Symphony X

[Diesel 11]

I feel like we’ve all been pointing out moments in the song we could’ve done differently — LC too when he did his reviews — and yet the song is so powerful and sweeping and moving and EPIC that it is totally bigger than the sum of its parts. It’s a ten out of ten for me even if aspects of it aren’t perfect per se. You just can’t get lost in the slight bumps when it is pristine everywhere else.

ALSO RUSSELL IS GOD

 

[Detective Beauregard]

I had no idea it had been six months since I last updated this. For shame, Detective.

Anyway, here's The Divine Wings of Tragedy, continued...

IV. The Wrath Divine (06:07)

• This section begins with a common phrasing in Symphony X’s early music – a palm-muted root-minor 7th motif. This time it’s in Am before dipping briefly into Cm and then back again. The keyboard I think really adds a lot of atmosphere to this section.
• The verses in this section switch to Em as Romeo plays a riff embellished with flavor. The keyboard once again adds a lot here, as it’s in its upper range and has an ethereal feel to it. The groove here is important – Romeo’s riff is in 7/8 but Rullo plays the section straight, as if it were 7/4. This makes it flow considerably better, particularly since it’s a verse. Russell’s delivery here is fantastic, particularly on the opening phrases (“burning conflict, “mansions of glory,” etc.) There’s a lot of conviction in his voice.
• The “chorus” heads back to Cm in common time and is more open melodically, allowing the bass to drive it along. You can hear Russell’s grit pushing through in this section, as a prelude to the next. “Tears of woe fall from the sky!”
  • Between the verse/chorus sections, we are treated to a new version of the piece’s main melodic theme played by Pinnella (in Dm again) while the rest of the band chugs away in 5. This polymetric sound really defines Symphony X to me. It ends with a recall of the piece’s main rhythmic theme, "Mars."
  • At 8:03, this section begins to wind down. Romeo plays a tasteful lead while the keys add more depth in the layers above.
  • The bass solo here is beyond tasteful, and a great example of Miller’s restraint. We all know the guy can fly, but he compliments the openness of this section beautifully.
  • The next section, a simple Dm-Gm switch-up, repeats later in the piece, as well. Here it is used as a transition to the next section, as it will do later. It’s a bit simple, but this room to breathe is needed for what's to come.

V. The Prophet’s Cry (09:24)

• I think this section begins with this riff, but I’m not sure. It starts in 5/4 but concludes in 3/4 followed by 12/8. Quite an interesting section musically, the feel changes from the straight chug to the crazy fill to the triplets at the end. The keys here are pretty zany. It stays in this key (Cm) for the upcoming keyboard solo, too.
  • This is one of Pinnella’s better solos on the track, played over a simplified version of the previous riff. There’s a little wank, but it’s a bit more melodic than the others. 8/10.
  • We dip down into Em for Romeo’s solo, which aside from the obligatory “bat out of hell” runs is quite solid. There’s some nice phrasing in the beginning, too. 9/10.
  • Back into Cm for another Pinnella solo, which is scalar buzzing until the more melodic second half. I love those keyboard bendies! 8/10.
• The verses here are just pure, raw power – with Russ really chewing the scenery! This is the most vicious he’s sounded to this point, really laying into his metal voice. There’s not much to analyze here – it’s just a straight up metal riff that chugs away in 4. Sometimes that’s all you need.
• The bridge is more interesting melodically, as it climbs by a step and a half every two measures. Russell, however, drops down during the second of four such sections, but climbs back to some nice wailing near the end.
  • Following the second verse, Romeo and Pinnella share an ascending line over a truncated version of the chord progression in the bridge. Nothing fancy, but it definitely builds to the next riff.
  • Accompanied by organ, this brief syncopated interlude chugs away in Fm, jumping up to its tritone, as well. Symphony X uses this sound a lot, as it thematically links the music to a lot of their lyrics.
  • Soon we get some “YYZ”-style bass and drum fills – although it’s a lot more evil! I love how syncopated this is, as Rullo locks in with Miller as he ascends, descends (with tapping), and even hits a few juicy harmonics. This is pure showoff, but it’s done in a way that fits the feel of the song. I’d rather hear more of this and less guitar solos at times!
  • After a brief reprise of "Mars" in Bbm, this section (I still believe we’re in section V) ends with the same motif that ended section IV – the Dm-Gm thing.

VI. Bringer of the Apocalypse (13:25)

I will note that much like the previous two sections, I have no idea where this section (or its various subsections) begin or end. It’s all educated guesses here.

