — on paper, a band that plays classically influenced operatic rock like a new-world Bonnie Tyler or Meat Loaf has about as good a chance of hitting it big as the next Pussycat Dolls (Lord, don't get us started). That is, unless said band has the jet...

By Casey Lynch

October 26, 2006

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Let's face it — on paper, a band that plays classically influenced operatic rock like a new-world Bonnie Tyler or Meat Loaf has about as good a chance of hitting it big as the next Pussycat Dolls (Lord, don't get us started). That is, unless said band has the jet stream lung power of Amy Lee behind it — that, and some of the heaviest post-adolescent anthemic writing this side of Linkin Park. Believe it or not, Evanescence has sold 14 million records worldwide and nabbed two Grammys since its 2003 debut release Fallen, proving there is a mass market for spooky, anvil-heavy theatrical metal. The band's latest offering, The Open Door, continues where Lee and company left off with their aforementioned frosh effort, and overflows with their signature sonic alloy of high gain guitars boiling under haunting piano and strings. Once again, though, it is Lee's transcendental cries that pierce the soul and set Evanescence apart from the somewhat homogenous pack of mainstream nü metal bands. "Call Me When You're Sober" is already killing at radio, and the album has a number of could-be singles, including "Lithium," which is reminiscent of the band's earlier super-ballad "My Immortal."

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