Back for their fourth full-length album, Japan’s Schönberg bring forth a new symphonic metal release in Resurrection Σ. It’s been five years since their last release, Baroque Gravity, but sits more or less on par for the band, as it’s been 4-5 years between each release along the way since their formation back in 2008. Compared to some similar releases on this site, Schönberg are rooted in a more classical symphonic (read: Western) sound, and should serve as a nice gateway for those seeking more metal from the East.
Schönberg set themselves up with a formula that may be rooted in more Western traditions for the genre, but they quickly prove themselves as much more than a one-trick pony. After a symphonic intro, the group burst into the shredding and over-the-top power metal anthem “Rosa Evolve.” Expect galloping and intense riffing, soaring clean vocals from Naru, intricate but rather hooky melodies, and a solid dose of epic symphonies that give it some power without stealing the show away from the rest of the music. It’s quite well done for the style. Follow-up “Blue Magic” leans into these same tendencies, but moves in a more mellow direction at the start, with a subtle, almost bluesy melody from guitarist Manabu Hoshino to open. There’s an even greater sense of urgency with the tempos dialed back a bit, especially with Naru’s charismatic vocals in the chorus.
“Midnight Cabin” goes even further into new soundscapes, featuring some saxophone later in the track as well as going for an even more ‘chill’ vibe (as opposed to shredding). It offers up some really nice, elegant melodies as it goes forward, and the balance with the synths give them some room to make it feel almost more ‘classic rock’ at times. Another song on the more melodic and tempered side is “Saint Soldier,” which allows a more melancholic and beautiful edge to spring forth, in both the guitarwork and Naru’s singing. Some additional jazz flavors come up again with “Hotel Mirage,” with some more saxophone taking centerstage and an enticing combination of melodic riffs and graceful vocals giving the track even more flavor. Final cut “Verklarte Sunde part 2: Atonal Suspenser” builds up a cinematic level of intrigue before it takes off. It serves as a nice slurry of the different elements Schönberg have been displaying through the album and end things on a climatic and powerful note.
Resurrection Σ works due to it’s combination of furious shredding, intricate melodies, and willingness to not just solely rely on them. Instead, they play with some jazzy structures at times and give what would have been a beginning to end shredfest some extra depth and layering to it. There’s plenty of furious riffing for symphonic metal fans to enjoy, as well as some high-flying epicness and melodies to champion, but there’s a more subtle side below the surface that allows Schönberg to stand out just a bit more than the rest.