(In June Nuclear Blast released Scar Symmetry‘s first studio album in nine years. DGR was in no great hurry to review it. And you’d better be in no great hurry to read the review, because he has a lot of thoughts about it.)
Ever since its early June release, I’ve thought a lot about Scar Symmetry‘s newest album The Singulary (Phase II – Xenotaph) and what it means for the band, the limits of artist freedom, the effect of a long wait between albums, Scar Symmetry‘s place within the overall heavy metal world, and just how much the naming of an album really matters in relation to the music within.
Long story short, for an album that is recognizably one of the most Scar Symmetry albums that could’ve feasibly been conceived, it sure has set the old brain muscles aflame, and for better or for worse not all of that relates to the quality of music contained within Xenotaph‘s near hour of run time. Because what does it mean for a band like Scar Symmetry to essentially vanish, go dormant for nine-plus years and then reappear with an album that sounds like it too was placed within stasis itself and basically continues right where the band left off from their previous adventures – though it takes a few songs to get there?