Symphony X

Alongside bands like Dream Theater and Artension, Symphony X has built themselves a reputation as one of the US’ (and the world in general’s) best progressive metal bands. This is not by any means unfair, as their two latest full-length opuses, “Twilight in Olympus” and especially “Divine Wings of Tragedy” are both to count as semi-classics inside the genre. The band has on the other hand never got the recognition they very well deserve, having been looked upon as sort of a Dream Theater “little-brother” and therefore not been very well promoted neither in Europe nor in the US. But their fanbase in Japan has always been a big one and it’s still growing, and the great success in the land of the Rising Sun should have every reason to be followed by a similar one in the rest of the world with such an album as “V” at the shopkeeper’s desk.

This album is namely a very strong one, and maybe the best I’ve heard form a Prog Metal band ever. The songs all follow in the good Symphony X tradition, still they bring in several new elements helping to freshen up the sound and making sure the band does not repeat itself (like other bands in this genre tend to do). Playingwise this band is also among the strongest there is, and on this album each one of the musicians are allowed to shine (while the album still never becomes a boring and over-indulgent one). Michael Romeo beats the hell out of his contemporaries - this man must be one of the best six-stringer at the present Metal scene - with his stunning riffs, solos, and axework in general, the rhythm section of bassist Michael LePond and drummer Jason Rullo is as technical as anyone else while still both tight and catchy, Michael Pinnella spices up the soundscape with lots of tasty and haunting keyboard lines and one of the most underrated singers in Metal, Russell Allen tops the hole thing off with a voice so expressive, so diverse and so powerful that I think Ronnie James Dio finally has got himself a worthy follower when (or if) the day comes that he has to turn off the PA system for the last time. Allen’s performances in songs like Egypt and Fallen is namely very reminiscent of the former Rainbow and Black Sabbath frontman. The lyrics are based on a concept dealing with several ancient cultures and their mythologies, like for example the ones of old Egypt, Greece and Atlantis. I’m pretty sure there is several underlying themes too - individuality and standing up for one’s own meanings and beliefs are two that I can not help thinking of while reading the lyrics, but I guess that is up to every listener to make up for themselves. What I can say, though, is that this album is a definite masterpiece, and a must for every fan of Progressive, Power and symphonic Heavy Metal. But now, onto the core of every album - the songs.

