Symphony X

[Diesel 11]

I do not share your absolute disdain for this song

To be fair, I don’t actually hate this song but it’s easily the most pointless so far outside of Pinnella and the instrumental break. Thus I kinda hammed-up my review with hyperbole and stuff so I don’t repeat myself, lol. Glad you all enjoyed.

 

[Midnight]

There aren’t too many bonus tracks anyway IIRC, just that one and “Frontiers”.

There are a couple of very short demos on Paradise Lost, but I don't think we need to cover them.

 

[Diesel 11]

If they’re only demos then yeah, that’s nothing to worry about IMO.

 

[Mosh]

Never heard of demos from paradise lost, would be curious to learn more about those.
I will be interested in this thread after you get to Damnation Game. I don’t have much to say about the debut besides glorified demo.

 

[Midnight]

Never heard of demos from paradise lost, would be curious to learn more about those.

They're nothing to write home about. The first one is a prelude to The Sacrifice, and the second is an alternate intro for the album. Each one is shorter than two minutes in length.

 

[Mosh]

What are those from? Were they officially released somewhere?

 

[Midnight]

What are those from? Were they officially released somewhere?

They were Japanese bonus tracks.

https://www.youtube.com/playlist?list=PLRTGDivutDkdZ-yGsoU6rDfln0ml-3v0k

 

[MrKnickerbocker]

Absinthe and Rue

LYRICS

Spoiler

In your time of dying don't call my name
So you see me as evil it's just the same

PRE-CHORUS:
Through the windows in my mind
Now you're cast in flames

CHORUS:
Absinthe and rue
Twisted wings of paranoia
Twilight runs through eyes of ignorance
Absinthe and rue
Twisted wings of paranoia
Twilight runs through eyes of ignorance

[Guitar Solo]

Afflicted, addicted and wicked
You'll loom in fear
Severed, endeavored in trial
Time closes near
Obsessing, possessing, confessing
Consumed by sin
Injected, infected by venom that's searing your skin

PRE-CHORUS
CHORUS

[Guitar Solo]
[bass solo]
[Keyboard Solo]
[Guitar/Keyboard Solos]
[bass solo]

CHORUS
Ignorance!

• Pinnella's at the forefront again ripping away on his Casio harpsichord patch!
• The first guitar riff section that comes in at 0:28 would be cool if it wasn't for those terrible turnarounds on the first three repetitions. It almost sounds like nü-metal. The fourth ending is great.
• Rullo's double bass during the riff that follows enhances it quite a bit. Pinnella's keyboard work here is super minimal and I don't know if love it.
• I do love the abrupt transition into the verse and Rullo's cymbal and fill work. It sounds a lot more like the Symphony X we would come to love.
• Rod...jesus, Rod. I thought you couldn't get any worse. The pre-chorus melody and performance is abysmal. Russell may have been able to pull off the Eastern vocal run on "my mind", but would still be a little janky.
• Not sure why the first verse is so short and the second is so long?
• The chorus is fine, but the more I hear it the less I like it. Repeating it twice every time certainly doesn't help. It's very stock and Pinnella is just like, "IDK more chords."
• The bridge is really cool, and even slightly more proggy than some future SX material. Once again I love Rullo's jazzy cymbal work throughout. The riff at 4:03 and 4:08 sounds like a video game.
• We get our first real taste of what Romeo is capable of when he's restrained and playing melodic leads. The quiet section here is really nice and, honestly, could've been extended. This reminds me of some future songs for sure (maybe Through The Looking Glass?).
• The transition out of the relaxed section is...less good, though the slinky, proggy riff that follows is pretty cool (even if it ends in a silly bass run). This might be one of the only times where a Dream Theater comparison is apt.
• None of the solos here are memorable, but they are pleasant enough, I suppose.
• The final 50 seconds of this song are terrible. Transitioning back into the chorus feels forced and Rod screaming, "IG-NOR-RINSE!" is truly terrible, as is the pointless piano bit that serves as a truncated outro. They very definitely could've done something differently here.

Overall, I think this is one of the better songs musically on the debut, even if the riffs seem pretty patchwork as a whole (kinda like a Death Magnetic song).

