Author Archives: Justin

Nov18

Win an Exclusive Signed Merch Pack from Evanescence

Just Announced – Evanescence is giving away a few exclusive Synthesis merch bundles! Enter Here: http://smarturl.it/SynthesisGiveaway

1st Prize: 3 Winners

– One (1) Exclusive Signed Merch Pack from Evanescence including:
– One (1) ‘Imperfection’ Tee
– One (1) ‘Synthesis’ Journal
– One (1) ‘Synthesis’ Hoodie
– One (1) Signed ‘Synthesis’ CD

Nov17

Amy Lee’s song “Speak To Me” won a Hollywood Music in Media Award

Last night the Hollywood Music in Media Awards were held at the nightclub Avalon Hollywood in Los Angeles where Amy Lee‘s song “Speak To Me”, the end title theme from Voice From The Stone movie, won in the category best original song in an independent film.
The song competed with the following nominees:

ORIGINAL SONG – INDEPENDENT FILM
• “Calling to Me” (One Percent More Humid) Written by Nathan Halpern. Performed by Emily Forsythe
• “My tiredness Hasn’t limit” (The Enchanted) Written by Ivan Ruiz Serrano, Ricardo Davila and Angela Boj, performed by Angela Boj
• “PBNJ” (Patti Cake$) Written By Geremy Jasper & Jason Binnick. Performed by Danielle Macdonald, Siddharth Dhananjay & Cathy Moriarty
• “Speak To Me” (Voice from the Stone) Written by Amy Lee & Michael Wandmacher. Performed by Amy Lee

“Speak to Me” is a song by American singer Amy Lee recorded for the ending credits of the independent movie Voice from the Stone (2017). It was published online and made available for digital download on March 17, 2017. For the song, Lee collaborated with the movie’s score producer Michael Wandmacher and director Eric Dennis Howell with whom she got acquainted to Voice from the Stone and its plot. Inspired by the movie’s story line which she could relate to her personal life as a recent mother, Lee decided to contribute to the soundtrack with an original song. Musically, “Speak to Me” is a piano ballad instrumentally complete with strings, booming drums and cellos and features lyrics in which the protagonist pleads for love.

Upon its release, the song received critical acclaim from music critics most of whom praised its haunting and cinematic sound accompanied by the singer’s trademark vocals. A music video for the song for which Lee collaborated with Howell was filmed at the same location as the movie, in Siena. It serves as a backstory to the movie and it features Lee singing the song and playing the piano in a gothic castle setting; shots of her walking at a garden with a boy are present throughout. As the song itself, the visual received positive feedback from critics who felt that it was a fitting accompaniment to the song’s overall musical style and the movie’s tone. [Source]

Nov16

Amy Lee: ‘I Think This Is Just A Really Cool Moment In Time’

It’s the day after Halloween and Evanescence frontwoman Amy Lee is in between shows during possibly the band’s most ambitious tour to date. Out in support of their new Synthesis album, a collection that finds the group reworking signature songs like “Bring Me To Life” and “My Immortal” into orchestral versions, the band is playing on a nightly basis during the limited tour with orchestras.

Lee has also her three-year-old son Jack and husband Josh Hartzler on tour with her. It’s a lot to balance, as she says, “I feel like I’m the busiest I’ve ever been.” But it’s also clear talking to her it’s one of the most gratifying times in her life.

The ease and calmness in her voice as she talks about perspective and the joy she found at being on stage but still having Josh being able to take Jack trick or treating in the arena is very clear. It’s a prosperous and creative time for Lee and Evanescence.

Even she is not sure where this orchestral period will lead for the band. But as she also tells me, “I’m absolutely positive I’m gonna remember these performances and this very special experience for the rest of my life.” [Source]

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Nov15

Amy Lee Says ‘Synthesis Live’ Tour Is ‘Really Special’

Amy Lee spoke to Forbes about the fan response to the band’s “Synthesis Live” tour, which features a reimagining of some of Evanescence’s best-loved songs with the spotlight on full orchestra, electronics combined with the band and her virtuoso piano and voice.

“I think our fans like it a lot,” she said. “It’s a way to experience this music, for them and for us, in a different way. We’ve been playing the straight-up original versions of our songs for many years now. So to have an opportunity to go to a different venue for most of these shows, go to a concert hall, sit down and listen to it, it’s a lot more like going to a show, like going to a movie, than going to a rock concert where you’re gonna jump up and down and make noise. There are parts that are very intimate before it goes big and epic and 28 orchestral musicians are going off. So it’s a very personal experience. The reaction I’ve seen has been really good, but it’s definitely different. It feels still weird to us on stage, we’re getting completely used to it. It’s definitely not a rock and roll show, but I think it’s really special and I’m absolutely positive I’m gonna remember these performances and this very special experience for the rest of my life.”

