Dark Matter Dimensions

Dark Matter Dimensions: the album every Scar Symmetry fan loves to hate. Being the album after the great Christian Älvestam left, it was bound to be heavily scrutinized by every fan of the band. Unfortunately, along with a vocalist switch - where they hired two vocalists to replace Christian, I might add - they also did a bit of a music switch. Scar Symmetry was known prior to this album for their tremendous talent for melody. I mean... melody was the very foundation of the music. Go listen to Holographic Universe, and you will see the album is devastatingly dominant with melody, showing it off at an abnormal quantity for even a melodic death metal band. These melodies are simply poppy at times. Sure, the music has a lot else going for it, but it's all buried under the colossal amount of melody. Guess what, the melody was carried predominantly by Christian's vocals. So, what did Scar Symmetry decide to do? They decided to replace a member key to the very foundation of their music, then... spiral off into a completely different direction. While past Scar Symmetry albums always had progressive elements to them, Dark Matter Dimensions forsakes the melodies in favor of the progressive elements. This album almost eschews melodeath in favor of techdeath. Yeah, this album was fated to be criticized by every Scar Symmetry fan possible.

There, though, does the question lie: was this a mistake? The average Scar Symmetry fan would tell you yes. Truthfully, however, the average Scar Symmetry fan is butthurt about the band taking on a new direction with this album. They're upset that the band isn't offering the same type of music offered in their previous output. And in the fan's rage, they completely neglect to acknowledge the album still excels in what it does.

No, this was not a mistake. The technical proficiency of the band is completely upgraded in this album. Songs like "Mechanical Soul Cybernetics" and "Nonhuman Era" are primed with almost brutal techdeath material, while songs like "The Consciousness Eaters" and "Ascension Chamber" have slick progressive riffing. Axemen Jonas Kjellgren and Per Nilsson really flaunt how tremendously talented players they are - not just in these songs, but through the entire album. It's not just overdone, overcomplex solos this time - the riffs are completely tech'd up too! And it's not even just the guitars - the drums pattern on, for example, "Nonhuman Era" takes on a more technical approach as well.

With that said, one can definitely tell this is a Scar Symmetry album. While the instruments have all been raised to a new level in technical proficiency, the album still bursts with big, catchy choruses like Scar Symmetry has always done on nearly every song. This album is basically Scar Symmetry on steroids, to be honest. And as powerfully progressive as the album can be, it would not be nearly as attractive without the obligatory melody the album is still contains in great amounts. Songs such as "The Iconoclast" and "Radiant Strain" are oozing with melody, just like always. However, it's songs like "The Consciousness Eaters" and "Nonhuman Era" which unite the the new technical approach with comparatively catchy melodies that the album really shines.

This comes to its ultimate climax in "A Parenthesis in Eternity," which may very well be the greatest song Scar Symmetry has ever written. This song takes the progressive riffing of a song like "Nonhuman Era" and unites it with the melody of a song like "The Iconoclast." However, unlike those songs which often disjointedly transition from technical to beautiful, "A Parenthesis in Eternity" unites these elements seamlessly - such as in the chorus, which simultaneously features delicious melodies over hyped up leads. By uniting these elements the way they do, this song almost falls into the same progpower territory past songs such as "Trapezoid" have. Not only is this among their most complex songs, the melodies written here are absolutely delightful. The opening, exempli gratia, is among the best melodies these guys have ever written, certainly. This is saying a lot, because Scar Symmetry has an unquestionable, incomparable, unbelievable knack for writing some of the greatest earworms I've ever been exposed to.

The bonus track, "Pariah," is another great example of this. It unites the technical riffing with a catchy chorus, leads and solos in the same manner, and it is among the best tracks on the album. If you have a chance to grab a copy of the album with this bonus track, do not hesitate to catch it instead. It's well worth it.

This brings us to our vocalists - Roberth Karlsson and Lars Palmqvist. After all, Scar Symmetry's melody has been brought to life with the vocals of Christian Älvestam; how can an album be so full of melody and actually compare to their past successes if the vocals responsible for wielding the melody can't compare to Christian? Indeed, these guys have received their share of criticism for the album. But, really... why? Roberth's growl is nearly identical to Christian's, and Lars's cleans are harmonious and powerful as well. While I still prefer Christian (less so with time, I might add), some may prefer Lars simply because his voice is less poppy. He is able to carry Scar Symmetry's sickly sweet melodies as well as Christian could, at the very least. My only real problem with his vocals in this album is that it sounds slightly synthetic at times; however, it fits. The entire album has a slightly weird mechanized quality to it.

I feel I should also mention the lyrics. Henrik Ohlsson is not just a great drummer, but he is easily among my favorite lyricists. The lyrics to Scar Symmetry have always tackled complex subject matter relating to physics and science, and this album is no different. Even if you hate the approach taken in this album, there is no denying Henrik's lyrics still shine. Henrik compares to Borknagar or mid-era Vintersorg in his topics as well as writing style. His writing style is just as complex as the subjects he writes about, and it actually fits the technical approach of the album.

Now... I have to admit, I fell in love with Scar Symmetry because of their music brimming with melody. Dark Matter Dimensions is full of this melody, though it may take a little time to see, but it's not overloaded with it such as in the past. As such, I may always view this album as at least a minor disappointment when compared with Holographic Universe, which could be called a mirror of Dark Matter Dimensions. It has a huge emphasis on melody and improved on their technicality, rather than Dark Matter Dimension's approach of technicality with melody. I even prefer their follow-up to this album, The Unseen Empire, for its return to forging the stunning, gorgeous, and downright poppy melodies of which only Scar Symmetry is capable. Still, this is the album I return to when I'm seeking the techdeath form of Scar Symmetry, because they excel at that, too. I will never understand the criticism this album brings.