Tracks:
1. Going Under
2. Bring Me To Life
3. Everybody's Fool
4. My Immortal
5. Haunted
6. Tourniquet
7. Imaginary
8. Taking Over Me
9. Hello
10. My Last Breath
11. Whisper
About album of the day: The BestEverAlbums.com album of the day is the album appearing most prominently in member charts in the previous 24 hours. If an album, or artist, has previously been selected within a x day period, the next highest album is picked instead (and so on) to ensure a bit of variety. A full history of album of the day can be viewed here.
About album of the day: The BestEverAlbums.com album of the day is the album appearing most prominently in member charts in the previous 24 hours. If an album, or artist, has previously been selected within a x day period, the next highest album is picked instead (and so on) to ensure a bit of variety. A full history of album of the day can be viewed here.[/quote]
One of my favorite albums ever, and one of the very first albums I had a deep emotional connection towards
Quote:
When you imagine a nu-metal album with airplay on adult contemporary radio, you probably imagine something beyond wimpy and adolescent. But as someone whose favorite metal albums include the likes of Death, Type O Negative, Burzum, and Electric Wizard, I can say that this album is scarier than any of those discographies. People will say that it's adolescent and one-dimensional, but I believe that's precisely what makes it so beautifully terrifying.
People often compare Evanescence to Nine Inch Nails, but if Trent Reznor uses sophomoric, "second law of thermodynamics" existential dread to express his feelings, then Fallen is a concept album about that sort of irrational anxiety. It's an emotional landscape of Bush-era childhood, where our conservative parents made us worry about the silliest "moral conundrums" in their eyes. The scream of "I WANT TO DIIIIEEE!!!" you hear on "Tourniquet" isn't scary because of the phrase itself, but because its association with a song about religious forgiveness dramatically shows a sort of amped-up melodrama we've all felt sometime in middle and high school.
This message is only made more clear through the music itself. Ben Moody's guitar playing and songwriting borrow much from power metal, each enormous riff feeling like a boss level in the videogame of your subconscious. The symphonic, arena-ready production is obviously overblown, but it represents these irrational fears so perfectly. It's one-dimensional, but like the minimalist music it is otherwise so different from, that one dimension is chiseled to perfection.
I would be lying if I said that there wasn't a lot of nostalgia for me, though. I still remember the time I heard "My Immortal" with my aunt on soft rock radio as an elementary schooler; sandwiched in between Eurythmics and Donna Summers, I thought it was an eighties song, but then I heard "Bring Me to Life" on Kidz Bop 4 and Daredevil and realized they were from today.
It's also important to realize the immense role Ben Carson played in mid-2000s pop rock. Not only did he infuse his own band's music with a sort of evangelical angle to butt-metal, but he also contributed to two of the other most important albums of my childhood, Avril Lavigne's Under My Skin and Kelly Clarkson's Breakaway.
A terrible derivative of actually talented symphonic metal artists that were creating great works at the time. I liked it at the time, but it is as dated as it is wooden and infantile.
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