By Colin 
2003’s Fallen crept up quietly and quickly became one of the best-selling albums of the year. Mostly inspired, though occasionally marred by over-production, it offered a breath of fresh air when compared with other rock acts of the time.
Three years later, Amy Lee and her band return with their follow-up. In the interim, co-founder and main songwriter Ben Moody left the group. His absence is felt immediately. The lyrics are now more overtly angsty, and the album veers between hits and misses. Whereas Fallen stayed close to a consistent formula, The Open Door tries to push into more varied territory. Unfortunately, this approach doesn’t quite land. The ballads are as strong as ever, but the more experimental tracks (in the loosest sense) are forgettable despite flashes of brilliance.
A new sound, a familiar pattern
‘Lithium’ instantly stands out. It may well be the finest track the band have ever released, pushing the heart-wrenching ‘My Immortal’ from its long-held top spot. ‘Cloud Nine’ taps into the same energy that made their early demo material so captivating. In contrast, opener ‘Sweet Sacrifice’ disappoints. It feels like the band on autopilot and doesn’t set the tone for the more ambitious work that follows. Meanwhile, ‘Call Me When You’re Sober’ feels out of place entirely, with lyrics that lean more towards teen angst than gothic grandeur.
Despite this unevenness, there are bright spots. The influence of new guitarist Terry Balsamo brings a welcome shift. Gone are the distracting comparisons to Linkin Park, replaced with a sound more focused on Lee’s piano-driven vision. The Open Door dives deeper into personal themes, with lyrics that are far more introspective. Amy Lee’s vocals remain haunting throughout, soaring over a refined musical backdrop.
Yet for all its evolution, some familiar patterns persist. The quiet-loud-quiet dynamic still dominates too many of the tracks. It’s a structure that worked in the past, but by now it feels formulaic. Although there’s a noticeable attempt to grow creatively, the band doesn’t fully break free from old habits.
The Open Door is a record that reaches for something bigger but occasionally stumbles in execution. Still, when it works, it delivers some of the most emotionally powerful moments in Evanescence’s catalogue to date. It may not eclipse Fallen, but it proves the band is still willing to challenge themselves.
Colin