Symphorce seem to drift ever further from their roots, yet still offer a hard-hitting album
In 1998, Brainstorm frontman Andy B. Franck may not have expected much to have ever come from his new band Symphorce, but as the German metal band release their seventh album of their eleven year history, it is obvious that this is more than a casual side-project.
Songs like 'Darkness Fills the Sky' from their previous album 'Become Death' are clearly an indication of their previous identity from which they have clearly evolved. The Robbie Williams lyric, "look like KISS but without the makeup," comes to mind; Symphorce's current sound is now like Lordi's but without the horror gimmick.
As the album commences with 'The Eternal', it becomes evident that this aural journey is set to be heavy; a monstrous piano introduction with incredibly weighty chords setting the album into motion. Franck's grasp of the English language is generally superb throughout, but certain mispronunciations make one wonder whether he is an exceptionally gifted writer or prone to obvious lyrical mistakes, the latter seeming more likely. For example, what does it mean to "reap what you saw [sic]"? Who knows, maybe Andy B. Franck has an appreciation for Ray Strong's rockabilly songs?
If there is to be one song that will remain in your mind after listening to 'Unrestricted', it is likely to be the repetitive chorus of 'Until It's Over,' with the repeated title being reused to great effective. As the album progresses, 'Sorrow in Our Hearts' begins with a Slipknot-esque opening riff before eventually teasing power metal fans with harmonised guitar leads as the song rises to a brief climax. 'Whatever Hurts' gives the impression that Symphorce's sound is set to diversify ever further with the use of a synthesiser for the song's introduction. However, as with the opening track, the introductory instrument is quickly disposed of and disappointingly never fully utilized.
Although all five members of the ensemble contribute praiseworthy performances throughout the album, it is Franck's vocals that steal the show on 'The Waking Hour,' his versatility proving very effective indeed. This particularly continues with 'Visions', also allowing guitarists Cedric Dupont and Markus Pohl and drummer Steffen Theurer brief moments in the limelight. Theurer's best performance is arguably 'The Last Decision,' with some excellent drumming enlivening what could have easily become a substandard addition to the album.
'The Mindless' stands out as a representation of Symphorce's unfulfilled potential. It adopts a similar approach to Megadeth's 'Blackmail the Universe,' featuring narrative combined with the introductory music, yet never manages to match the dynamism of their American counterparts. Symphorce may have chosen to use the emotive media reports of the September 11th attacks, but the German ensemble fail to convey the extent of the tragedy due to their subdued underscoring.
The energy is rejuvenated for the penultimate song, 'World Seem to Collide'. However, it does slightly lose momentum as the song reaches the guitar solo; the point at which a composition should be building excitement. As bassist Dennis Wohlbold kicks off the final track, 'Do You Ever Wonder,' it is encouraging to discover that Symphorce have not just concluded with any old song, but rather they have chosen to finish their latest album with a composition as strong as any other on 'Unrestricted'.
Much of Symphorce's sound changed around the turn of the Millennium and despite having maintained a consistent line-up since 2005, they clearly have not quite settled on a signature sound. Part of the problem with Symphorce's indistinguishable identity may be due to Andy B. Franck's vocal style. In his lower vocal registers, Franck bears an aural resemblance to Megadeth frontman Dave Mustaine, whereas in his higher registers, his voice becomes evocative of Bruce Dickinson. Do not be disillusioned by the criticisms of either Franck's vocals or Symphorce's sound in general; the strength and forcefulness displayed on this album is commendable, but just lacking in originality.
Room Thirteen's 2007 review of their album 'Become Death,' concluded with the predication that this German quintet could become a "Phorce to be reckoned with". Three years on, and this is still yet to happen. Although Germany has provided us with a number of power metal ensembles during the 1980s and 1990s (such as Blind Guardian and Helloween), it remains debatable whether Symphorce can still be categorised with their fellow countrymen. The extreme brutality seems to have dispersed for 'Unrestricted', leaving the German band with an aural identity of generic hard rock. The essence of their former incarnation still remains, perhaps even signifying that this could become the form that contemporary power metal assumes. This may draw Symphorce a completely new fanbase, but may leave their hardcore fans wondering where the likes of 'Ancient Prophecies' are these days.