Discussion in 'Music' started by Mel O’Kalikimaka, Feb 15, 2017.
And here's a making of for the new vid:
With the emphasis on the orchestral arrangements on Synthesis, it's only right that Lacrymosa - with its elements of Mozart's Requiem - is here.
It sounds suitably dark and dramatic. Once again, I think they may have outdone themselves.
Yesterday I had an email from Amazon to say my copy of Synthesis would be delivered on Monday.
Today (Sunday), I've had another to say it's out for delivery and will be arriving today!!
I'm so ready for this!!
It's here. And it sounds wonderful!!
The new instrumental pieces are just beautiful and showcase Amy's classical training.
Like Unraveling, the instrumental interlude that precedes the new rendition of Imaginary. So poignant and special.
And Overture, which kicks the album off and runs into Never Go Back.
Synthesis has had so much play from me in the last day and a half. It's breathtaking.
For someone who loves Evanescence, film scores and orchestral music it's nothing less than a godsend. I was so ready for this. Driving round on a brisk, sunny autumn day and a clear, dark evening while playing it really brought the album to life (so to speak). This is definitely my studio album of the year.
I'd love to get an official audio of the instrumental versions from the DVD. Fingers crossed they get released on CD in due course...
It's been over five days now and the album is settling perfectly for me.
Going in, I really felt I'd be mostly playing the covers of favourite songs, but the whole album is so consistently excellent my plays have been fairly even. Apart from Secret Door, Swimming Home and Lost In Paradise I never really got into playing their third album too much. Synthesis has great new versions of two of those songs, but it's also introduced me to tracks I hadn't paid much attention to before, like Never Go Back and End Of The Dream:
End Of The Dream has just clicked with me this afternoon after I got past the rumbling power station sound and the first couple of lines. Up until today it's been the only track I didn't love. Now I'm almost there.
The original versions on Evanescence are so much more aggressive and dare I say ear bleedingly generic. But I think I'll grow to love them too:
Imperfection is completely the opposite of its name. I wasn't sure about it at first, but it's proven to be such a catchy and powerful song. And even more so with The In-Between preceding it:
All the instrumental interludes and preludes sound so right somehow that listening to the songs without the instrumental section feels quite wrong.
God - I'm loving this album!!
Imperfection, how do I love thee? Let me count the ways...
The chime/piano/unsettling string combo of the introduction.
The bullet-quick pace of the lyrics in the verses.
The "fucked up" lyric. Even though I'm like to think I'm old enough to be beyond such things I find it very cathartic to sing along with.
The "I wanna lift you up..." sections. Are they the beginning of the verse or the end of the chorus? Or something else entirely. I disliked the jump to the short high note and back down again at first as it reminded me of Michael Jackson's annoying "hee hee"s. But now I've got the lyrics and realise the high note is actually the first syllable of "into" I love it.
The first chorus beginning on the seventh beat rather than the eighth. It feels so wrong and rebellious that it's perhaps my favourite thing about the entire song at the moment.
The power vocal of the chorus with its all-out instrumentation. "Don't you dare" indeed.
The staccato delivery of the bridge ("we stand undefined") leading into something more aggressive.
The fantastic message of support and hope.
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