There are also important differences in the vocals. Christian Älvestam does true growls along with some screaming/shrieking, and he sings clean with a lot more conviction than is the case with the often perfuntory-sounding Strid. With effective double-tracking (when it is used) and superior vocal melodies, Scar Symmetry's choruses have little of the chirpiness that ruins so many of Soilwork's. I know I'm not alone in detecting some Dan Swanö in Älvestam's normal voice, but to me the resemblance is primarily inflectional, and noticeable mainly in the slower parts on Pitch Black Progress, especially those in "Mind Machine" and "Dreaming 24/7."

Despite being impressed with Christian Älvestam's talent, I'm not overly excited by the vocals on either of the band's albums. At times the growls can be a little too "traditional" for both the music and my tastes, especially when Älvestam does his ultra-low noisy-drain thing (which, along with the screams, could be used more judiciously), while his clean voice is a little too smooth for me. His intonations are most interesting when they fall somewhere between the two extremes, and I would love for him to produce more of such sounds, deepening and abrading his normal voice, and giving the rougher forms more lilt and spirit. There are also vocal parts that seem too emotively detatched from the words, as if Christian is more interested in sounding pretty or getting as guttural as possible rather than in conveying the meaning of the lines. Henrik Ohlsson's outstanding lyrics are one of Scar Symmetry's greatest strengths: articulate, insightful examinations of modern human existence, esoterica, mystical phenomena, inner and external turmoil, visions of an Orwellian future, and the seeds of mind control and mechanization in our present lives. The quality of his writing cannot be overstated, and it is sometimes annoying to hear lines delivered in a manner that's too light or too murky and lifeless, without any apparent irony. Whereas the monotone used at some points in "Slaves to the Subliminal" reinforces the idea of losing volition, Christian's toneless, unanimated delivery in one of the refrains of "Calculate the Apocalypse" seems to serve no thematic (or aesthetic) purpose and does nothing to enliven what is an atypically blah melody.

Although wishing him to further utilize his abilities, I appreciate the diversity Älvestam does display, as well as the band's approach to vocals on Pitch Black Progress. Very few melodic death metal bands would be gutsy enough to give the normal voice as much prominence as Scar Symmetry do, letting it dominate at times, as in "Oscillation Point," "Dreaming 24/7," and "Deviate from the Form," while in other songs growls prevail (the title cut being entirely growling and screaming). This vocal variety from song to song is part of the album's overall pattern of diverseness, in which many individual songs emphasize one side or the other of Scar Symmetry's musical nature. The title track shows their brutal mode in its most extreme form, while "Oscillation Point" and "Mind Machine" are composed primarily of melodic beauty and harmony, but with effective doses of rhythmic roughness in the former and great percussive force in the latter. There are still plenty of songs with more of a balance between the melodic and the hard and heavy, but having more extremes gives the album wider dynamics than can be heard on "Symmetric in Design."

Other, more subtle forms of distinctiveness include varied openings--super-crunch at the beginning of "Slaves to the Subliminal," hard-hitting onsets for "The Path of Least Resistance" and "Mind Machine," symphonic with "The Illusionist," etc., and higher levels of progressiveness in some songs, most notably "The Kaleidoscopic God." The album's rhythmic variety is amazing, Ohlsson's tight drumming and Kenneth Seil's bass often crossing over to jazz territory. The guitarwork that thrilled so many listeners on Symmetric in Design is even more impressive on Pitch Black Progress. In addition to great riffing, Jonas Kjeligren's traditional metal solos (which are Michael Amott-like at times) and Per Nilsson's more 70's-style rock solos are endlessly virtuostic, their styles and influences wide-ranging. On the first album the solos elevated even the more ordinary songs, and on Pitch Black Progress they're elaborateness and abundance are increased. Kjeligren and Nilsson's performances on "Retaliator" and "Deviate from the Form" (the latter a major showcase for Nilsson) are enough to make any shredder rip his strings out in envy. Incredibly entertaining, the guitars capture my attention so completely that the already unobtrusive keys barely register in my consciousnness. But when I listen FOR them, their role as subtle mood-setter is evident.

Scar Symmetry's guitars are a major contributor to the overall feeling of vitality which characterizes their music. It is partly because of the guitarwork that "The Illusionist" and "Deviate from the Form" (impossible to imagine this album without the latter or the other excellent "bonus track," "Carved in Stone") come close to the standard for explosive liveliness set by Symmetric in Design's "2012 - The Demise of the 5th Sun." Besides heightening the energy of Scar Symmetry's music, the soloing adds to its catchiness, which is certainly not restricted to choruses. So insanely (but not disgustingly) infectious is Pitch Black Progress and so technically flawless, that it's hard to imagine any but the most traditional-minded fans resisting. It's always exciting when a group of seasoned musicians come together to create something that departs from their other bands, present and past (Incapacity, Altered Aeon, Carnal Forge, etc.), especially when their new sound also diverges from common trends and at the same time invigorates a genre--even one to which they are only marginally connected.

written by Maud

Playing time: 59.22