Asked if she sees herself wanting to write more orchestral works or film scores after completing the “Synthesis Live” tour, Lee said: “It’s kind of the other way, that’s what I’ve been doing. Between the last EVANESCENCE record and now I’ve been doing a lot of stuff on the side, doing the more film soundtrack score world and working more in that way just to please myself. I enjoy doing it very much. And this is me being a little less intimidated by that and ready and brave enough to kind of mess with our music. So I just wanted to because it felt good. There’s really no big plan. It’s really expensive, it’s probably not smart marketing wise. I had a creative idea and it felt good so we did it. I really like contrast. I really like extremes. So it’s cool to be able to take this this total contrast from European metal festivals we were playing this summer and then go totally full orchestra concert halls later in the year. It feels really good to me, so I’m just saying whatever comes from us next and what this means for our trajectory I don’t know that it means going deeper into this world. I think this is just a really cool moment in time.”

The “Synthesis” album was released on November 10. The effort features full orchestration in a completely synthetic world of beats and sounds, with help from arranger and composer David Campbell.

“Synthesis” contains two new EVANESCENCE songs in addition to fan favorites re-recorded with a live orchestra and electronica.

The “Synthesis Live” tour launched on October 14 on the West Coast.

Source: Evanescence’s Amy Lee Says ‘Synthesis Live’ Tour Is ‘Really Special’ – Blabbermouth.net

Nov15

Evanescence’s new album, Synthesis on Spotify!

Listen and share Evanescence’s new album, Synthesis, on !

Nov14

Amy Lee: I had to step away from being a rockstar

When Evanescence unleashed Fallen in 2003, they inspired a generation. But for Amy Lee, it was the start of a decade-long struggle to control her own destiny

Amy Lee is in a playful mood. Despite talking to press all day, the Evanescence singer and gothic rock superstar is warm and chatty, anticipating our next question with a, “C’mon, what you got, whatcha got?” and giggling. “You’re my last in a looong block of interviews,” she tells us in her throaty, sing-song voice before we begin – but to her credit, it’s clear that when it comes to talking about Evanescence, she’s so fiercely proud of her band that she relishes the chance to set a few things straight.

Over 22 years, Evanescence have continued to defy expectation. From their humble, teenage beginnings in the 90s to the overwhelming breakthrough of Bring Me To Life, the song that became ubiquitous on every music channel for its iconic depiction of Amy Lee as a kind of gothic Rapunzel, to their new record Synthesis, an orchestral retrospective of their career, there’s a lot of ground to cover. Yes, with just three studio albums in 20 years, they’ve appeared to have some long breaks, but Amy is adamant that it’s all part of a process that’s allowed the band to continue.

“People are like, ‘Oh, so you’ve been hanging out and doing nothing for five years, how come?’” she says sardonically, referencing the last hiatus following their third, self-titled album, released in 2011. “It’s never like that! We toured for a year and a half, and then, you know, I had a baby, blah, blah, blah…” she trails off, laughing.

It quickly becomes apparent that she has a tendency to inject humour and gloss over some of the more personal aspects of her life, serving as another reminder that we’re talking to someone who at one time was a bona fide megastar, thrust into the limelight at 21. When she gets serious is when talking about her music, explaining the need for her latest break: “To make something you really mean, for me, means I have to go live my life for a while, figure out who I am again and have some experiences I need to get off my chest. I need to step away and not feel like a–” she hesitates before saying the next word – “a ‘rockstar’ any more. I need to go be Amy.”

“And it’s beautiful, because as much as I’ve been ready and willing to abandon it completely, it always leads me back to Evanescence,” she says with certainty. “I’m very proud, still – more than ever, even – of our oldest music. It’s not anything I’m ashamed of.” [Source]

Nov13

Watch the final episode of “Inside Synthesis”

In the final episode of “Inside Synthesis”, peek into the process of making Amy Lee’s ​piano.

Nov11

Evanescence Find Orchestral Bliss With ‘Synthesis’ – Album Review

Loudwire Review: Orchestras and rock/metal music have enjoyed a long and fruitful relationship. From entire genres like symphonic metal to collaborations such as Metallica’s S&M, Dream Theater’s Score and Deep Purple’s Concerto For Group and Orchestra, utilizing an orchestra can add a whole different dimension to a band’s sound.

Unlike many of these collaborations that are live albums, Evanescence’s Synthesis is a studio record consisting of orchestral versions of earlier material along with two new tracks. While a band like Metallica working with an orchestra might raise some eyebrows, it makes perfect sense for Evanescence. Their music is dramatic and dynamic, and they’ve utilized classical elements on previous albums.

Vocalist Amy Lee says, “These songs all have a life beyond the initial studio recordings, so it was really satisfying to go back and sing them as a 35-year-old as opposed to a 20-year-old (some of them). To be able to incorporate some of those elements that have developed over years of playing them live, and to show ways I’ve grown as well was a beautiful opportunity. I had to not only make each these new versions better in some way, but also preserve the core of what made the initial performance so great. I really challenged myself.”