 

[Diesel 11]

"Absinthe and Rue" - I'm going to post what I jotted down during listening to the song, because I don't think I can explain my thoughts half as well without them.

- twinkly keys segue in
- boom bam riff time
- this opening is actually really good
- also what a bangin' riff
- best shit on this album yet
- the power and the progginess together mmm
- fuck yeah everything dropping out for the riff excellent
- production holds it back but not by much fuck yeah this is great
- and then Rod comes in to fucking make this feel like we're listening to a fucking hair band
- dammit dammit dammit
- i'm gonna actively ignore that chorus just i'm having fun with the music
- i'm banging along with Rullo
- wow cathedral magic time
- MILLER!!!!!!!! YEEEHAAAA
- oh i love this
- Romeo and his guitar i'm gonna cry
- fuck this is so good
- HOLY SHITTTTTT MAN FUCK
- oh man i wish that part was longer
- but this heavier bit is pretty cool too
- BASS MAN
- Romeo oh Romeo it is time for SPAGHETT again
- OH MAN MILLER IS KILLING IT
- segue into the chorus is actually pretty great
- outro is tacky and pointless

The flaws are pretty big. Rod just doesn't work. He just doesn't. And beyond that I don't really think the verse and chorus constructions work very well, although the final chorus reprise works IMO. What makes this song worth listening to is the music, cuz goddamn. That intro is awesome, I love how the guitar weaves its way through that shit. Dropping all the instruments but the guitar for that riff change? Inject that shit into my veins, man. Once Rod takes over it's just bah, it sounds like a bad '80s hair band... and I actually like hair metal, so that should be a complement, but it isn't. It just sounds pointless. But when the instrumental section comes up and we get this really nice bass / guitar section, it's like floating in a pool of endless quiet and peace and it's so awesome. Should last longer than it does, and the heavy section jumps in far too soon, but I really don't hate much the instruments do in this song.

Better production, a better vocal section, and a couple minor edits and this song is amazing. As it is, it's definitely up there with "Premonition" as one of the album's highlights. VmNmNmNmNm but the music is awesome!!!

 

[Detective Beauregard]

Absinthe and Rue is a very good tune, and overall probably the album's apex. It's clear that it was placed as the centerpiece for a reason, and outside of a weak pre-chorus, the vocals here aren't the typical "Rod's drunk again, take that mic away from him" terrible. Let's get to it...

• The riff-o'-rama that opens the song is the highest point of the album thus far.
  • I like the ominous opening, then terror strikes in the form of a Romeo power chord.
  • The first riff is great, and I love the ascending line at the end. It's almost like Eve of Seduction in reverse. I also love that the bass plays it, too, whereas most bass players would've just played eighth note roots or something.
  • The next riff is more complicated in its timing, and again, it's great. The segue into the next riff also works well.
  • This riff (which also forms the verse) is excellent, and if you ignore the production, it would fit nicely into Iconoclast. The start-stop staccato really gives it a feeling of urgency, and I love the spidery tail played halfway through. The drums crush it here. The keyboard isn't doing much, but it's the melody here, and it's eerie towards the end.
• The drive in the verse is great, as are the melodies. Rod actually doesn't make me want to punch him here.
• This band really picks up their pre-chorus game on future albums. This is just bad. It doesn't fit, the melodies are awful (with Rod's attempted run on "my" and the rushed "now you're cast in flames), and the music isn't even good. It's just a mishmash of random starts and stops to accentuate the even weaker vocal lines.
• The chorus isn't awful, but it isn't really catchy, either. I suppose it's somewhat "grand," and I like the guitar/bass run when Rod sings "paranoia," but it doesn't really sick with me.
• The mini-solo after the first chorus is excellent because outside of one lick, Romeo is playing tastefully! I love when he does this, because his note choice really enhances the sinister vibe of the song (especially when it's harmonized).
• I wish the first verse was as long as the second, and that the pre-chorus didn't exist.
• The instrumental section here is classic prog and really captures a wide variety of emotions.
  • The dynamic section that follows the second chorus is simple but effective. It's powerful, and it's nice to hear Pinnella carry it a bit. I think it should have been repeated again, though, as it would make the next section more effective.
  • Remember when I said that the opening riffs were the best part of the album so far? Well, no more. The bass harmonics here are beautiful, and we are rarely treated to Romeo playing this gracefully. I believe there was a moment or two on The Dark Chapter like this (perhaps in the last track?), but his playing here is so mesmerizing. It's clear he's underwater, because this is fluid. The ghostly, emotive "hooks" from 4:47 to 4:59 get me every time.
  • Another classic-sounding proggy section, with obligatory out-of-place (but still amazingly awesome) bass run. I really enjoy the palm-muted but melodic guitar line, and the bass choosing not to muddy it up but rather play longer Myung-esque notes to drive the section along. Love it.
  • The section in the guitar solo from 5:48 to roughly 6:00 is a highlight of a rather stereotypical Romeo lead, mostly for his phrasing of the licks over the dramatic groove underneath (the harmonization here also adds some evil flavor).
  • During the section at 6:18, is that Miller actually sweeping? Is this a full-on bass solo?! The production is so bad that I can't tell. Maybe he's doing a more traditional "easier" Symphony X legato tapping thing? Either way, it's amazing.
• I actually think this song could have benefitted from another verse before the final chorus, since it's the strongest vocal part of the song.
• Obviously, "ignorance!!!1" as "sung" by Rod is something I never want to hear again. By Russell? It would slay.
• Another pointless outro. Why even bother? The song should've just ended with the vocal and that's it. But I certainly understand Romeo's hesitation to end a track of this quality with a cappella Rod.