Eve of Sacrifice

• This slithering bass/piano line in 5/4 certainly sounds like someone is about to get sacrificed! Romeo soon joins in and we dip into more chaos.
• Back in Dm, the rhythm section rides a disjointed groove (in 9/4) before Romeo makes things polymetric with power chords (in 6/8). If that weren’t enough, we have some spidery harmonized lead lines followed by Pinnella’s creepy arpeggio. This sounds like the musical equivalent of awakening a demon – which may be what’s happening here.
• Next up is the obligatory jazz section – wait, what?! Symphony X doesn’t dip into jazz too often, but this is one of those moments. It’s evil jazz, mind you – and it’s fantastic. I’m not going to note all the time changes here, because there’s a lot. Suffice it to say that Miller carries this section with some twisting bass lines while Romeo wails above them in neoclassical delight.
  • Eventually the groove “settles” into a 9/8 pattern in Gm, then 6/4 in Bbm, then back to 9/8 in Abm – all the while Romeo is soloing somewhere overhead. I would imagine that a section like this loses some of the audience, but I love it.
  • Things come full circle to the “Mars” groove, and…

Armies in the Sky (14:48)

• This subsection returns to the Martian surface as things take off in Fm. There’s some chromatic patterns, diminished syncopated runs – standard Symphony X stuff but still excellent. Eventually the riffs transition into Ebm and F#m (I’m almost certain that the band plays in every single key signature in this song at some point).
• The “Mars” theme returns with a bit more complexity in the rhythm’s notes and additional “orchestra” above. This really does sound like armies marching through hell.
• Things pick up a notch with some powerful chord hits and drum fills, and the band launches into a thrashy riff. Soon we are introduced to another (fourth?) solo section, comprised of two solos each and bouncing between Dm and Bm. I’m not going to rate these solos as they fly by, but the section as a whole is incredibly effective at portraying a chaotic battle of the heavens.
  • Some syncopated hits form the backbone of an interesting section where Pinnella plays the first half of a rising arpeggio and Romeo plays the second, descending half. It’s chaotic but it works beautifully. I have no idea how they do this live.
  • Pinnella’s dancing starry keyboard brings us into…

Dies Irae (16:42)

• The final portion of the instrumental section begins with Pinnella’s dulcet piano echoing in a beautiful guitar arpeggio in Fm. This section is in 11/8 but it never feels “off.” I love how Miller doubles Romeo’s arpeggio at the end of each phrase.
  • Enter a brief Romeo solo in Dm. This solo and the next are 10/10 for me because they’re full of mood and space – something he doesn’t accomplish often.
• The 11/8 returns, this time in Bbm. It’s great here, too.
  • Romeo again, in F#m now. Bendy and feely for moods.
• The final part of this section is in Bm, and is full of neoclassical atmosphere with some chromatic tinges. Very moody, as it switches from foreboding to hopeful throughout.

VII. Paradise Regained (18:51)

• This beautiful section in Dm begins with just Russell and a synth pad, soon joined by piano, bass, and cymbals. Russell is in top form here, delivering some hauntingly emotive lines. The octave jump midway through, then adding falsetto… it’s perfect. This ending gives me chills every time.
• Romeo eventually enters with the main melodic theme on clean guitar, and the band joins in for one last easy groove. This section is quite open, which is a big change from the previous six minutes of chaotic instrumental mayhem.
• The final seconds of the song are climbing chords up to the original key of C, but when we finally hear “Mars” again to end the track, the feeling is triumphant as opposed to ominous. I love the subtle bells in there, as well. This is truly a perfect way to end such a masterpiece!

I simply cannot say enough positive things about this song. While I think The Odyssey is a better written song overall, I have a soft spot for this and have the urge to listen to it more often. There’s something about the overall journey of this song – regardless of the lyrics, which isn’t a subject I feel particularly attached to – that hooks me from the very beginning.

 

[MrKnickerbocker]

This is awesome. I just don’t understand why it’s not Symphony X.

The vocals are clearly trying to sound like Russell. It feels like a song following in the tradition of Underworld. Just makes no sense why these aren’t SX albums.

 

[Detective Beauregard]

I like this vocalist a lot more than the guy on the first War of the Worlds album. That's probably because he has a lot more similarities to Russell, but whatever. Musically, the song is definitely nu-Symphony X - that is, too much X and not enough Symphony. I'd always hoped that Romeo would have used this sound on his solo albums and allowed Symphony X to continue in the vein of The Odyssey, but I suppose that dream died 15 years ago with Paradise Lost.

I'm partial to the sci-fi "video," even if it is cheesy. I can't fault Romeo for the wank in this, as it is his solo album. The chorus is godly, and reminds me of "Fucking Robots" from the first album. Hot damn does that guy sound like Russell in the outro! It's also the part that features the most symphonic elements.

