Conor Fynes 'UniverSeasons' - Solisia (5/10)

Solisia and their second album present a familiar scenario to me. Almost ubiquitously described as a progressive metal act throughout the annals of the web, a band otherwise based in convention seems to have been labelled as such for placing a greater emphasis on technical precision than some of their peers. Going into the band’s second album “UniverSeasons” with an open mind nonetheless, it was disappointing to hear another technically skilled band fall into a common rut, that being the mire of female-fronted ‘symphonic’ metal. Although Dream Theater must have been an influence somewhere along the way, it may be held to question whether Solisia even deserve the progressive metal label. Rather, their indistinct take on symphonic metal features nothing to separate them from the hordes of overpolished female-fronted acts emerging from continental Europe. Solisia may execute their craft with impressive finesse, but their inability to break away from a done-to-death formula leaves scarce opportunity for a listener to be shocked or inspired.

Although Solisia are an inconsistent success at best with regards to their songwriting, “UniverSeasons” boasts some impressive production value and musicianship. Although there’s little room within these five minute power anthems for the musicians to express a distinct identity, there is solid depth to the arrangements. In particular, Wilson Di Geso’s keyboard work gives a welcome cushion for the music, amplifying the band’s sense of bombast with symphonic orchestrations and the occasional synthesizer. New to the band is vocalist Elie Syrelia (their third to date), who- as is often the case with female-fronted metal- takes the spotlight for most of the album. Elie has a powerful voice, but her delivery seems better suited for pop music than metal, and the tactical use of autotune doesn’t help to argue that her voice belongs in a metal band.

“UniverSeasons”s title track opens the album on one of its strongest notes. Although Solisia break the unwritten rule in their (albeit sparing) use of autotune during the chorus, it’s a well penned and delivered piece, although one gets the impression from the very start that Solisia mean to be dark and provocative without taking any of the steps necessary towards accomplishing it. “Symbiosis” is another surprisingly good track that almost seems to live up to Solisia’s proggy promise, recalling the riff-oriented tunes of Threshold. While it’s clear from these two tracks that Solisia have the ability to write compelling songs within the prescribed style, so many of the songs here remain dry, sterile, and undeserving of such otherwise skilled musicianship. Solisia’s desire to appeal to poppier tastes also tends to hold them back; for example, “The Queen’s Crown” starts with a synthesized beat that makes it sound like something ripped from the top R&B charts before falling back upon Solisia’s generic symphonic anthem territory.

For a country with such a rich history in classical music, it’s hardly surprising that Italy’s metal is so often tinged with the symphonic and orchestral tradition. It’s really a shame then that the potential is so often squandered by the all-too-common pop sensibilities of bands like Solisia. “UniverSeasons” demonstrates a remarkable grasp of studio craft and finesse, but Solisia fall short of finding their own identity. Their familiar brand of symphonic metal might find welcome ears in hardcore fans of the genre, but with the style as saturated with soundalikes as it is, Solisia do nothing to stand out.