Absinthe and Rue's Russell Factor: I'd sell my soul

I just realized that my "bullet point" list for the final track on this album is going to be miles long. I'll also probably have to review The Divine Wings of Tragedy and The Odyssey in neat little slices. No riff will be left unanalyzed.

Anyway, this is the best track yet, and the true highlight of the album for me. This would have been a much better choice than Masquerade for Russell to sing, but I understand why Romeo wouldn't want to go all out with a longer, proggier tune. The album will reach highs close to this again, but first we have to drudge through a brief swamp of mediocrity.

 

[Diesel 11]

I actually think this song could have benefitted from another verse before the final chorus, since it's the strongest vocal part of the song.

I very much disagree because as much as I think the verses and chorus in the first half are pointless and should have been rewritten, the outro chorus reprise is actually really great and bringing things to a close and wouldn’t have worked as well with another verse IMO.

 

[Detective Beauregard]

I very much disagree because as much as I think the verses and chorus in the first half are pointless and should have been rewritten, the outro chorus reprise is actually really great and bringing things to a close and wouldn’t have worked as well with another verse IMO.

You do have a point. The transition between Miller’s solo and the final chorus is actually quite solid. I was just thinking what it might sound like with the drive of the verse coming back, since I think it is the strongest vocal section in the track.

Try as I might, I just can’t get into the chorus. There are stronger ones coming up on this very album, and this song would have benefited from switching up the melodies (and lyrics) in the chorus.

 

[MrKnickerbocker]

Shades of Grey

LYRICS:

Spoiler

Seasons changing now - summer's come
And I'll be on my own
Just bear another day
I have wondered - if I can turn back hands of time
I'll try, just try another way

CHORUS:
I don't know why my heart keeps calling,
But I really don't want you to stay
I have my reasons to keep from falling
Then cast me into shades of gray

Life's an endless stage - wisdom comes with age,
Can't you see what mindless games we play
So the end is near - captured by the spirit in the wind
You keep calling out to me
I'll find my way
I'll see it through

CHORUS

[Guitar Solo]

When the curtain falls - I'll hold my head up high
And curse you all
Such vicious games we play

CHORUS x2

• This song has a lot of the traditional Symphony X sounds we will come to love, but holy shit is it so bad.
• With the exception of the absolutely terrible major-key chorus, I like the instrumentals on this song. The moody piano intro is good (even the vocal melodies are solid), the start/stop guitar chords over the crazy bass playing by Miller that comes after the chorus is wonderful, Romeo's solo is super tasteful (for him), the heavy bridge is fine.
• The intro (once again) is very reminiscent of a future song. Is it Winter's Dream? Paradise Lost? I can't tell. I love Pinnella's synth lines on top of the piano. Not so great when he plays synth chords over the bass jam, that's full Casio cheese right there.
• Rod is so bad. Worse than ever. Probably his most annoying performance on the whole album. A lot of that is due to the melody in the chorus, but Rod is just atrocious here. If you added Russell to this song and completely rewrote the chorus, you might actually have something decent.
• Is this the most consistently slow song in the discography? It's weird to hear Rullo playing so down tempo for so long.
• I have nothing more to say...it's so bad.