I would love to hear the first War of the Worlds with this guy singing. Nothing against the other guy, but he was all wail with little grit and depth, whereas this guy is much more well-rounded.

 

[MrKnickerbocker]

Candlelight Fantasia
Music: Romeo, Pinnella
Lyrics: Miller

The concept, according to Thomas Miller on the official website: "Candlelight Fantasia is about a composer of music who lives in a world that doesn't relate to or appreciate his art. We don’t want to elaborate too much, it is up to the listener to create and paint his own picture of the general concept from these lyrics."

Spoiler: Lyrics

Just one more night, one more score
Another question in my mind can't take no more
Kissing the tears form my face as they fall
To the ground in silence

In twilight and faded time
Spirits cold with no love
Bells ring the lonely chime
Candle fires
These lit dreams can't burn alone

Winds of change bring songs upon my memory
An empty heart and soul intoxicates me
This darkened page orchestrates my final destiny
Not knowing what, what tomorrow may bring

CHORUS
From within the mirror's eyes
I'm forced to run away and hide
I feel those mystic eyes subside
And leave me blind
Through passages in time
A prisoner locked behind the door
Lonely roses slowly wither and die

I can't escape this captive misery
Heart stone cold under supremacy
Thrown into a raging sea of tyranny
Life's vile walls have tangled me in webs
Eternally within in my futures threads
Play the violent strings of my symphony

Transcend the absence of this fantasy
Just another vision washed away with the tide
No place for forgotten ones
I cannot deny
What lies beyond, beyond this fantasy

CHORUS x2

It's kind of crazy to know that this is one of the early Symphony X songs that does not explicitly reference a classical melody. It sounds so perfectly placed in another time, so classically ancient, that it is pretty astounding to think that Romeo and Pinnella did this all on their own.

• We start with a very baroque, mournful acoustic guitar and "violin" section that immediately recalls the style of The Accolade. It's beautiful and sad, and then Russell opens the door to a wintery, candlelit scenescape.
• The first verse is really magical. It's a rare use of Russell's falsetto and it works wonders.
• Airy space keyboards lead us through a magic portal into the subject's mind at 1:08 as the tune takes a darker turn, with a really nice, emotive lead from Romeo. I truly love this atmospheric section. Sublime interplay between the musicians.
• Russell and Pinnella bring back the baroque melodies before we are treated to an instrumental version of the upcoming chorus melody. So far, it's a pretty perfect tune.
• At 2:25 we get Romeo's delayed spangly guitar that will (I think) return in Through The Looking Glass, definitely return on V, and feature most prominently (and expertly) in the title track from The Odyssey. There's some nice syncopation between Miller and Rullo underneath this verse, too.
• The first chorus is cool. The lyrics are a bit clunky, but overall it works.
• The turnaround after the first chorus is super neoclassical. We enter a slightly heavier section and Russell chews maybe a bit too much scenery.
• My second biggest complaint about the song is Russell singing, "play the violent string of my symphony!" before Pinnella rips a rather nice, melodic section on a bad Casio keyboard patch that sounds like someone dancing a jig while playing Atari. If it jumped directly to the second half of Pinnella's lead, which is far more chaotic, it might have worked better. Same goes for Romeo's solos, which start off really nice and end up in a bit of fantastic madness.
• Miller, as usual, is just casually burning up his fret(less)board during the entire bridge.
• After a recall of the "guitar-floating-on-the-water" delay pedal verse, we hit the final choruses and the outro. First off, Russell sounds a bit forced singing, "fantasy-eeee-ee-eeeee-eee!"
• The crescendo in the choruses is truly fantastic. Russell pulls out all the stops and the band plays it pretty straight, perfectly accompanying the melody. That said...
• FUCK THIS FADE OUT.
• They literally cut off the coolest syncopated full band hit and Russell's best vocal. I don't understand why they didn't just wait until the third (instrumental) chorus before fading out? It's dumb and it leaves a sour taste in my mouth.

Anyway, the good far outweighs my minor gripes here, and it's a pretty solid 9/10.

I do think it's a bit odd to end this album with anything other than the title track, though. Despite being a great song, this feels like an afterthought.

 

[MrKnickerbocker]

WTF? In mid-sentence during the chorus this suddenly takes a hard left turn into a pompous breakdown, followed by a mostly successful vocal bridge with some questionable delivery in parts.

Though I agree about some of the "questionable delivery" (though I may argue more towards questionable lyrical composition), that transition takes place at the end of the chorus.

Also, as far as SX goes, I wouldn't call the breakdown particularly pompous.

