"Like You" was written in memory of Amy Lee's deceased sister, as was "Hello" on Fallen. Lee stated: "I can't help but be affected by that, and if it's my place to express myself and all the things that have been most deep and the most painful and have just touched me, I feel like it does honor her."

Having lost a sister at such a young age put things in perspective for Lee, who says she cherishes making music and wants to love. "What else is there?" she ponders. "I don't care about the stupid things as much as I would if I hadn't been through that. The song is about me from the perspective of a child back then, and I go back to that place a lot of times. I went there and wrote the song that way. It's not the kind of thing that I would normally say on a megaphone in front of millions of people."

"It's something that changes you" - the singer stresses - "I love her, and I will always love her. Her spirit is always with us. I feel like I'll always want to have a little place for her on every record. On the last record, it was 'Hello', and I wrote that from the perspective of a child. I was talking about it in a little bit of a different way, but it's the same inspiration."[1]

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Hah, at the risk of sounding insensitive, I love this song for the sheer creepiness of it (like the suicide references). I've lost very dearly loved ones before (and had those "long to be like you" moments), but I still can't cry when I hear this song. It's not a sad song for me. I mean, afterall, "all paths lead straight to you". We'll be together again one day... It almost makes me want to smile, "I'm not grieving for you, I'm coming for you."

Back in 1996, I was lucky enough to interview Mick Harris - I believe the context might have been one of his solo releases as Lull, not entirely sure. I have the recording around somewhere, if not a transcription, but I remember one very key thing about it - it was the easiest interview I had to do up until that point, because I only had to offer up a quick question or two because in response each time, Harris talked a lot. QUITE a lot. Now some interviews someone talks a lot and it gets wearying because whoever's speaking doesn't have a lot to say in the end - platitudes at best, mere waffle at worst. But Harris wasn't like that - his thoughts were rooted in takes on mid-1990s UK culture and politics, musical and otherwise, from the position of an outsider who hadn't simply ignored what was around him. He knew exactly what he didn't like and why, and how that shaped what he did like and aimed to achieve. I came away thinking above all else, "Damn, why can't more people be like that?"

Two years previously, Harris had released what proved to be the last full album as Scorn done as a partnership with Nic Bullen, who was, like Harris, a Napalm Death veteran seeking another route forward from that act's total extremity. In retrospect, seeing the peripatetic way that both Harris and Bullen have carried out their work, rooted in their already multiple approaches before Scorn and after and covering a tremendous slew of releases, collaborations and creations since, not limited to music - makes their few years together all the more amazing. It's a meeting of minds and approaches that maybe could never have lasted. But setting aside the subsequent remix album Ellipsis, 1994's Evanescence is one hell of a way to bow out. It's the kind of album that maybe could only have been created and released in the UK, something that drew on strands throughout the world and at home. At the time Scorn sounded like some of the heaviest music in the world; even at two decades' distance, it's hardly lost that feeling.

But for all the dominance and power, though, there's the fact that it does stick to the ribs somehow. It was never solely bleakness. Thanks to kindred spirit Kevin Martin's creation of the term 'isolationism', less played out in the end than post rock but no less of an attempt to catch a quicksilver feeling in amber, the work of Scorn was, perhaps inevitably, put within certain limits. One thing that's fascinating about Evanescence to me that's clearer on a relisten, even just compared to their album the previous year, Colossus, is how warm, inviting even, it can be, especially reading everything through the lens of the present. Suddenly the disorientations of dubstep's origins as much as Martin's own work as the Bug and much more besides seems to have a clearer root somewhere, in an album that plays out as an endless 3 am. Scraps of familiarity are transformed into loops and rhythms that soothe as much as they raise the hackles - two years out from their debut efforts, their Swans worship at the full as much as their Mad Professor, Pop Group or Adrian Sherwood fascinations, they are swimming through a very dark ocean of constant flowing undertows. There's nothing like a choogle here, but there is a chug, a steady churn forward.

Bullen's vocals seem to mean less than his bass playing on the face of it, but starting the album with 'Silver Rain Fell', an image cryptic, beautiful and threatening all at once, showcases both his ability with his words and how to deliver them, stern but swathed in echo. On one of the album's quicker numbers, 'Days Passed', the clip of the rhythm could be called peppy, Bullen's calm delivery of the verses suddenly underscored by strong pronouncements of the title phrase as punctuation. It almost feels like a transformation of the language, using English to feel like it came from somewhere else instead, creating a new meaning much as the music does. As he sings on 'Exodus' while didgeridoo parts and a twisted high hat/pulse drives everything forward, it's almost open ended contemplation amidst a roiling central core.