 

[Spambot]

Sorry guys, I've been a little busy to write in this one, but the full album has been on constant rotation last couple of days.

First of all, I must say I like it a bit more when I listen to it front to end, much better than listening to certain song couple of times in the row. Somehow it all went a notch up, even the bad parts. Also, it's way easier to return to individual track to say something about it when I can put it in the context of the whole thing.

Also, nothing to do with this songs or album, but still (a bit) related. Mike Portnoy has this vinyl series of his and couple of days ago Symphony X turned up. I thought he'll say something about this album but he doesn't have it on vinyl. Instead, he praised Russell and also said something peculiar. To him, Symphony X are on the same level of quality as Dream Theater although they are much less popular. In his opinion, it takes 'em more time to do thing, or they are doing thing slower, something between those words made Symphony X less exposed. And then I checked both of the bands discography and noticed he's talking gibberish. Again, digressing, but from my perspective: Dream Theater, unlike Symphony X, had a couple of these radio-friendly singles, whereas Symphony X had none. Even way before, I could stumble on a song or two from Dream Theater whilst this is my first time listening to Symphony X. So, maybe that also has to do with "level of their fame".

 

[Spambot]

Onto the songs:



Masquerade

I love the organ intro and especially how it instantly turns on the drama in the song (also that intro, for some reason, reminds me of Megadeth's Last Rites.) And then that rhythm. Yes, more please. I have no problem with progressive bands simplifying if it's done right and this one definitely is. Also, how could they do justice (to some point) to rhythm guitar and not to the lead one? It's like one channel was produced by J.J. Abrams and another one by Rian Johnson. Why such difference? The bridge is OK I guess and the chorus is so-so. By this point, I'm already used to vocals so I can't say something bad about it. But what I really like is the part after the 2nd chorus. Nice synth and just when I thought they'll spoil it all with another under-water guitar doodling, comes guitar/bass duo. It may sound funny, but it took me (or did it took them?) three and a half songs to notice they also have a bass player, and by the first couple of listens, bass player who's got chops. Also, thumb up for just putting one more chorus after all that soloing and ending the song. Usually I get the feeling these types of bands/songs just don't know how to stop and ruin a decent song by splattering all kinds of gibberish at the end.



Absinthe and Rue

Again, whoever is doing their synth work is doing a great job. It really doesn't take him long to set the mood and it takes a certain type of talent to achieve that. And just like the previous one, that riff is awesome (and properly produced again!). This is the first time I could hear Symphony X that I was listening couple of months ago (note: Deezer only had Paradise Lost and Iconoclast so I only listened to those two). However, I love theirs heavy-rhythm-guitar / moody-atmospheric-synth combo. Like, they really got the combo right: without the synth, guitar would sound dry; without the guitar, synth wouldn't have any flavor. (I hope you get what I'm trying to say. I know I'm having trouble phrasing the thoughts due to lack of proper vocabulary/terminology.) Chorus is... a bit generic, nothing to write home about. Instrumental part is a bit long for my taste, but again, I liked it when the bass shined (or is it shone) again. The outro? Erm, I don't get it. To put something completely new at the end, only to fade it out a couple if seconds later? I just don't get it.



Shades of Grey

I'm really not one of those to notice producing but, goddamn, was it really their goal to produce every song differently while trying to maintain poorest quality? Just listen to that first minute. Clear piano, OK and then... Did they record those cymbals over FM radio? WTF?! And then comes the vocal so clean like, guy's singing just a couple inches from my face. How did they manage that? And just when I thought that this is one of those simplistic ballads on the album came the guitar. Damn... Awful... Like somebody's poking me with a stick. OK, I'm listening to that 1:25 part again and if you could see my face right now you would've thought I had a seizure or epilepsy. The whole song seems so out of balance, even if I think the melody of the vocal in bridge/chorus. But from these couple of listens, this is definitely the low point of the album.