 

[Jer]

Though I agree about some of the "questionable delivery" (though I may argue more towards questionable lyrical composition), that transition takes place at the end of the chorus.

Interesting — when I play the official YouTube stream of the song in the native YouTube app on my iPhone, it consistently cuts off the end of the chorus at 3:19 and goes straight into the breakdown. When I listen to the same stream through the browser on my iPhone it completes the chorus like I would have expected. Bizarre.

 

[Diesel 11]

"Candlelight Fantasia" begins with a lovely acoustic and synth mixture just before some dark bass comes in to create what I consider this album's quintessential feel: medieval. If heavy metal was being made in the Middle Ages, I feel like this album is what it would sound like. Russell comes in with a vocal melody that screams "This is an anime closing theme!" He really lays on the falsetto too, what a king. Nightwish-y keys change the scene as we finally pick up with some soaring guitars from Romeo before Pinnella switches to piano keys to back Russell in the next verse. The guitar plays the chorus melody, which is lovely foreshadowing.

Now the guitar is fluttering in an un-distorted fashion as Miller thumps about on his bass and Russell continues to relate this tale of a teary composer lost in a world that doesn't appreciate him. Miller wrote these lyrics and there's something powerful about that since he's the only member of the band that did Divine Wings to not still be with them. This feels like a premature swansong from him. The lyrics are beautiful, among the band's best.

Beautiful chorus. Powerful, swelling, tear-jerking, and Russell really strains on those notes with maximum effect. Then we get a video game breakdown! just before stormy seas powered by Michael and Michael bring us into a dark verse which I really, really love. I felt the tempests of blackened oceans before Russell even sang about being "thrown into a raging sea of tyranny". The band's ability to conjure up what their singing about is unparalleled.

Of course our dynamic Mike / Mike duo have to have a couple of wild solos before our return to the guitar flutters. Which reminds me again that Russell is fantastic he is great he is god. Love him. He just lays it on and then we run right back for a second chorus! And then we even get a key change!!! And it sounds awesome!!! And they fade out half-way through!!!

Wait. What.

Who the fuck decided it would be a good idea to fade out half-way through the raised key chorus reprise? What the hell. Possibly the dumbest decision the band has ever made. At least we can still hear it to the end but it really hurts the final effect and brings down a really strong song. Now it feels unfinished. Especially since they're closing the fucking album with this. Fade-out can work when it comes to closing a record, but fuck me, they threw this in AFTER "Divine Wings" and still expect it to work with the fade-out? Fuck off.

Other than that, good song. Just wish it was slotted in as less than an afterthought, maybe after (or instead of) "Witching Hour"? Beautiful Symphony X song, but pales in comparison to "Divine Wings". Great song but deserved better.

 

[Diesel 11]

The Divine Wings of Tragedy
1. Of Sins and Shadows - a terrific opener. 10/10
2. Sea of Lies - a classic filled with surprises. 10/10
3. Out of the Ashes - fun rocker. 8/10
4. The Accolade - beautiful. 10/10
5. Pharaoh - slightly filler-y but still fun. 7/10
6. The Eyes of Medusa - a hidden gem. 9/10
7. Witching Hour - bland, boring, forgettable. 4/10
8. The Divine Wings of Tragedy - monumental. 10/10
9. Candlelight Fantasia - wonderful finale. 10/10

Just replayed the whole record since it's been like a fucking year since I did all the other songs. Killer album. Yeah, it's got its missteps here and there, but for the most part, Symphony X as we know and love them have finally arrived. Littered with classics - "Of Sins and Shadows" and "Sea of Lies" are like "The Number of the Beast" and "Run to the Hills" in Maiden terms - and monsters - "The Accolade" and "The Divine Wings of Tragedy" are among the best metal epics ever penned - it's a ton of fun, loads of stomping moments, medieval sections boosted with chugging guitars. And Russell nails it throughout. A very Dio-heavy performance from him, sure, but man does he kill it.

I will say that playing the whole album through again, I'm not as bothered with "Candlelight Fantasia" being the closer as I have been in the past. It works the way they set it up. I still think the smarter path would've been to swap it with the title track, but ah well, it's aight. The fade-out definitely should've come later though. You've got like fifteen more minutes of CD space, idiots, what the hell.

I wish that the vocal break and instrument layering sections in "The Accolade" lasted forever.

Total: 87%
Weighted: 93%

 

[Diesel 11]

Also, this is the song's demo. It features a slightly different (and in my opinion stronger) chorus, as well as a very different instrumental section with dueling solos.

