| German progressive rockers Everon have announced their return after sixteen years with their new album ‘Shells,’ which will be released on 28 February via Music Theories Recordings / Mascot Label Group. Watch the video for the gargantuan new song ‘No Embrace,’ HERE. “The band never quit. It was a hiatus or something,” says Oliver Philipps as he is sat in his recording studio, talking about the new Everon Record. “I think No Embrace makes a good opening track because it is straight forward and accessible, it has a more positive energy than some of the other songs that are darker in tone or mood,” he adds about the first taster from the album. “Everon didn’t retire or anything, and we never even talked about it,” Philipps reasons. “I always wrote all the music and the lyrics. So that would mean if I didn’t do anything, we wouldn’t do anything. After ‘North’, it just didn’t happen.” “The making of ‘North’ dragged out terribly, by the time we did it, I’d almost lost interest. I just needed a change,” Philipps recalls. So here we are then, with ‘Shells’, an album bristling with energy and verve, encapsulating everything that made Everon such a force to be reckoned with in the first place. With songs like the ebullient opener ‘No Embrace’ and the complex patterns of ‘Broken Angels’, the quirk of ‘Pinocchio’s Nose’ and the more heartfelt tones of ‘Monster’, or the epic 14-minute grandeur of closing track ‘Flesh’, Everon have rarely sounded so good. Defiantly old school packed full of progressive flourishes and Philipps’ innate sense of melody set the band apart from many of their peers all those years ago. “I’ve been working as a producer with other artists through all the years,” explains Philipps, making it very clear those years away from Everon did indeed happen with his Space Lab Studio with Moschus, their drummer, working with artists such as Delain, Charlotte Wessels, progressive metallers Ad Infinitum and Wolverine, Italian progressive outfit THE ONEIRA, LEAH, Angel, and Imperia—the latter vocalists appear on the new album. Trail of Tears, Imperia and Angel vocalist, Helena Iren Michaelsen, features on ‘Grace’, ‘Broken Angels’, ‘Guilty as Charged’, ‘Shells’ and ‘Children of The Earth’. “Helena happens to be one of my favourite singers and my favourite woman; she’s my wife. So it’s no surprise she appears on this album; it would have been weird if she didn’t,” he says. Canadian singer/songwriter LEAH is an artist Philipps has worked with for a decade. “I really enjoy our collaborations. Her music has a lot of Celtic influences, and ‘Pinocchio’s Nose’, the track she is singing on, has a bit of that vibe in there, so it just appeared to be the perfect occasion to invite her to sing on this song,” he enthuses. Everon came into being in 1989 when former Jester’s Palace singer Philipps hooked up with drummer Christian ‘Moschus’ Moos, bass player Schymy and guitarist Ralf Janssen. The band received an early and helpful boost from Joachim Ehrig, better known by his stage name Eroc, who had drummed with legendary German prog rockers Grobschnitt from 1970-1983, as well as releasing albums under his stage name. Their debut album, 1993’s ‘Paradoxes’, helped put Everon on the musical map. ‘Flood’, was one of the loudest albums of its time according to Eroc, followed in 1995. Mascot Label Group released their third album, ‘Venus’ in 1997, and every subsequent album since; ‘Fantasma’ (2000), ‘Bridge’ (2002), ‘Flesh’ (2002) and ‘North’ (2008). Guitarist Janssen was replaced by Ulli Hoever following’ Venus’, and keyboard player Oliver Thiele joined, although he would depart the band following their ‘Bridge’ and ‘Flesh’ couplet, leaving a core quartet of Philipps, Moschus, Schymy and Hoever. Although a new Everon album is something to be celebrated, the road to ‘Shells’ has sadly been tainted by tragedy; during the recording, drummer Moschus died suddenly. “It was completely out of the blue,” Philipps sighs. “He wasn’t sick or anything. He was just found dead. It was a cardiac arrest or one of these things. The reason I chose to finish the album at all was that he’d already recorded drums for eight of the songs. If it had happened half a year earlier, I wouldn’t have chosen to make an album. I’d been pondering over should I, shouldn’t I for quite some time.” “Until We Meet Again” stands up as one of the most heart-on-sleeve songs on the album. The lyrics refer to the passing of Moschus. “This was the last song I wrote for this album, and while I was working on it, I got the news that our lifelong friend had died.” Following Moschus’s passing, US drummer Jason Gianni entered the fray, guesting on the drum tracks that Moschus did not complete. “I had a list of ideas. I’d been writing hundreds of songs between these albums, but there was not one thing I had in mind to fit with Everon. I blocked February to April, and once I started writing, it all came naturally. It was an enjoyable process. I didn’t know what to expect because I didn’t have a plan. It was no use trying to make it match what we did before. It was so long ago. I just thought I’d see what came out. And that’s what came out. But it was not by intention.” Hurt and regret run in the veins of the album. “I think it is a bit in the nature of the kind of music we’re doing that it is rather the darker type of emotions that will find a place on an Everon album,” he considers. “Feelings of hurt or loss are very intense emotions, and for some reason, in music, I was always more gravitating towards the darker stuff rather than happy songs. The song ‘Shells’ is an example of that and comes from one of the darker corners of my mind. It is a very sad song. It would feel inappropriate to explain the background story, but it doesn’t need the background story to be able to relate to it. “ It’s been sixteen years and now we have ‘Shells’ – Twelve tracks of quality, highly melodic, progressively inclined rock for people to enjoy. It’s certainly good to have Everon back. |
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