 

[Diesel 11]

I know that Knick hates this song, and I don't blame him, really, but I gotta say that I actually think that of the six we've been through, this one's among "Premonition" and "Absinthe and Rue" in that top three. Let's take a little look at the shades of "hey this is quite nice!" before we dive into the shades of "oh goddammit!"

"Shades of Grey" opens with a really nice piano intro. I think it's public knowledge that I love ABBA, so when I get those vibes from like the first half of the melody it's really cool. The second half goes closer to what will soon be seen as the "classic Symphony X sound". There's two run-throughs of this piano melody and I love the building of the synths on the second. And then that dark and brooding guitar comes in... and it's not electric, it's acoustic. Great choice to use the "less evil" sounding one to really bring in shades of autumn, leaves falling around, the wind is in a mood, and your soul is ready to fly away into the solitude of the forest. Very nice.

Rod actually does an excellent job on the verses, and I think this is the first time a song has really suited his voice. So far. He's not perfect, but when he holds those notes, he's really holdin' them notes, man. His final note in the chorus too, he really finally put some effort into it. I also love the first post-chorus's instrumental section, and it's very very cool how the second verse is even more powerful due to the bass's presence. The pre-chorus before the second chorus reprise is actually great, too.

Romeo literally gets three little sections through one longer instrumental section with which to show off his skills. And I really, really love it. The first section is a bit noodly, but reined-in enough to get the melodies and emotions across to the listener. The second is purely the latter, ugh god it's gorgeous, and the third is purely the former, Noodles, Inc. back at it again. That third section may be the weakest but it still works well and I think this is a great showing of Romeo's skills which will down the line be further expanded upon. And that break into the bridge, with a heavy-ass riff is great!!!

So there are my positives. Now let's look at the negatives. Actually, there's only really one, but it's a big one. Here, I'll give you guys three hints as to what it is. See if you can guess it!

It's the chorus.

It's the chorus.

It's the chorus.

Have you guessed it? That's right!

IT'S THE CHORUS.

The chorus doesn't really piss me off but I still wanna know why the hell they decided to shift into major key for this one. The song goes from a wistfully dark wanderlust affair to "I dOn'T kNoW wHy My HeArT kEePs CaLlIn'" BUT I REALLY DONT WANT YOU STYAYYYTOTUUTUUTUT. Rod sounds so fucking cringy holy crap. Like I said, he holds that last note at the end but goddamn. And also I wish the pre-chorus after the second verse just went into the instrumental section instead of TWO - yeah, count 'em - TWO chorus reprises. The fuck? As much as I like the bridge's guitar towards the end, Rod is coming apart like molasses on a tricycle tightrope-walking across a honeydew ant's behind. And then if the final chorus reprise wasn't enough, they sHiFt ThE kEy and have another even more pointless one. And then they fade out too? Lord, they couldn't even face the music and give us a proper ending. They knew it was so bad they just had to back slowly out of it and run away. Jesus.

I really like this song and I wanna like it more, because almost everything here is great. But Lord Almighty In Heaven, they just couldn't leave well enough alone. Change that chorus and it's a perfect song. As it is, it's kinda like the novel this title is quite close to. It's all good and all fine but at certain times you just need to shut the fuck up.

 

[Mosh]

Sorry guys, I've been a little busy to write in this one, but the full album has been on constant rotation last couple of days.

First of all, I must say I like it a bit more when I listen to it front to end, much better than listening to certain song couple of times in the row. Somehow it all went a notch up, even the bad parts. Also, it's way easier to return to individual track to say something about it when I can put it in the context of the whole thing.

