Modern metal must be yet another subgenre of this crazy world of metal music. I’ve heard the name a few times over the past year, and I’ve wondered: What on earth does modern metal sound like? After some deep listening, I’ve concluded that, well, modern metal doesn’t really have a defining sound. It’s really a label that fans and critics use to describe an accessible brand of metal with influences that run the gamut. The German quintet My Inner Burning is a good example of this. Their music isn’t strictly alternative metal, gothic metal, or hard rock because you hear elements of those and other styles. That’s not such a bad thing, though. My Inner Burning’s second album, Eleven Scars, is proof that good metal music isn’t always easy to categorize.

On Eleven Scars, My Inner Burning fuses gothic, alternative, and death metal with electro rock and pop to create a sound that’s direct, dynamic, and cohesive. Imagine a whitewater rush of low-tuned guitars, brisk drumming, and distorted keyboards. That’s My Inner Burning’s music in a nutshell. Then throw in the male-female tag team vocals, and the band becomes a rowdy version of Lacuna Coil. Rebekka "Becky" Gaber takes charge with her gritty yet versatile voice, while guitarist Jörg Janssen drops in now and then with growls. On paper, this approach doesn’t sound much different from that of My Inner Burning’s 2009 self-titled debut. However, Eleven Scars is generally a vast improvement over its predecessor. The production is more powerful, the songwriting more focused, and the lyrics more emotional. The two latter changes are evident even when you compare the song titles from Eleven Scars  ("Demons," "When I’m Gone," "Homesick") to those on My Inner Burning’s debut ("Guide to Fame and Wealth," "Head On a Plate").

For most of its 42 minutes, Eleven Scars is propelled by the more intense side of My Inner Burning. "Masquerade"  opens with deep nu-metal riffs that inject a dark energy into the song. "New Breed," on the other hand, catapults listeners into a swirling storm of double-kick drumming and a manic synth hook. Other potent tracks on Eleven Scars are so catchy, I swear I’ve heard their melodies replay in my sleep. "For the Last Time" in particular is good fun because of its verses’ thunderous arrangements. Normally, a song’s chorus is what sticks with you, but something about Gaber wailing over the rollicking drums and guitars sends an electric thrill through my veins.

My Inner Burning also does well with the more poignant moments on Eleven Scars. "Homesick" and "When I’m Gone" both start off soft and acoustic, then morph into compelling, metal-tinged lamentations. The lyrics in both songs are introspective and, at times, full of angst. Take these lines from "Homesick," for example: "A tragedy, someone like me / Could never spend eternally / I attract catastrophe / I’ve been gone for a while / … Am I a vagabond? / Where will I rest?" It takes courage to write confessional lyrics like these, and I commend Gaber for this.

Gaber’s lyrical anguish, however, is strongest on the sensual rocker "Electrified." The music in this song is understated, giving Gaber all the room she needs to tell her story. And it’s not a simple story, either. The lyrics depict a relationship riddled with passion ("Come a little closer and kiss me / Come a little closer, please") and torment that’s physical ("Scratch your name into my back / It ain’t over yet") as well as emotional ("The taste of the perfect illusion / Don’t wake me up again"). Distress shouldn’t be this fascinating, but "Electrified" makes it so.

Despite the pleasant surprises, Eleven Scars misses the target now and then. Some tracks stand out for the wrong reasons: "Analize" is a mess of tangled progressive elements and trite lyrics, while "Demons" and "Done with Denial" are just tired copies of the album’s better tracks. What concerns me more, though, are two poor artistic choices on My Inner Burning’s part. First, the keyboards and synthetic noises are often too high in the mix. Sure, they’re an integral part of the band’s sound. But when you have trouble hearing the guitars over the fuzzy stuff, you start debating whether you’re listening to metal or hard-core dance music. Second, Janssen isn’t a good grunter. He sounds more like a drunken fan bellowing at a football match. Not all his contributions are terrible; "Gone Wrong" and "Electrified" actually benefit from his shouts. Other than that, My Inner Burning is better off sticking with Gaber singing solo.

So, as I had said, it’s difficult to classify My Inner Burning’s Eleven Scars. But one thing’s for sure: This slice of modern metal is better than what you might expect. The band may borrow bits and pieces from various subgenres, but all the mixing and matching has produced a sound that’s solid, raw, and homogeneous. And though most of the band members give commendable performances, Gaber steals the show. Her startling range and honest lyrics make listeners feel and bleed along with her. This is just one of many reasons why Eleven Scars is a welcome break from the standard styles of female-fronted metal we’re so used to hearing. This album may be a full-speed-ahead train ride full of bumps and bruises, but My Inner Burning seems to understand that the most emotional of tales sometimes take you on such a journey.

8 / 10

Best Songs: "For the Last Time," "Electrified," "New Breed"

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