Evestus is an Estonian more or less one-man-based band that released it's debut album in 2004, and after numerous delays since 2006 got it's third album released now in 2010. The whole concept that the artist refers to as "Dramacore" was intensely worked on for years, and now is the time to see what it eventually turned into.
It certainly shows that the album wasn't made in a day, as the songs have a huge amount of very different elements working together. The industrial- and electro-genres are featured from some simpler ambience, synths and electronics to really heavy and simple drum programmings, to some samples and a lot of varying electronic sounds, both warm and cold. Team this up with nu-metal vocals, occasional distorted guitars and drums, sideshow-instrumentation and cellos - and what you'll have is a crude overview. It's pretty astonishing when one thinks about the mere amount of sounds on the album, and the only ones that don't really fit in are the oddly cheery oriental synths in "Leftovers."
Due to the massive amount of different sounds and elements, it's quite a challenge to try to grasp the musical whole. Overall it could be described as a mix of classical instruments and ways of composing, nu-metal and such heavier music overall, and really dominant industrial elements that cover the spine that's formed by the before mentioned core-elements. For example, one thing dominant almost throughout the whole album is a really powerful, heavy and simplistic snare drum programming that sets the pace for the album. It sets the power levels and the pace throughout the album, and keeps the whole album strongly rhythmic even in the parts when it would be otherwise ambient-esque and classical-based.
The atmospheres and emotions vary from distant and sarcastic to aggressive ones, to some calm and soothing ones to desperate and even a couple of even cheery ones - although the latter ones aren't as evident as the dominant darker moods. The album is constantly on the move, be it from rock-based parts to classical or industrial ones to even some retro and sample-based sideshow moments, but somehow manages to stay logical for the whole journey. I would say that you need to listen to the whole album from it's beginning to the end to really get the whole picture, as the songs might feature elements that wouldn't fully work on their own but are essential when thinking about the whole album's progress.
Lyrically the band deals with modern world anxiety and stress, along with going through the whole industrial scene and the overall things that were on Evestus' mind while working on the album. It all sums up to a more or less sarcastic manifest of still being alive, and is overall of enjoyable quality. It'll be interesting to see where the artist focuses on his next record, now that he's spilled out such an amount of frustration. The vocalist's voice might be a bit one-dimensional and lacking in edge, but it still has the charisma and variation to pull through the album and to deliver the lyrics.
This album is massive. It features many familiar elements, but they're teamed so that the end result sounds original and even unique. It's quite a heavy listening experience at first, but it starts to open up slowly through the following numerous listens. The artist has his own vision, and he really polished, edited and adjusted it until it was done. It might've been better if he had left the most out-there experiments off, such as the short jazz-piano part in the last track and the oriental synths mentioned in the first paragraph. The "hidden" outro could've also been executed so that it would be less of a bore when thinking of the album's practicality and enjoyability in frequent use. It unnecessarily lenghtens the album, too.
If you're looking for something new and daring within the field of industrial and industrial rock, do check this band out. The detailed and extensive visual side should provide a lot for your senses, too.