Among the biggest issues facing artists writing sophomore (or later) releases is that anticipation breeds expectation. The longer the wait, the greater the two become – just ask fans of Tool, Necrophagist and those waiting for ‘Time II’ from Wintersun. Yet these things will take time to mature and, as the old saying goes, “you can’t rush art”. It’s a tricky balance, and one that every artist must feel subject to (even if they say that they don’t feel the pressure). So how do France’s Uneven Structure fare with their sophomore release, ‘La Partition’?
The Metz-based band have taken six years to emerge with a sophomore release to 2011’s ‘Februus’, with only the re-recording of 20-minute epic ‘8’ EP to tide fans over with. Their debut album was a celebrated affair in the progressive metal circles – where the band’s attention to ambient warmth mixed with poly-rhythmic, Meshuggah-esque riffs a particular bastion of modernity – so it stands to reason that a six-year gestation period for their follow-up would build a considerable level of expectation.
What ‘La Partition’ presents is (appropriately) two partitions to the band’s sound: those angular, off-kilter riffs, and the soft, ear-caressing waves of ambience. It’s the latter that performs an odd double-act: on the one hand, the vast, creamy swashes are lush, grandiose and filling; every available space in the stereo field is covered by the comforting blanket of ambient textures. But it is this that, on the other hand, raises an issue – it becomes an aspect that is just there.
Openers “Alkaline Throat” and “Brazen Tongue” pass by unassumingly – there’s very little to immediately grab onto, despite the band’s penchant for a techy riff or two. The vast sound is wonderfully mixed, with diamond-clarity ensuring a resplendent and audibly-pleasing experience, but it is easy to lose focus on tracks as they pass. Arguably a hallmark of post-metal, this ambience and pseudo-shoe-gaze aspect should be an opulent enhancement but it feels as if the band went for an overall sound as opposed to songwriting – where it could be used to counterpoint riffs or delve deeper into the emotion of the song, the ambience feels rather static.
Fortunately, “Crystal Teeth” bares Uneven Structure’s pearly-whites as the latter throes brings those low, syncopated riffs that beg for headbanging alongside Mattieu Romarin’s ferocious, throaty growls. Similarly, the seductive duo of “Incube” and “Succube” work this gnashing savagery into the ambience behind it, creating a sultry, dark and oppressive atmosphere that’s equal-parts terrifying as it is delightful. There are plenty of riffs for any self-respecting metal fan to sink their teeth into (please allay those fears that the guys have transcended into shoe-gaze-only), so there is a bit of balance to proceedings. While it may take some time to get to (with every track seems set at the same low-mid tempo jog), there are moments – as above – where ambience and metallic riffs coalesce into a harmonious state that sticks with you.
‘La Partition’ is a grower. Initial listens may not have that immediate uppercut to the face or deep hook that forces you to hit the repeat button, but it’s patently not the sort of album that’s meant to. The album comes across as a journey, and one that anyone can delve into as deeply as they feel necessary to. It’s the sort that screams post-metal exploration, with a depth normally attributed to shoe-gaze, yet it also alludes to the finer elements of both progressive metal and, on a more basic level, solid songwriting.
Where sophomores can feel like a letdown from their predecessors, an extensive wait can only exacerbate the issue. Fortunately for Uneven Structure, ‘La Partition’ didn’t drop the proverbial ball. Sure, the arguable over-reliance on the ambient textures and staid tempo hasn’t enhanced the album’s profile, and it’s debatable that there isn’t a whole host of progression or innovation from the band’s debut – yet it’s still a solid effort. It may take a few listens to fully explore and appreciate, but ‘La Partition’ has successfully maintained the Metz mob’s reputation for crafting grand, sweeping progressive metal.
A productive six years.