The Open Door - Dark Publications

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Editorial Reviews:

Amazon.com
There's nothing like a breakup to focus your muse. This follow-up to the stunning, multi-platinum Fallen was penned as singer Amy Lee's troubled romance with bandmate Ben Moody was spiraling out of control, impelling her to craft an anxious record full of recriminations, revelation, and self-flagellation, as she questioned everything that kept her whole. It's a fascinating journey for the listener as she ventures into her own personal heart of darkness, her stricken, perfect voice suspended on an unsteady precipice between breakdown and breakthrough. Despite the loss of two members, including guitarist Moody who left mid-tour in 2003, the album has a maturity, sophistication, and a singular vision that wasn't found in their earlier work. Stately and as exotic as Led Zeppelin's Physical Graffiti, with its intricate instrumentation, disturbing imagery, and disembodied chorus, The Open Door shows exactly what this band is capable of. "Snow White Queen" is a goth-y alternative to Mariah Carey's "We Belong Together," equally anthemic, but with much more grit and pain. --Jaan Uhelszki

Album Description
The follow-up to their Multi-Platinum Debut Featuring the hit single "Call Me When You're Sober"

Customer Reviews: Read 466 more reviews...

4 out of 5 stars

Evanescence: The Open Door. A Very Strong Return October 3, 2006
177 out of 203 found this review helpful

Major success is a tough act to follow. Selling 6 million copies of its first major label studio album, Fallen, and delivering the mega hits "Bring Me to Life" and "My Immortal", Evanescence and front-woman Amy Lee return with the hard charging new album, The Open Door. Despite Ben Moody's acrimonious departure, Terry Balsamo has made a great songwriting pair with Lee. Drawing its strength from hard guitar riffs and Lee's soaring voice, the record offers quite a few nuggets of pure rock bliss, enough to get your head banging and your stereo blasting.

Opening track "Sweet Sacrifice" flat out rocks, its thundering guitars matching perfectly with Amy Lee's towering voice. "Call Me When You're Sober" is an wonderfully angry song with dual guitars trading rhythm and melody lines. "Weight of the World" is a fast paced rocker that isn't too distinctive. "Lithium" is a nice piano ballad with strings showcasing Amy Lee's vocal and lyrical range. "Snow White Queen" is chaotic and disorganized, but the classically influenced "Lachrymosa" is fantastic, a bizarrly fascinating mix of strings, guitar, piano, and choir that just flat out soars. This song would be a perfect addition to any soundtrack.

"Like You", a mid-tempo piano-based track, smartly keeps the guitars in the back of the mix until the crescendo. "Weight of the World" and "Cloud Nine" are solid up-tempo rockers laced with grinding guitar work while "All That I'm Living For" and "Good Enough" are more piano-based emotional tracks. "Lose Control" has a dark piano melody that bursts into crunching guitar on the chorus. "The Only One" is a dark ode that is one of the strongest songs on the album emotionally.

Strongly produced to take full advantage of Lee's towering voice, The Open Door is full of growling guitar riffs and emotive piano melodies. The songwriting is solid, and in some cases, exceptional. The loss of Ben Moody is more than made up by the songwriting team of Lee and Balsaro, and this album is one sure to please Evanescence fans and make some converts with some of the singles. Recommended.

A.G. Corwin
St.Louis, MO

5 out of 5 stars

Even better than 'Fallen'. 'The Open Door' grabs a spot among the best albums of 2006 October 4, 2006
49 out of 75 found this review helpful

When Ben Moody went his own way after the release of 'Fallen', there was a lot of skepticism about whether Amy Lee would be able to match on her own the songwriting quality of 'Fallen'. Not only did Evanescence managed to match 'Fallen', but they were also able to exceed it.

Amy Lee's vocals a amazingly good, and the songs are less suicidal but still quite dark. Unlike their previous work 'Fallen', this album sounds less like Linkin Park, and more like a heavier and more haunting version of Meat Loaf.

Along with Muse's 'Blackholes & Revelations' and Stadium Arcadium' from The Red Hot Chili Peppers, 'The Open Door' grabs a spot among the best albums of 2006.

4 out of 5 stars

Lee Keeps Evanescence Tight as a Drum December 4, 2006
38 out of 44 found this review helpful

Evanescence has been through a lot since its major label debut "Fallen" rocked the charts in 2003. Songwriter/guitarist Ben Moody departed from the band on account of personal and creative differences with lead singer Amy Lee and has since moved on to work with other artists (Avril Lavigne, Kelly Clarkson), and Lee herself has been at the heart of a well-publicized sexual harassment lawsuit. At long last, however, the band's long-anticipated "The Open Door" has arrived, having debuted at #1 on the Billboard charts.