1. Prelude
Giving a hint of what that is to come, this short intro is very Rhapsody-like, and the most European sounding number on the entire disc. It is “quite” symphonic, with very real-sounding orchestral effects and lyrics in Latin to top it off. In the middle the band enters with double kicks and powerful effects, and this, followed by a deep and mood-setting keyboard leads onto the first “real” track -
2. Evolution
From the aggressive opening riffs to the equally aggressive outro, this is a monster track with everything that means. The guitarwork is absolutely brilliant, with very fast and intense riffing combined with an excellent Malmsteen meets Michael Schenker-inspired lead, during which he is also given great competition by Mike Pinnella on keys. Melody-wise this tune continues in the European-inspired vein implied by the intro, with a grand, choir-sung chorus to die for. “Here we are, children of Sun and Stars - the first to know and to understand. Living by the law of the ages, prophets and sages, forging Utopia.” The drumming and vocals are also totally magnificent, helping to secure this one a place very high at least in my “best song of 2000” poll.
3. Fallen
After such a blasting opener this track had tough job backing it up. But just relax, “Fallen” is just as good track as the opener, maybe even better. The intro is quite progressive with swirling keys and off-beat guitars and drums, and this is also the vibe in the verses. The chorus is one of those great, great melodies that just needs some time to grow on to you, but if you allow it to do just that it becomes a sing-along blast like nothing else. The post-chorus bridge features some cool backing vocals, while drummer Jason Rullo helps to make the guitar/key-solo section (in which Romeo’s wah-drenched tone is a highlight) one of the best on the album with his very tasty beat- and speed changes.
4. Transcendence
Acting as a short interlude between the two monsters “Fallen” and “Communion and the Oracle” this Gustav Holst meets Beethoven style symphonic number is a nice little ditty, with cool horn and strings effects. It does it’s job excellently, leading on to…
5. Communion and the Oracle
Which is a very good, very melodic, and very original (!) piece of work. OK, the clean guitar in the beginning may recall earlier works by the ‘X guys - especially the epic “The Accolade” from “Divine Wings of Tragedy”, but the overall structure, jazzy (kinda McLaughlin-sounding) chord work, new age meets classical music harmonies and melodywork and overall feel of the track is unique. The hooks are soft but still very powerful, and the 6/4 part at about 1:05 is nothing less than genius. The same goes for the “verses” (there is no set structure in this tune) with the laid-back piano accompaniment under Allen’s soulful vocals. During the rest of the tune’s seven minutes we get almost funky rhythms from LePond and Rullo, and some stunning lead work by Mike Romeo. Stretching the boundaries of Metal guitar, his very flowing and Satriani/McLaughlin influenced approach secures a great listening experience. He also incorporates some Queen-inspired harmonies into the tune, and all this, together with a very clever arrangement, makes this track stand out from the crowd.
6. The Bird-Serpent War/Cataclysm
After the quite dreamy “Communion…” we need some more aggressive material, and the guys know just that. With it’s squealing, rocking and rolling riffs backed up by excellent double bass kicks and topped with very nice melodies brilliantly executed by Russell Allen this is Prog Metal at it’s best. The backing vocals are also once again very good, and in the soloing department the guys delivers the goods just as we want it. Romeo and Pinnella, who in addition to composing most of the music also penned the bigger part of the words, does a great job here too. “The crumbling earth beneath the weapon’s roar, Raining fire from shore to shore, Neptune’s might - the storming waves, rise to make a Kingdom’s grave.”
7. On the Breath of Poseidon
Living up to it’s title, this instrumental guides our way through the stormy, chaotic but yet so beautiful world that is the ocean. It starts off with soft waves growing into majestic horns and strings, before moving into more bombastic territory, with fast bass drums accompanying a Rhapsody-stile melody line. The main theme is extremely beautiful, with an almost operatic quality, and makes up for an excellent instrumental.
8. Egypt
From the quite heavy intro, through the progressive and very eastern-sounding (no surprise with such a title, huh?) melodywork and the magnificent chorus (which must be one of the best ever, the complex and musical-inspired hooklines sooo soulfully sung by Allen continues to give me shivers down my back after 30+ listens) to the extraordinarily beautiful leads courtesy of Mr. Michael Romeo (which for example shows his ingenious way of applying two-handed tapping in creating melodies, not only shredding), this track shines like the (black?) diamond that is it. I may have given “Imaginations from the Other Side” by Blind Guardian 10 out of 10, I may have called “Evolution” the best song of 2000, but this track is just as good…
9. The Death of Balance/Lacrymosa
Together with the epic closer “Rediscovery Part 2”, this is the most progressive number on the album, giving us polyrhythmic assaults of guitar, bass and drums, while the keyboards swirls upon the groove with more of the technical yet melodic melody work so typical of players like Mike Pinnella, Dream Theatre’s Jordan Ruddess and Artension’s Vitalij Kuprij. After this very intensive first half, the track slows down to the “Lacrymosa” part, where a very intelligently arranged choir sings Latin, recalling the title track from Rhapsody’s classic “Symphony of Enchanted Lands”. Again an impressive number, where the guys show their diversity as composers.
10. Absence of Light
Although the intro solo section is very good - Romeo and Pinnella are really allowed to shine on this one, shredding over a mid-tempo ++ groove - and the chorus not bad either, is this track in an overall view the poorest on the album. It is by no means a bad tune, that’s not what I’m saying, but all in all it lacks some of the magic that’s present in I guess about all the rest of the songs.
11. A Fool’s Paradise
After the slight disappointment of the previous track, this one had to be good. And it is, actually it’s one of the very best tracks on the entire CD. Letting Allen really shine with the mike, the melodies on this one is absolutely top-notch, and backed by very tasty drums excellently co-ordinated with the rhythm guitars securing great power throughout this is without doubt a mega-track. The solo section is very classical-inspired, with a terrific Bach-sounding duet featuring Romeo and Pinnella. The lyrics are also excellent. “Decades of greed, plague, famine and war, we can’t go on like this anymore. Lost in the Night, fading from sight, is this the final setting sun?”
12. Rediscovery Pt. 1
Starting off where “A Fool’s Paradise” ended, with non-stopping clean guitar work, this short piece of art perfectly sets the mood for what’s to come - the masterpiece of…
13. Rediscovery Pt. 2 - the New Mythology
Symphony X knows how to compose intricate and long songs. About this fact there is no doubt, and now they’re at it again. This one may “only” last for 12 minutes, the band has done much longer numbers before, but the sheer greatness is present as always. As the track consists more parts, themes and motifs than AC/DC have made in their entire career, I will not dive to deeply into the structure, but I’d just say that this is the album of the year, this band is one of the world’s best at the moment, and this track is clearly among the better things they’ve done…

The only complaint from this reviewer is that they could have worked just a bit more with the ending section, as it may be only a little too predictable and a too typical way of ending longs songs, with slow drums, heavy guitars and soaring melodies. But don’t let that stop you, buy this album NOW!!!

“Again the Titans clash of the edge of this earthen plane. Now from the depths they speak - echoing from the waves.”
“Choose the way, five paths there for you to find, turn the page, the question lies between the lines.
"Can we - will we - can you - will you - change?”

I’ve been raving quite a lot about this album now, and I guess some of you may say that I’m not critical enough, forgetting the more negative sides of (an/the) album in an one-dimensional praise of the good ones. But at least concerning this one album - “V - the Mythology Suite” by Symphony X, this is not the case. Except for maybe 5-6 minutes of the total running time of 62:41, this is total excellence in a musical package. Russ Allen’s vocals are astounding, the fundament laid down by LePond and Rullo are among the best in the biz, and the duet of Pinnella and Romeo is both instrumentalists and composers at the highest level. I will not say that this album is better or poorer than “Divine Wings…” or “Twilight in Olympus”, but what I can say is that it according to me, Torgeir Krokfjord, is the best album released this year. 2000 is not over yet, there are more great albums to come (“War to End All Wars” is only one), but I think this will also be the status when we’re entering the year 2001. The production courtesy of Eric Rachel and Michael Romeo is great - not too slick but clear enough to let every aspect of the music be heard - the playing astounding, lyrics fascinating and 99% of the music absolutely top notch.

Points:
Songs - 9.5 ~ Lyrics - 9.1 ~ Playing - 9.8 ~ Production - 9.4

OVERALL RATING:
9.5
Review by Torgeir Krokfjord
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