Also, nothing to do with this songs or album, but still (a bit) related. Mike Portnoy has this vinyl series of his and couple of days ago Symphony X turned up. I thought he'll say something about this album but he doesn't have it on vinyl. Instead, he praised Russell and also said something peculiar. To him, Symphony X are on the same level of quality as Dream Theater although they are much less popular. In his opinion, it takes 'em more time to do thing, or they are doing thing slower, something between those words made Symphony X less exposed. And then I checked both of the bands discography and noticed he's talking gibberish. Again, digressing, but from my perspective: Dream Theater, unlike Symphony X, had a couple of these radio-friendly singles, whereas Symphony X had none. Even way before, I could stumble on a song or two from Dream Theater whilst this is my first time listening to Symphony X. So, maybe that also has to do with "level of their fame".

I think you missed his point. It takes Symphony X longer to release music and tour. They will go ~5 years with no activity and then do a short burst of touring with a new album. If they were more consistent with activity, they might not be on Dream Theater’s popularity level but they could easily be one of the more famous prog bands. It’s next to impossible to build a following with their level of activity.

 

[MrKnickerbocker]

Shades of Grey

I'm really not one of those to notice producing but, goddamn, was it really their goal to produce every song differently while trying to maintain poorest quality? Just listen to that first minute. Clear piano, OK and then... Did they record those cymbals over FM radio? WTF?! And then comes the vocal so clean like, guy's singing just a couple inches from my face. How did they manage that?

The production makes absolutely no sense. They clearly did not normalize the song mixes, tones, or mastering level to each other.

It's the chorus.

It's the chorus.

It's the chorus.

Have you guessed it? That's right!

IT'S THE CHORUS.

I actually agree with most of the rest of your assessment of the song: it's pretty good! The guitar solo section is quite fantastic. But the chorus is so bad that it ruins the entire song for me. Truly a damn shame.

I think you missed his point. It takes Symphony X longer to release music and tour. They will go ~5 years with no activity and then do a short burst of touring with a new album. If they were more consistent with activity, they might not be on Dream Theater’s popularity level but they could easily be one of the more famous prog bands. It’s next to impossible to build a following with their level of activity.

Indeed! It's actually shocking to me that they've managed to obtain and retain the fanbase they have considering their incredibly lackadaisical output and touring schedule.

 

[MrKnickerbocker]

Taunting the Notorious

LYRICS:

Spoiler

Don't give me reasons
Why you spread your disease like a plague
Caught up in treason
A faith that's misleading and vague

PRE-CHORUS:
It's so sad our world is breaking down
Feeling desires, desires are set in my mind

CHORUS:
Your corrupted ways
My sarcastic daze
Parasites infecting us
Savage and notorious

[Guitar Solo]

Lost in the kingdom
Kingdom of pain and my spite
Whirlwind of power
Power controlling my mind

PRE-CHORUS
CHORUS

Your corrupted ways
My sarcastic daze
Parasites infecting us
Savage and notorious

[Guitar/Bass Solos]

CHORUS x2

• Beyond the hilariously silly wanking intro, this song sounds like a prototype of some of the upbeat rockers we'll get on the next few albums.
• Speaking of the wanking intro: it's still super impressive (especially on bass).
• Rod is, of course, not good here (except for the note he holds before the last chorus), but Russell could've actually made this song decent.
• There's nothing special about the riffs or vocal melodies here. They are, dare I say, stock. But the song rocks. It moves, it grooves, it's heavy, it's fast, it's pummeling (well...it would be with an average production). Again, the production makes no sense with the rest of the album. Pinnella's keyboards are virtually non-existent, which is a shame because they add a nice layer to the wanking bridge.
• There's a lot of wanking here, but I like it. Miller is going nuts!
• I love the harmonized bit after the solos (mid-solos? IDK). It sounds like a video game!
• What is with the fucking outro again?! It's the exact same trick they pulled on Absinthe and Rue! This would have been the ONLY spot on the album where Rod could have naturally (and powerfully) ended the song and they blow it with 8 seconds of a stupid quiet clean section that disappears in a fade out. No, Romeo, no.

 

[Diesel 11]

I actually agree with most of the rest of your assessment of the song: it's pretty good! The guitar solo section is quite fantastic. But the chorus is so bad that it ruins the entire song for me. Truly a damn shame.

Yeah it doesn’t ruin the song for me but it does annoy me a ton. I’d love to hear a version of the song without the chorus or with it rewritten completely, everything else is truly great and that’s what makes me annoyed. I’d probably give it a strong 7 overall still.