Author: Sandi Sadar Šoba
Artist: Scar Symmetry
Label: Nuclear Blast
Release: 2011
Length: 43:07
Rating: 4.8/5
Scar Symmetry have, name notwithstanding, forged five very asymmetrical and variously digestible releases in seven years of existence, and on at least the last two records they kept getting stuck in the throat. After the rather obscurely exhausting epic Dark Matter Dimensions, it seemed almost unbelievable that the six-piece from the little Swedish town of Avesta could surprise anyone with something solid that would confidently hold water in all its pomp, and yet – surprises and even bigger miracles can still happen! This year is evidently one of those, even though I started listening carefully and with a healthy dose of skepticism.
Progressiveness, or being inspired by the progressive, which leads to musical wankery and something as coldly rational as djent? Lately I’ve heard all sorts of takes on the whole question of progressiveness, but I’d go with the firm belief and premise that Scar Symmetry are a textbook example of a progressive death metal band. And what’s progressive about the fifth set of death metal tales? You can’t deny the lads their technical chops and breadth of ideas, which have reflected their determination from day one, and if there’s a concept at the very core of the record on top of that, so much the better. Drummer Henrik Ohlsson described the album’s concept as an urge to expose the hidden threads and talons of the ruling elite that controls the lives and thoughts of all humanity in order to fulfill its goal of total domination of the entire planet. So the listener gets stories about shadow governments and the secret bloodlines of great despots, and Scar Symmetry dare to go one step further and put into words the metaphysical hegemony of a race of intelligent reptiles. The only way out of this cycle of dark hopelessness is for humanity to wake up, and then all the shackles of the unseen empire could be removed and every mind in the world would wash off the stench of enslavement. Humanity longs to stay within some safe boundaries, while the rulers of the new age rock us into a stupor with media hypnosis, pushing to the foreground things that have no real weight or meaning at their core. And Scar Symmetry call on us to step out of these rigid, rotten frameworks, and in their own way they shine a blazing light on the unseen empire itself, one that supposedly can’t be argued with. Lyrics are one thing, but what really counts in music is the music itself.
All the music on the record was written by guitarists Jonas Kjellgren, who also produced the album, and Per Nilsson, and the whole thing took shape between November 2010 and January 2011 at Blacklounge and Abyss studio. The fifth album is also their second on which a single set of vocal cords wasn’t enough. The contrast between Lars Palmquist’s crystal-clear clean vocals and the guttural thunder of Roberth Karlsson’s vocal cords is backed up once again, and together they fill the gap behind the mic left by Christian Älvestam’s departure. Let’s be honest – both do more than convincing work and do it with distinction. The mojo the band had in Christian’s days is back, and when you factor in that the music itself is far more organic and polished in every respect, it’s clear the boys are back on track. There are no pointless riffs or idea-free, hollow solos; instead the record crackles with energy, rhythm and explosions of melody for all 43 minutes, and Unseen Empire can also woo all those music lovers who crave pomp, a big arena sound and tireless musical fun. Unseen Empire takes a step forward from the necessary moment of recapping the senses on Dark Matter Dimensions, and it also tops their last studio outing with Christian, Holographic Universe. And it backs that up across all nine songs on the record, which sit in pure balance between technicality, punch and the smooth flow of melody. And let’s stress one more thing: the progressive tension that crumbles through at a measured mid-tempo on songs like Illuminoid Dream Sequence, Extinction Mantra, Domination Agenda or The Draconian Arrival, which doesn’t spoil in the slightest the heavy metrics of the opening The Anomaly, Seers Of Eschaton, Astronomicon or the closing act, Alpha And Omega. There’s something for every taste, and this time there’s no shortage of brilliance, while the listening highs stack up one on top of another without letup, leading to the inevitable final ecstasy and every nerve ending in your body crackling with electricity!
I can wrap up with the fact that there are as many tastes as there are people, and my soul, always hungry for complexity and substance, has been well and truly fed this time by Unseen Empire. The album is outstanding, and in my heart and mind my faith in the granite-solid Swedish metal scene is renewed once again – sure, with a few minor flaws, but outstanding releases like the new Scar Symmetry album overshadow them and smooth them over cosmetically! The catharsis is complete, then, and the ears have been given something they’ll undoubtedly feast on for a good while! Unseen Empire is far from letting you down for even a moment and leaving you high and dry, so I more than recommend listening to it and owning it.
This review was made in collaboration between RockLine and Rock Hard Slovenija.
Lineup
– Roberth Karlsson – growls
– Lars Palmqvist – clean vocals
– Per Nilsson− lead and rhythm guitar, keyboards
– Jonas Kjellgren – rhythm and lead guitar, keyboards
– Kenneth Seil – bass
– Henrik Ohlsson – drums and percussion
Production
Jonas Kjellgren
Tracklist
1. The Anomaly
2. Illuminoid Dream Sequence
3. Extinction Mantra
4. Seers Of The Eschaton
5. Domination Agenda
6. Astronomicon
7. Rise Of The Reptilian Regime
8. The Draconian Arrival
9. Alpha and Omega
