spheric universe experience unreal

Released: 21 September 2009 Label: Sensory Records / Laser's Edge

Every now and then, an album drops into my review in tray and immediately prompts the question: where the hell do I start with this?

Such is the case with this, the third full length from French prog masters Spheric Universe Experience. So diverse is their style, so varied their influences, that any attempt to neatly summarise the release in a couple of hundred words seems almost like a disservice to their art. Still, let’s give it a go, shall we?

To look at the component parts alone is a massive task. There are quite simply dozens of influences and styles within the Spheric Universe Experience sound. Check out opening track White Willow. It kicks off with some impressive Fear Factory / Meshuggah type riffing and double kick drumming, but the rule book soon goes out of the window when no more than a minute into the track, the cyber metal base is coloured with a keyboard solo reminiscent of 70s pomp rockers Kansas. The vocals then compliment this further, ranging in style from death metal on the bridge to histrionic Euro-metal on the chorus. Oh, and then they throw in some operatic female vocals towards the end, just in case it was getting too predictable.

Confused? You will be.

The cyber metal influence rears its head throughout the nine tracks, most notably on the atmospheric Lakeside Park, which recalls Obsolete-era Fear Factory complete with keyboard flourishes straight from Frontline Assembly. It’s abundantly clear that the band are fans of Rhys Fulber, both as a musician and producer.

Some further comparisons are easy – is there a modern prog metal band not influenced by Rush, Dream Theater and Opeth? – but the real beauty of Spheric Universe Experience is that they have truly embraced the history and spirit of the genre in all its guises.

3rd Type for instance brings to mind both Yes and Genesis in its arrangement, while Dragged comfortably combines metal and industrial sounds with a hint of post-Syd Pink Floyd at their darkest. Instrumental O.B.E. even offers a brief burst of jazz / rock fusion, not a million miles away from something Allan Holdsworth or Pat Metheny might do.

Unreal could easily have been a train wreck of an album. All the lofty aspirations of the band would be meaningless without the musical ability to carry it off, but fortunately the players have talent in abundance. The only slight weakness is with vocalist Frank Garcia who does appear to struggle occasionally with his mid-range clean singing, but given how good everything else is, it seems almost churlish to be too critical.

Do you like your metal with brains? Do you have a loft full of obscure 70s vinyl? Do you think you can handle a complete sensory overload that will leave you reeling? If so, Unreal deserves your attention.

by Marcus Jervis