Style: Prog Rock/Metal (clean vocals)
Recommended for fans of: Rush, Kamelot, Genesis, Avantasia, 90s Savatage
Review by: Matt
Country: Germany
Release date: 28 February 2025
“Strike while the iron is hot,” they say. It’s with that phrase in mind that we approach Shells, the surprising successor to 2008’s North. These late comebacks tend to be letdowns, with an ineffable sense of inspiration lost along the way. Luckily, Everon have always existed in their own little pocket of time, so even though we were still using flip phones the last time we heard from them, Shells has lost none of the band’s old lustre.
It’s probably safe to assume that most of our readers are unfamiliar with Everon, so to summarize the band: they are the brainchild of Oliver Philipps (vocals, guitar, keyboard,) whose work you may have heard without even knowing it. He has produced a number of European symphonic bands such as Delain and Serenity, and is known in the industry as someone you turn to when you need orchestral parts done. It is no surprise, then, that Shells leans symphonic, with top-notch bombastic arrangements and prominent piano equal to the guitars. Everon have always been difficult to categorize; they’re heavier than prog rock, yet lacking the ego of metal; they’re not technical, but one suspects they could be if they felt like it; and their lyrics are unusually straightforward and disarming. One of their albums will usually contain several different kinds of songs, from metal or metal-adjacent tracks to ballads ranging from the sappy to the sublime. Like late Savatage or X Japan, listeners must accept that they have no particular interest in Rockin’, but whatever they attempt is usually of impeccable quality. Everon is a band devoid of image or artifice; the project is nothing more or less than whatever Philipps felt like writing, and the only common thread is that he knows damn well how to write a song.
That being said, Shells is overall the heaviest Everon album, with a slight tendency towards their gothic side. There are songs that sound like Rush, late Kamelot, Devin Townsend‘s pop era, and even one of their Billy Joel-esque songs that were always my least favorite (sorry.) Listeners will be dazzled by a smorgasbord of sounds, like the odd-meter chugging of “Guilty as Charged,” the poppy-yet-refined “Travels,” or the Celtic folk stylings of “Pinocchio’s Nose.” There is a depressing/joyous dichotomy at play throughout the album, though even the major-key stuff is wistful. Each song packs an emotional punch, from the heroic first notes of “No Embrace” to the unexpectedly upbeat “Until We Meet Again,” which is a tribute to drummer Christian Moos who died suddenly before Shells could be completed. The album may have been already musically written, but this was such a surprising and touching way to do a tribute song. I got choked up multiple times during the album, honestly. I’m sure nostalgia plays a role, but also the presence of greatness. Philipps has a way of making things real, while other bands are putting on an act.
Of special note is the remix/semi-rerecording of “Flesh,” the longest and most epic song in Everon‘s history. This is the closest they ever came to being an outright Symphony X or Dream Theater-style prog metal band, with long instrumental excursions and multiple movements that pay off in a glorious grand finale. Rarely did the band ever go this big or dramatic, but it’s one of their finest moments. I would place “Flesh” right alongside those other bands’ best works, and I was worried about how a remake would turn out, but this version does have its advantages. The VST orchestra is modernized; the mix is of course much more robust; and the lead guitars have been replaced entirely with better performances. The original song has certain details I’ve become attached to that didn’t make it into the new one, but I think listeners will be fine with either version as their first. As an experiment, listen to the 2002 song after this one, and let us know what you think.
While Shells is in some ways a time capsule, it doesn’t sound old-fashioned or dated. The mix is a big improvement, and they did hilariously take the seven-string pill in a couple of spots, claiming the hotly contested trophy for “least likely seven-string band.” Notably, though, none of it comes off as trying to sound different from before, nor trying to recapture the past… Someone simply turned the machine back on after a generation, and this is what came out. You can like the result or not, but what you’re hearing is the real deal. An honest, fantastic album.
Recommended tracks: No Embrace, Travels, Pinocchio’s Nose, Guilty as Charged
You may also like: Anubis Gate, Southern Empire, Acolyte, Hemina, Teramaze, Ostura
Final verdict: 9/10
Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | RateYourMusic
Label: Mascot Records – Bandcamp | Facebook | Official Website
Everon is:
– Oliver Philipps – Vocals, Guitar, Keyboard
– Ulli Hoever – Guitar
– Schymy – Bass
– Christian “Moschus” Moos – Drums
– Jason Gianni – Drums (tracks 8, 10, 11)
1 Comment