Review Summary: Hope comes from above
Following a cycle of cryogenic sleep, Sweden’s progressive melodic death metallers Scar Symmetry return with the second installment of the trilogy that began nearly a decade ago with
The Singularity (Phase I: Neohumanity), which orbits a sci-fi narrative about artificial intelligence. By 2030, one of the world's biggest industries will be artificial brains – artilects – with each generation of artilects becoming smarter than the last, leading to a rapid and expanding growth of intelligence and the consequent profound transformation of society and civilization as we know it. Traditional notions of work, education and communication undergo radical changes. Neohumans are perceived as the first wave of entities that surpass human capabilities by integrating advanced technology with the human mind and body (genetic enhancements). These advancements allow individuals to overcome biological restrictions and improve their cognitive ability, memory, sensory awareness, and physical attributes.
The Singularity (Phase I: Neohumanity) portrays the early stage of this transformative process and the rising conflict between those who embrace it and those who reject it, which inevitably leads to all-out war - 'Technocalyptic Cybergeddon'. This second chapter,
The Singularity (Phase II: Xenotaph), picks up where the previous left off, telling the story of the war between neohumans and (unmodified) mankind, who at this point don’t stand a chance against their technologically superior foe, until the day a glimmer of hope emerges from the night sky in the form of mysterious spacecrafts carrying intergalactic and interdimensional travelers who have decided to intervene…
Xenotaph
Xeno (foreign, unknown, alien) + taph (memorial, monument, tomb)
Like its predecessor,
The Singularity (Phase II: Xenotaph) was composed entirely by guitarist Per Nilsson, with the particularity of having been written and mostly recorded half a decade ago, between 2016 and 2017, and then entering a long gestation period where extra layers were gradually added, namely the clean & acoustic guitars, backing vocals, and lastly, the sparkling lead guitar of new recruit Ben Ellis. This gives
Phase II an unusual character, placing it between past and present, yet closer to its precursor than initially expected since the main tracks (lead vocals, rhythm guitar and drums) were recorded only 2/3 years after
Phase I. Be that as it may, it is important to note that the sequel has a personality of its own that sets it apart from its predecessor; a darker and slightly heavier nature, despite its tuneful feel that reminds me somewhat of Danish heavy rockers Pretty Maids, especially in the more melodic sections that feature Lars Palmqvist's clean vocals, which have a similar tone to that of Ronnie Atkins. 'Digiphrenia Dawn' is one of the songs that best reflects this unexpected bond, whether deliberate or not, as well as the catchy chorus of 'Scorched Quadrant' and the many melodic bridges and pre-chorus found in almost every track. Radio-friendly segments that contrast with the heavier and more irreverent side of the album, which overall has a less progressive and sophisticated vibe than
Phase I. Despite its contrasts and mellower, progressive undertones, the opening cuts, 'Chrononautilus' and 'Scorched Quadrant,' along with the impressive 'Altergeist' and 'Gridworm,' are the best representations of
Phase II's tumultuous spirit. The more straightforward melodeath sections present in 'A Voyage with Tailed Meteors' and 'Hyperborean Plains', which are sure to please Amorphis fanbase, also emphasize the album's rougher personality, especially when compared to its predecessor. Nevertheless, it is neither its heavier nor its more tuneful side that defines it, but the combination of the two, in a formula that brings together all the ingredients in the right doses.
After nearly a decade of waiting,
The Singularity finally has its much-deserved sequel wrapped in an alien suit and angel wings. And while it's debatable whether the costume designer should be imprisoned for aesthetic reasons,
Phase II's music doesn't disappoint; on the contrary, it meets expectations spectacularly, unveiling the band's next stage of evolution while introducing a new (extraterrestrial) character to its narrative. Now what remains to be seen is whether this creature from above represents salvation or a new form of oppression.
The ball is now in your court, Mr. Per Nilsson.
