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Review: Evanescence Flourishes With the Classical Makeover of ‘Synthesis’

Our take on the fourth album from the gothic rockers

Evanescence

Evanescence's fourth album is 'Synthesis.'

P.R. Brown

For their first studio album since 2011, and first since their split from Wind-Up Records, Evanescence revamps the radio smashes of previous years into electro-orchestral adaptations – including a redo of their 2003 breakout hit, “Bring Me to Life.” It’s an act of artistic justice for frontwoman Amy Lee, who once yielded her initial visions for rap-rock marketability when industry gatekeepers dissed her as “a chick and a piano.” Her hearty mezzo-soprano stands front and center this time, shored up by a full orchestra and composer David Campbell’s arrangements. Synthesis also debuts two ambitious new tracks, which Lee wrote alongside programmer Will B. Hunt: “Little girl’s got a grenade,” she quips along to trip-hop beats in the symphonic fight song “Imperfection.” Originally scrapped from their 2011 self-titled album, “Hi-Lo” is the mightier of the pair, suffused with glacial industrial rhythms and a striking cameo by violinist Lindsey Stirling. With the guitars turned low and the drama high-key, Synthesis amplifies the real Amy Lee, the way she was always meant to be heard.

In This Article: Evanescence

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