As to the songs they selected to give the orchestral treatment, there are some of the hits from their three albums, but many are not. One I wish they would have done is “Going Under.” It’s interesting to hear “Bring Me to Life” as a classical track without the male rap parts. “My Immortal” and “Lost in Paradise” are a couple other of their well-known songs that are included in this set.

Some of the songs that work best in this format are lesser-known tracks like the heartfelt “Imaginary” from Fallen and The Open Door‘s “Lacrymosa,” which features a great performance from Lee that goes from reserved to all out belting. Her performance throughout is outstanding, with her powerful pipes never overshadowed by the orchestra.

The two new songs are the subdued “Hi-Lo” that features a guest appearance from violinist Lindsey Stirling and the album closer “Imperfection.” The latter has been released as a single, and its classical base has a lot of EDM and hip-hop influences.

Lee says, “’Imperfection’ is the most important song on the album for me. The song had to fit into our body of work, but at the same time, be a classic in its own right. When the lyrics started pouring out of me, I realized it was speaking to all those people we’ve been losing through depression and suicide. I sang it from the perspective of the person left behind. It’s a plea to fight for your life, and that we all need each other as humans.”

The production on the album (handled by Lee and Will Hunt) is excellent. It’s grandiose and bombastic in parts, quiet and subdued in others, and working with so many instruments when recording and mixing an album is tricky. Evanescence are currently on tour playing the album with an orchestra, and having had the chance to see them, this reviewer highly recommends checking it out. As dynamic and compelling as Synthesis is on record, it’s even more so live, especially with Lee’s charismatic performance. Read Full Review!

Nov08

Amy Lee Chats With Paste About Synthesis, Perform a Solo “Good Enough”

Evanescence are back—again. Six years since their last album, 2011’s Evanescence, and 14 since their Grammy-winning breakthrough Fallen, the Southern gothic stalwarts are set to return with their most unusual project to date: Synthesis, an album featuring orchestral arrangements of some of their best-known and most-loved songs, with Amy Lee’s unmistakable voice out front as always.

Evanescence—now comprising Lee, drummer Will Hunt, guitarist/background vocalist Jen Majura, bassist Tim McCord and lead guitarist Troy McLawhorn—have always thrived on a deliciously dissonant sound, a potion of gothic imagery, metal guitars and pop craftsmanship that produced early hits like “My Immortal” (from 2000 demo Origin) and “Bring Me to Life,” the Fallen smash that would solidify the group’s signature recipe. The relationship between organic and electronic has always been at the core of Evanescence’s music, and on the sprawling Synthesis, Lee has brought it to its most dramatic form.

“That is the basic idea of the title of everything: Synthesis,” said Lee, who joined Paste at Steinway Hall in Manhattan recently for an exclusive listen to Synthesis, out Nov. 10. “Those two seemingly opposite things married together in a very beautiful way, where it’s not about contrast, but about them actually working together.”

The record will also include two new songs, “Hi-Lo” and “Imperfection.” Lee explained that the converging of old and new also echoes the project’s vision, noting, “That’s the other point of that word ‘synthesis’—past and present. Revisiting songs like ‘My Immortal,’ but in a place of now. Also, tying the new music into it and creating this thing that all flows together into one moment, but it’s actually going back and into the future.”

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Nov06

Amy Lee on growing up, being cool, and sexuality in music

Interview: For their next chapter, nu metal survivors Evanescence are orchestrating an ambitious reworking of their classics

In a world of generic warblers, the operatic swoop of Amy Lee’s vocal was the trump card behind Evanescence’s squillion-selling 2003 debut, Fallen. If this was a primal scream that spoke to the young, angsty and alienated, that’s probably because the Arkansas-born Lee was also a sensitive outsider who felt much of her audience’s pain. Fourteen years later we find Lee older, wiser, in a happier place and comfortable enough with her past to reinterpret the Evanescence catalogue with a full orchestra on their new album, Synthesis.

Synthesis revisits the old songs. Do you remember how it felt to be twenty years old and working on Fallen?

Unfortunately yes [laughs]. How would I describe myself back then? Wide-eyed, full of huge dreams, fairly insecure. But I think that’s pretty common. When we’re young we feel like we’re the only ones that kinda hate ourselves. I remember struggling with feeling like I didn’t deserve to be where I was. So definitely an emotional, hormonal moment. I still have a lot of big feelings, but it seems like the whole world is falling down around you sometimes when you’re a kid.

Didn’t being hugely successful make the problems go away?

No! Having lots of people all over the world touched by our music was a dream come true. But to have thousands, even millions, of people feel like they know you in an intimate way, it was difficult. I’m at a place in my life now where I think I’m pretty good at dealing with it. That whole thing, it’s not so scary any more. But it was scary in the beginning, for sure. [Source]