Scar Symmetry - 'Dark Matter Dimensions'

A commendable performance from a band that lost an integral member, but lacks the progression that Holographic Universe hinted at.

Until last year’s Holographic Universe, the trajectory of Scar Symmetry’s career was heading upwards. Each album was better than the last and the media attention on the Swedish melodic death metal band had grown by leaps and bounds. Everything seemed to be looking great; that is, until vocalist Christian Älvestam suddenly announced his departure from the band in late 2008.

This sent shockwaves across the metal community, with many wondering if Scar Symmetry could bounce back from this potentially career-threatening situation. The band immediately announced the addition of two new vocalists, one to sing clean vocals and the other handling the harsh growls. Dark Matter Dimensions is the first album released with the new line-up and while it has moments that mirror the band’s past successes, the album is a step backwards from the dynamic Holographic Universe.

The major question most fans will have is the performance of the new vocalists. Roberth Karlsson, known for his stints with Edge Of Sanity and Pan.Thy.Monium, does a credible job with the harsh vocals. His growls and screams are similar to Älvestam, but have more of a bite to them. On the opposite spectrum, Lars Palmqvist’s clean vocals are largely mediocre. They sound way too polished and studio-enhanced, lacking the emotional tone that Älvestam brought to the table.

The vocals may be hit-or-miss, but the band still delivers on the musical front. Guitarists Jonas Kjellgren and Per Nilsson are an underrated guitar duo, cranking out meaty riffs and blazing solos. Even when the vocals begin to weight the album down, Kjellgren and Nilsson are around to pick up the pieces and keep things from descending into the mundane.

Scar Symmetry has stuck to their guns since their inception in 2004 and Dark Matter Dimensions does little to change that. Speedy numbers like “Ascension Chamber” and “Frequencyshifter” could have been on Pitch Black Progress, while the band’s knack for catchy choruses pops up in the fantastic opener “The Iconoclast.” Unlike the last album, the band doesn’t attempt to broaden their sound, like they did with the two-part “Ghost Prototype.” A few melodic intros are tacked on, but there isn’t anything that long-time fans haven’t heard before. The lack of ambition is disappointing, as is the predictable structure of the album’s second half.

The loss of Christian Älvestam was a blow to Scar Symmetry, one that can be felt on Dark Matter Dimensions. The musicianship is there, and the profound lyrical content will still have many scratching their heads, but the hole left by Älvestam’s departure is not completely filled yet. A few of the tracks are as strong as anything from Holographic Universe, but the band sounds like they are going through the motions, sticking to what brought them to the game, with little room for innovation.