Route Code Selector

If one were to ponder what a difference two years can make, the conclusion could vary considerably depending on the subject, but in the particular case of such a time period coinciding with the debut and sophomore effort of a band, the possibilities can be quite massive. The pressure that can come with trying to decide just how far out of established territory one wishes to go can spell alienation to an entire fledgling fan base, especially when adding such variables as a near total change in line up and moving from a modest sized label in Burning Star Records (best known for handling the European distribution of Persefone's otherworldly second LP Core) to a highly ambitious and expansive one like Punishment 18 Records. Such was the unique disposition of Lunarsea, a correspondingly unique band pushing a modified blend of traditional, power metal tinged, and occasionally metalcore infused brand of melodic death metal in a country where said style was not heavily represented, when they set about putting together a successor to their fairly original yet leaning conservative debut Hydrodynamic Wave.

The question of just how big of an evolutionary step would be taken on Route Code Selector is answered in a sizable leap, though not one that is entirely out of left field and somewhat predictable given the ongoing evolution of the sub-genre at large. If one wanted to paint a picture of what this sounds like in contrast to its more cosmic and spacey predecessor, this would conjure images of a metal clad industrial plant on some distant planet or space station. The occasional power metal trappings that made the debut fairly comparable to Kalmah and a few other power metal-leaning bands has been toned down to a modest roar, while the production has taken on a more thrashing and chugging feel that suggests a greater influence from The Crown and Dimension Zero. The kit work of newly recruited drummer Stuart Franzoni is far more geared towards the machine-gun double bass assault and semi-frequent blasting of a more brutal outfit, and the riff work is far heavier and leans heavy on blurring tremolo lines and deep thudding grooves, while newcomer vocalist Filippo Palma has more of a Corpsegrinder meets Johan Hegg sounding deep guttural bark approach that all but makes this sound like a different band compared to his more traditional Gothenburg sounding predecessor.

Overall, in spite of all these changes and a more drawn out songwriting approach, most of the signature parts of this band's signature sound on the debut are maintained. Bassist Cristian Antolini makes frequent occasions to offer a clean vocal foil to Filippo, and guitarist/keyboardist Fabiano Romagnoli tears up the fret board in an even more technically insane fashion, all but upstaging his likely inspiration Michael Amott. But more important than all of that, the generally hook-oriented songwriting approach inherited from In Flames and Dark Tranquillity is still readily observable here, be it in the serene clean guitar streams mixed with frenetic blasting of "Ashen" (one of the more elaborate offerings found here), the more traditional mixture of mid-paced grooving and up tempo thrashing on top an infectious set of melodic hooks of "Magnitude 9.6" and "Infinite Process One", or the nimble thrashing with a progressive edge of "The Apostate". That's basically where this album separates itself from the otherwise similarly geared melodic death/thrash bands that seemingly supplanted the old guard in the latter 2000s, the stylistic nods to hook oriented efforts out of late 90s In Flames and Arch Enemy are still heavily present despite being augmented with a chunkier exterior.

Though a more original endeavor than its predecessor, the author of this review still harbors a slight preference for this band's 2006 outing, if only because it plays to his sensibilities better in its smoothness and spaciness. In essence, it played things a bit closer to the format that Raintime and the power metal leaning Skyfire did, whereas this has a much stronger Arch Enemy vibe to it. It's understandable why a majority of those familiar with this still somewhat obscure Italian melodeath outfit prefer this album, as it is aesthetically closer to the nastier spirit that embodied the old school death metal sound. It has a juggernaut-like demeanor to it given the faster drumming and meatier guitar tone, which is actually somewhat reminiscent of a Scott Burns production sound circa 1991, and there are times where it gets pretty close to sounding like Johan Hegg took time off from singing about the Viking age to dabble in interstellar subjects with a more technically minded group of musicians. It's a qualitatively consistent offerings from a band that has proven inconsistent in most other respects, and that's quite far from a bag thing.