Scar Symmetry: Dark Matter Dimensions (2009)
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Genre: Melodic Death Metal
Overview
One of the rising stars of the last decade, Scar Symmetry were very much a band gaining popularity when, in 2008, they parted ways with talented vocalist Christian Älvestam, with many doubting they could survive his departure. They then took the interesting step of replacing him with not one but two vocalists – Roberth Karlsson (growls) and Lars Palmqvist (clean vocals). This is the kind of unexpected step that can see a band completely fail, or become huge such as Arch Enemy when they appointed Angela Gossow as lead singer. Not only does this allow them to sing Älvestam’s sections, they can also overlap each other, something obviously impossible with one singer. Dark Matter Dimensions is their first attempt at an album with this new line up, having arrived in October of 2009, dealing with all sorts of abstract concepts such as unseen forces in the universe.
The Iconoclast
Length – 5:07
The Iconoclast begins with an interesting lower fret melody reminiscient of more old school metal, before seamlessly transforming into heavy guitar riffs. We get a first taste of Karlsson’s singing which is certainly strong, before Palmqvist takes over. This track probably isn’t the best for clean vocals, but nevertheless they are pretty good. Overall this track features a stronger focus on growling than some of the others on the album. The first half is much of the same before we see a pretty big change second half (we will see this as a very common theme throughout) with a nice solo coming in supported by a similar rhythm guitar melody as the first half. It’s a good song, finishing on a calm note, and probably just about scrapes a 7. Rating: 7/10
The Consciousness Eaters
Length – 4:42
One of the heavier tracks of the album, with an emphasis on heavy guitar riffs. Its all growling until the chorus, which is the real strong point of this song, and is the first real taste we have of Palmqvist at his best. Interestingly, some of Palmqvists singing (the non chorus sections) sound like very old style rock vocals, and its clear that they have taken influences from many different areas both modern and old. We can already see by this track the new ideas the vocalists have brought to the band and they are brilliant. The song slows down towards the second half with the two guitars combining well throughout. Rating: 7/10
Noumenon and Phenomenon
Length – 4:13
The first single of the album starts on a really heavy note but swiftly cuts to Palmqvist, and this is probably the best track for vocals in the entire album. It’s about as sing-a-long as metal gets, and is really catchy. Originally I didn’t like some of the huge tempo changes as the clean vocals cut in, but I’ve grown to really enjoy them. In the second half the song really comes into it’s own with the lead guitar leading the way, first with a solo and then with some phenominal, pardon the pun, power metal style backing lower frets. It can take a few listens to like this song, but when you do grow to like it, it really is a blast to listen to. Rating: 8/10
Ascension Chamber
Length – 3:48
The second single, and one of the heavier songs, with a strong emphasis on the guitar riffs and the deeper growled vocals, although there is a lot of clean as well. Yet again the chorus takes centre stage, and by this point it is obvious that Palmqvist is really the central vocalist, ie the focus of the songs, while Karlsson provides that extra something outside of the choruses. He is far from a backing singer though, just does not steal centre stage. Theres a pretty dramatic slow down in the second half followed by some awesome chugging from the guitars, which is good and provides a change – overall a good song. Rating: 7/10
Mechanical Soul Cybernetics
Length – 3:26
Easily the shortest song in the album, and it is something of an interesting experiment. We hear some strange vocals in it that I believe are Palmqvist growling alongside Karlsson, with lots of tempo changing in the guitars. It’s actually not bad, although I definately prefer the clean vocals being there. The lead guitar continues in the same vain as it has in previous songs, with solos interspersed with rolling lower fret sections. It’s worth a listen, but probably not for everyone. Rating: 6/10
Nonhuman Era
Length – 4:45
This one starts very heavily with lots of pounding riffs and growled vocals before cutting to one of Palmqvist’s choruses. Its not a bad chorus, but not one of the better ones on the album. It sounds like there is a lot of palm muting going on with the rhythm guitar in a steady tune during these, which is interesting. The now standard solo in the middle isn’t one of the best on the album, but is still good. It’s a solid song, nothing more really. Rating: 6/10
