Having released two demos around 1992 and split up soon after, Evocation resurfaced in 2004, spawning a belated debut album in the form of 2007’s ‘Tales from the Tomb’. Since then, the band has released another couple of critically acclaimed albums leading to this, ‘Illusions of Grandeur’. I must begin the review by holding up my hands and confessing that despite being on my radar since their ‘comeback’, Evocation’s releases have thus far all eluded me. Today then, I can at last strike their name off my list of ‘Bands I’ve Inexplicably Failed to Hear’. Besides the typical impression of what Swedish death metal sounds like – vicious, melodic or both – my sense of expectation here is a blank canvas.

Once the action begins though, I am immediately drawn into a landscape not unlike God Dethroned’s most melodic mid-00s offerings. The drumming, riffing, vocals and warm production all contribute to this, and to these ears, that’s certainly no bad start. Once the initial comparison sinks in, it becomes clear that Evocation’s approach is not quite as fast as the fallen Dutchmen but does appear similarly engaging. ‘Well of Despair’, in contrast, has At The Gates literally stamped on its forehead, with the beginning part sounding more than a bit similar to something from one of their final two studio efforts. What we have here may be less flamboyant but there is a definite comparison; an aspect reinforced by the press release accompanying the album. According to it, one of the motivating factors behind the band’s resurrection was guitarist Vesa’s “addiction to At The Gates milestone ‘Slaughter of the Soul’.” Judging by first appearances then, Evocation’s thing seems to be creating rousing, heavily melodic tunes with more than a fair share of pounding rhythm.

In that last respect – and I hate to bring their name up again with regard to melodic death metal – ‘Illusions of Grandeur’ also goes on to draw parallels with Amon Amarth (‘Divide and Conquer’, ‘Metus Odium’ and ‘Into Submission’). Coincidentally (or not) Johan Hegg even makes a guest appearance on that last track. The spirit of vengeance is certainly heightened with his vocal contribution, and if you didn’t know better, it could have been one of his own band’s songs. In combination with those ATG similarities, which reappear in the riffs and harmonies of ‘I’ll Be Your Suicide’ (the album highlight) and ‘Final Closure’, my assessment so far may portray Evocation as being somewhat derivative, or worse. Given their early origins though, common sense surely dictates that it would be harsh – misguided, even – to view Evocation as mere plagiarists. Although they obviously appreciate the sonic qualities of such widely known bands, I am sure that the similarities are as contextually incidental (i.e. Swedish, melodic, death metal) as anything else.

As it is, ‘Illusions of Grandeur’ proves to be a highly listenable record. Perhaps the only track during which I genuinely lose interest is ‘The Seven Faces of God’. Otherwise, there are enough really decent numbers, like the brooding ‘Crimson Skies’ and reptilian ‘Perception of Reality’, to keep attention focussed and ears satisfied. Given my ignorance of Evocation’s past work and the very obvious similarities to bands who proliferated in their absence, it did take a few listens before I could get my head around the album on its own terms. Understandably, it does not attempt to reinvent the wheel and is, overall, what it is: another, easy-on-the-ear example of melodic Swedish death metal.

(7.5/10 Jamie Wilson)