This bubbling shimmer throughout Evanescence, though, also makes the title appropriate in more than one way. It's not gossamer in the slightest, songs like 'Automata' and 'Dreamspace' are hardly about to disappear in the breeze. But it puts me in mind of a term I read somewhere - a friend, a review, somewhere - about "rainy day psychedelia" being what the English can do best. The exact reference was to the late sixties/early seventies work of Pink Floyd, something inevitably understated, downbeat, created in and around rising damp (and not just the TV series). The feeling of slow downgrade and heavy sighs that swirl in songs like 'Falling', the almost romantic tangle of the guitars throughout the album - not to mention that silver rain at the start of it all - bespeak grey skies, trudges along puddle-filled streets, slickness down the sides of abandoned buildings. It's something that could be 'simply' magical in lighter moods but feels more oppressive here, yet never to the point of complete crushing - an album of internal moods matching external circumstances.

Whilst I don't consider myself a fan of Evanescence, they were a pretty good band. Formed in Little Rock, AR (a place not well known for heavy metal acts), Evanescence were a ragtag team of classically trained twentysomethings who put out their first album, Fallen, in 2002. If you want to know what Evanescence sounds like, let me put it this way: If Vanessa Carlton joined Blue Oyster Cult and did the bulk of their dark songwriting, then yeah, that's what Evanescence often sounds like.

Amy Lee is also a classically trained pianist, and she actually plays Baldwin pianos. Which is the same kind Billy Joel plays. A lot of my friends like Evanescence, but you would have to be an avid listener of Evanescence, of which I am not, to like this post.

This comes from running weeknight karaoke shows for years, but I'm so sick of hearing My Immortal that I want to puke. It's a song every woman who came of age around that time feels they absolutely must sing after having a few drinks. The results are never good - as the best singers avoid it like the plague. It's almost 5 minutes long so I try to take a break, but that's usually cut short when I have to run to the mixer to turn the singer down during the final chorus.

If you want to know what Evanescence sounds like, let me put it this way: If Vanessa Carlton joined Blue Oyster Cult and did the bulk of their dark songwriting, then yeah, that's what Evanescence often sounds like.

Evanescence is an American rock band founded in Little Rock, Arkansas in 1995 by singer and musician Amy Lee and guitarist Ben Moody. After recording independent EPs as a duo in the late 90s, and a demo CD, Evanescence released their debut studio album, Fallen, on Wind-up Records in 2003. Propelled by the success of hit singles like "Bring Me to Life" and "My Immortal", Fallen sold more than four million copies in the US by January 2004, garnering the band two Grammy Awards out of six nominations. The band released their first live album and concert DVD, Anywhere but Home, in 2004, which sold over one million copies worldwide.

Its the more futuristic side of y2k, although im not really talking about the extremely futuristic side. for some reason the evanescence fallen album cover is like the perfect photo to describe it, sites like old myspace capture that aesthetic. its not y2k futurism, as that was what i was referring to with "extreme".

But the multi-platinum rock band is at least giving fans a taste of the album starting with the lead single, "Wasted On You," released April 24. I spoke with Lee recently in a conversation that veered from the band's early days and the new music to sharing stages with the likes of Garbage, Iron Maiden and Korn and Lee's perhaps surprising choice for her all-time favorite artist.

Amy Lee: After doing this for, it's been like 20 years, that's weird to say actually when you say it out loud, there are so many little moments along the way. It's like you're stuck at a place where you have to make a decision. And I found a lot of times choosing the path that's a little bit more difficult, or a lot more difficult, than the easy one is the one that really leads you to higher ground. When I started this band as a kid, a couple of teenagers making music in our parents' houses, it was a completely different thing. I mean the idea that started this whole thing is still there. This image and idea of something that combined multiple dramas, from the dramatic to the rock to the classical to the score. But it was just this tiny dream. It was only two people to begin with, but I'm the last one standing. There have been member changes that have been a very special step forward for us that has taken us to the place we are now. I love my band and my lineup so much at this point. And getting each one of them would never be without struggle to make a change like that. But every time I've been so grateful for the choices that we've made that has led me to my band family that I truly have now. I had to stand up and fight a lot, in particular in the beginning. 0852c4b9a8

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