Dark Matter Dimensions
Length – 4:11
One for the headbangers this, with a great tempo heavy start interspersed with quick pace slowdowns and Palmqvists vocals. Definately one of Karlsson’s more noticable efforts this one, as he does most of the singing. I particularly like the slower section at the middle, before Palmqvist seizes the song for a couple of verses and then back to how we started. I quite like this song, it’s in a bit of a different style to the others with the focus on growling, yet retains the clean vocals. Rating: 7/10
Sculptor Void
Length – 5:22
A fairly ordinary song by Scar Symmetry’s standards, it doesn’t really stand out much and is quite easily forgotten, however thats only due to the quality of the other tracks. It’s probably one of the lightest if not the lightest track on the album in terms of the guitar, but most of the singing again is done by Karlsson oddly enough. Palmqvist’s singing in this song is pretty boring really, but again thats only really when compared to his other stuff. Another solid but not great song, and you might think the album is starting to lull a bit…well wait till you see whats next. Rating: 6/10
A Parenthesis in Eternity
Length – 4:42
This track is simply awesome. Just. Awesome. The start is unlike anything they have done in previous tracks, with Palmqvist singing with little instrumental backing, before cutting to a great piece of fast tempo rhythm guitar and the lead featuring also. This song has many clearly defined sections that blend fantastically into each other, switching between heavy riffs and power metal as do they vocalists switch perfectly. Every time you think this song is about to slow down, it doesn’t, and just keeps cranking up the gears, eventually descending into a great solo before turning into the best guitar riff on the album, a headbangers dream. Interestingly, it’s also the only song on this album where the guitar is the thing you remember rather than the vocals. Eventually it slows down at the end, but you kind of need it at this point to marvel at what came before. Rating: 10/10
Frequencyshifter
Length – 3:15
This is another song that follows in the same vein as the other solid but not great songs on this album. Nothing particularly special stands out in the guitar, just a steady tune, the usual Karlsson vocals, and, like the other solid ones most noticably, average Palmqvist vocals. It has come to my attention by this point that when Palmqvist is not singing brilliantly the songs falter, he seems to be the key element as to whether the song is good or not, mostly due to the nature of the catchy choruses. Rating: 6/10
Radiant Strain
Length – 4:15
The last impressive song on the album, it gets off to a slow start before picking up at a nice pace, with Palmqvist reinforcing my earlier theory about the importance of his choruses. There are some nice fast tempo rhythm guitar sections in this song, but it really slows down towards the end. Thats not bad however, as this section is pretty good as well, and an impressive exit to the album. This is not the exit though, as there is also the bonus track to deal with. Rating: 7/10
Pariah
Length – 5:23
It gets off to a good start, but really is a classic bonus track. Pretty average really, nothing spectacular, although it stands alongside Mechanical Soul Cybernetics as one of the tracks where Palmqvist growls (although he sings cleanly as well). It’s fairly long as well, so you may lose interest, but some passages of it are good. There is also a part in the middle where it slows down unlike any other track has done on this album mid song, similar to the beginning of A Parenthesis in Eternity. Nevertheless, worth a listen. Rating: 6/10
Conclusion
Overall a really great album, solid throughout and brilliant in parts. The two new vocalists really add something to the band, and, in my opinion, together are better than Christian Älvestam. I wasn’t that big a fan of Scar Symmetry before, but this album is really something. I can’t give it top marks for two reasons. Firstly, because A Parenthesis in Eternity is the only truely sensational song on it, and I’d really like to see at least 2 for a 10/10. Secondly, the tracks do sound quite similar, you will find that the main way you are able to distuingish the songs when you think of them is by remembering their choruses by thats about it. They tend to follow the same theme of starting off with heavy guitar riffs then picking up around the middle with solos and such. However, while it does sound similar, what we are given is very good, so lots of similar very good things isn’t so bad.
Rating: 9/10
