Le Journal Du Hard 2010 Instant Evanescence
Evanescence blends various musical styles in their music, including rock, classical music, alternative music, heavy metal, industrial music, and electronica. Music journalists vary in terming Evanescence a rock or metal band, but many identify them as some form of gothic band. The band is generally classified as alternative metal, gothic rock, gothic metal, hard rock, and nu metal. Other genres used to describe Evanescence's sound over the years include industrial rock, symphonic metal, and symphonic rock.
Le Journal Du Hard 2010 instant evanescence
The Washington Post's Richard Harrington said in 2006 that Lee working with any group of musicians in the band "is going to sound like Evanescence -- dark, stormy, anguished, seeking both release and transcendence." Evanescence "has long had dual personalities, mixing alt-metal and symphonic rock on its three studio albums", while their fourth, Synthesis, focuses on "orchestral grandeur" with electronic percussion, The Wall Street Journal stated. The St. Louis Post-Dispatch wrote, "Evanescence has long been known to mix beauty and bombast", with Synthesis and its live orchestra-backed show turning Lee's "wrenching, introspective songs into neo-operatic anthems". AllMusic's Stephen Thomas Erlewine wrote of Evanescence's musical evolution: "Over the years and through multiple lineup shifts, the band persevered under Lee's helm, eventually shifting from the radio-friendly anthems of their early days into a shimmering, classically inspired symphonic alternative outfit in the 2010s".
With Evanescence, Lee aimed to combine her various musical tastes, "bringing something from the cinematic and classical symphonic world and marrying it to metal, hard rock and alternative music". "There was all this music that was inspiring me. And Evanescence was the product of these two extremes combining". Lee said in 2010 that alongside rock and metal, the band has "always had programming and inspirations from Bjork, Depeche Mode and Massive Attack and that kind of thing". Lee considers the Lacrimosa movement of Mozart's Requiem her favorite piece of music, and wove it into The Open Door song "Lacrymosa".
Sasha Waltz & Guests: Gezeiten / BAM Howard Gilman Opera House / November 3-6, 2010Three doors, phantasmagorically mismatched, open onto an empty room. The paint on its walls has peeled away in jagged fragments to reveal two previous colors. This derelict space could provide shelter only to the desperate. One of the doors has a thick brick frame that juts into the room. It's easily imagined as the entrance to a crematorium; instantly you think Holocaust. It turns out that Sasha Waltz, who choreographed this dance-theater piece--Gezeiten (Tides), at BAM's Howard Gilman Opera House, November 3-6--has been thinking about a more inclusive range of crises and catastrophes: 9/11, Katrina, earthquakes, tsunamis, genocide--all the disasters, natural and man-made, that the human flesh and spirit are heirs to.