While Lee is flanked by talented musicians, she is now the indisputable centerpiece of the band, which was inevitable from the beginning. She wrote all the tracks either solo or in tandem with the band's new guitarist, Terry Balsamo, and staking a clear assertion of independence. From her impassioned vocals to her forthright lyrics, it is clear to see she has a lot to get off her chest.

Lead single "Call Me When You're Sober" seems at once like yet another Kelly Clarkson radio hit, but this actually works well, striding the line between catchy pop and mainstream rock. Constant airplay has not diluted the song's appeal as it continues to air out Lee's frustrations with Shaun Morgan, her ex-boyfriend and lead singer of rock band Seether. "Lithium," the second single, channels Sarah McLachlan with piano/vocal simplicity before the guitar riffs surge, beckoning the psychiatrist's couch with its deep, dark gloom.

The album's opening track, "Sweet Sacrifice," however, is extremely radio friendly, with a downright awesome hook and sharp lyrics to boot. Meanwhile, the lower-key duo of "Your Star" and "Like You" ruminates with such cryptic observations ("I'd like to be like you/Lie cold in the ground like you") that comparisons to the psyche of Emily Dickinson would be justified.

Elsewhere, "Weight of the World" paves the path for a new future, finding Lee declaring "I won't be held down by who I used to be," while "Snow White Queen" recounts sexual abuse.

"You belong to me/My snow white queen/There's nowhere to run, so lets just get it over/Soon I know you'll see/You're just like me/Don't scream anymore my love, `cause all I want is you."

The album concludes starkly with "Good Enough," finding Lee at her most vulnerable as she puts her guard down, declaring "I've completely lost myself and I don't mind/I can't say no to you."

Listeners who enjoyed "Fallen" will by more than pleased with "The Open Door." The songwriting might not be as refined with Lee steering the ship almost entirely on her own, but she more than compensates for it with ardor and artistic devotion.

1 out of 5 stars

Read This before You Buy October 31, 2006
22 out of 35 found this review helpful

I've purchased hundreds of CDs from Amazon, and read probably thousands of reviews. I've never written my own. That being said, this album definitely deserves it.

There are times in a band's life where the band must grow - musically, emotionally, politically... it all really depends on the band. Most bands suffer from a poor sophomore release because they've spent their lives working on that first CD, and then get only a year or two to work on the next. Many bands that hit this sophomore wall are great bands that eventually fail, because they can't live up to the success of their first album. Those that survive typically have to grow a little.

With Evanescence, they lost two influential band members. Significantly, their music writer. Ben Moody used to write the music, and then he'd come to Amy Lee, who would then write the vocals. Their inspiration was gothic piano music, which they would then throw heavy drums and guitars all over to create and ethereal, dark, heavy sound. It was amazing.

Ben didn't write the music for this CD. That much is painfully evident. Perhaps their new guitarist from Cold wrote some of it. Other reviews here might lead you to that.

But the simple truth is that this band did not grow - they changed through the acquisition of new band members and the losses of others. This is not the same band that it once was.

You won't see many radio singles from this CD. Because there aren't really any. The list of good tracks on this CD is limited to three or perhaps four, whereas almost every song on Fallen was great. I'll give you my opinion, but please form your own. The good tracks are: Call me When You're Sober (of course), Snow White Queen, and All That I'm Living For.

Remember - fallen was hard rock, or goth rock, or heavy metal or whatever label you'd like to place on it. You've heard it before. The Open Door does not feature the same style of music - at all. Most songs are soft, slow songs, where Any Lee wails loudly or moans over the subdued music.

Those in the gothic world would most compare this to some of the European bands, perhaps Elis or Leaves' Eyes... although Amy has no experience with Ethereal Gothic Rock, and thus can't do those bands justice.

So, if you're going to buy the CD - great. But don't expect it to be Fallen, or even the same Evanescence. It's a completely different band with a completely different sound. I, for one, was greatly disappointed. The album is mediocre at best. It's certainly not a great CD. My music collection is built around metal, goth, rock, and what have you, so I've got a fair bit of experience in the matter.

If you're really and American Evanescence fan looking for some great goth rock or goth metal bands that you haven't heard yet, try Lacuna Coil, Nightwish, or Within Temptation. Those might lead you in the direction you're looking for.

I really hope that Evanescence can return to their roots for their third album. This isn't a horrible CD, as I said - it does have at least three good songs, but it certainly isn't Fallen caliber, and I'd really like to have some new material in that style.

Thanks for listening. I hope you find my review helpful.

2 out of 5 stars

I'm feeling something: this album pains me October 11, 2006
18 out of 30 found this review helpful

1. Sweet sacrifice-4/10 stars
When you don't real free writing
Just repeat the same old thing
When you don't feel like writing
Just repeat the same old thing

Seriously, choruses are going to be repeated over an over, why not at least give us four different lines of lyric and music? I just get tired of hearing that same line over and over. It's definitely the worst thing about the song. Other than the irritating chorus the song isn't so bad.

2. Call Me When You're Sober-9/10 stars
I honestly enjoyed this song, despite hearing "you want me come ... find me" in a previous Evanescence song (Anything For You). It rocks hard and is my favorite one on the disc. The song is layered - that is more than just Amy and a piano -- and isn't redundant lyrically, unlike Sweet Sacrifice and Lithium. The giggle at the end seems slightly out of place, and radio stations thankfully cut it.

3. Weight of the World-4/10
Despite being a little tinker-toy in the background during the verses and having precious few lyrics (11 different lines) it's an ok song. However, it grows old really fast.

4. Lithium-stars chose to go supernova rather than risk being associated with this
Musically it is boring, lyrically it is repetitive, and some cries of LIIIIIITHIIIIIUM are simply painful. I actually find this song offensive for several reasons.
A. it perpetrates the ill-conceived notion that mood-stabilizing drugs make it so the person can't feel anything. Anyone on said drug should have the common sense to talk to their doctor about adjusting dosage if they feel it is inhibiting all emotions.
B. it seems to encourage manic-depressive people to stop taking their stabilizers lest they be "cold" or "locked up inside." Why not just tell cancer patients to stop chemo? I thought I was reading too much into it. But hey, I could just be reading too much into things right? Surely she doesn't believe such things are wrong, right? (Tom Cruise, anyone?)
C. Then I found the October 2006 Spin Magazine interview. Apparently I translated correctly.
"I thought about taking antidepressants, but I think that takes your soul away. I remember thinking that if I made that choice, then I wouldn't be an artist anymore, because I wouldn't be able to feel anything."--Amy Lee. "Oh my God. I can't be an artist, I feel nothing, and I have no soul. Pardon my mental condition, Amy." -- Me

5. Cloud Nine-0/10 stars
The weird ghosty noises definitely didn't work for me, and neither did the over exaggerated vibrato at the beginning of the first use of the prechourus. The vocalizing in the first verses and chorus embodied the worst characteristics of Christina Aguilera (overdramatic, attempting to show of vocal "ability" rather than singing), and the song doesn't seem cohesive. I have a hard time even getting through this one. Lay off the voice effects and sing like you used to, Amy, seriously. This is soulless and irritating.

6. Snow White Queen-5/10
Like some have already said, it's about Amy having been stalked, which is probably why she seems to put forth more effort on keeping the lyrics from repeating.
Amy also takes the lower register, and those low notes sound horrid. Musically it is nothing special. Marvelously mediocre.

7. Lacrymosa-7/10
Simple but enjoyable. More of a chill song than a rock-out song, but hey, sometimes you need your mellow.

8. Like You-0/10
Simplistic; until the end where the guitars kick in a bit there's nothing much more than Amy singing, a piano, and a creepy effect in the background that sounds like a guitar chord echoing eternally on the same note, creating a repetitive tapping. A lot like Origin and pre-Origin songs such as October, Solitude and every other cookie-cutter slow song Evanescence has done. Why have they regressed?

9. Lose Control-1/10
Goes from same-as-above to an attempt at clinging to their gothic aspects, complete with whispering right next to the microphone. Yet another song with wavy vocalization in the background to create ambiance during the chorus.

10. The Only One-1/10
Wow. Another slow song with little but piano, bringing the guitars in at the chorus. I think I've heard this before. NEXT!

11. Your Star-2/10
Wow. Another slow song with little but piano, but HEY! This one brings guitars in at the second verse! The first three minutes is yet another throwback to most every other slow song they've done. You have to wait until the end for it to pick up, and by then you're asleep.

12. All That I'm Living For-4/10
Annoying chorus with little variance in notes from line to line. Take out the chorus and the song is half-decent.

13. Good Enough-5/10
Musically it is lovely. However, the introduction -- which was supposedly written in the hopes of being included in "The Chronicles of Narnia" - does not fit in with the song and is clearly tacked on. Lyrically it goes with previous themes of Anything for You, Anywhere, Bring Me to Life, My Immortal, etc. which glorify the idea of women giving themselves completely over to their partners. Some see it as romantic ... I note that some people take said self-loss so literally as to stay in abusive relationships. I would just like to hear more songs -- like "Call Me When You're Sober" -- that celebrate getting out of a bad relationship as opposed to doing anything for a partner, period.

So I'm not a hater of the band
Just a slightly bummed long-time fan
Who more and more the songs appall
Guess I'm feeling something after all.

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