Played this for the first time. I like aspects of it. I think they could've taken the instrumental section from the demo, slotted that in after Romeo's studio solo, and done that duel thing before a little comedown, segueing into the studio version's mystic interlude (although I'd change a couple things throughout, this is the Isle of Sarpedon after all, not the Land of the Lost). Then slowly bring things up from there and run through to the final chorus section. I'd keep the studio version's intact for the most part, but in these last reprise(s) you could start with a change-up using the demo's version, and then do the studio one again. And the outro is pretty cool too. With a little work here and there you could transform a five-and-a-half minute ripper into a scorching eight minute epic.

But if I can only choose between the studio and demo versions, then I'll take the studio version all the way. The chorus is way better, certain bits hit harder, and the interlude, while still feeling slightly off, is a bit more unique in their discography than the demo's solos. But there's certainly a lot of potential here if someone decides to make that epic idea into a proper cover.

 

[Detective Beauregard]

Sadly, the journey is almost at its end. But here lies Candlelight Fantasia - a cheesily-named ballad (note: a dark ballad, not a power ballad) that emotes and soars.

• We begin in F#m with Romeo's beautiful acoustic and Pinnella's "violin" on top. This sets the sad tone quite nicely. Imagine if this were a real violin!
• Soon we're in Dm as Miller makes his grand entrance. He penned the lyrics to this track, and they truly are masterful. This is probably Symphony X's most emotion-filled song to me. The violin and acoustic parts continue in a similar fashion, followed by a peppering of Rullo building up to the first verse.
• This verse shifts to Bbm and Russell emerges, softly pondering his predicament. Beautiful use of falsetto. Interesting use of the bass playing a semi-melodic line, especially without the presence of drums. Romeo and Pinnella blend perfectly here.
  • We remain in Bbm as Pinnella begins a simple yet eerie pad motif. This sets the stage for Romeo's first solo - an incredibly tasteful composition that enters the scene with a tragic wail. That note he ends on is so bittersweet. 10/10.
• The next verse begins in Fm and begins with a solo Pinnella guiding Russell's depression. Beautiful. Two-thirds of the way through, the verse modulates to Gm as the rhythm section enters to push the song to its main theme. I love Pinnella's piano here.
  • Here we have the future chorus's theme in Cm. Interestingly, the actual chorus is never played in this key. This melody is played by Romeo, and most of this song is a perfect example of him showing restraint. This catchy phrase is so neoclassical that it hurts.
• Now in a new key (Am), this verse brings the drive with Rullo leading the way and Miller syncing up and thumping along. Russell is great here, but of particular note is Romeo's "spangly, fluttery" guitar part. This is played using a delay pedal - he's actually only playing half of the notes you hear, with the other half "echoed" from a few notes prior. He uses this technique again in the Champion of Ithaca portion of The Odyssey. He plays neither of these parts live, as a delay effect must be calculated to a specific tempo, meaning Rullo would have to play to a click track. "Nuh uh!" exclaims an offended Rullo, who would honestly benefit from such a device at times. Anyway, I love this delay technique, as it sounds like raindrops hitting crystal or something. This song has such a magical quality without ever coming across as overly cheesy.
• We've now arrived at the magnificent chorus, in Dm. Russell's melody weaves throughout Romeo's for a euphony of pure delight in what is surely one of the band's catchiest and heartfelt choruses. I really wish they'd play this song live.
  • Taking a left turn into some bombast, this instrumental section in Fm is a synchronized ecstasy of neoclassicalism. It's actually a section I like to play on bass to warm my hands up; it's very fun! It's mostly harmonic minor, and of particular interest is how much the subtle keyboard bells add to the grandeur of the section. This, to me, is Symphony X at its catchiest musically.
• The bridge continues in Fm with a similar pattern, now employing an ascending neoclassical (gasp!) line as Russell turns on the tuffness from an undisclosed prison cell. Around him are stone walls, spider webs, violent strings, and a raging sea of tyranny. God, I miss Symphony X sounding like this. It's perfect. Pinnella's pounding staccato strings combined with Miller's tasteful noodling make this entire heavy section a true treat.
  • Pinnella's synth solo represents the raging sea of tyranny, and oh do I love it so. This is played over the bridge riff, but now we're in Cm. I actually think that this is P's best solo to this point, never veering off into scalar noodling as many of his others do. Every note and run is played with purpose, and I love those little bendies with the wheel thingy (note: I am not a keyboardist). 10/10.
  • Romeo's solo is another gem, keeping it classy over very little of note occurring in the background. This section switches between Dm and C#m (only a half step apart), with Romeo effortlessly soloing between them. He does this again in the Circe portion of The Odyssey, only this is more tasteful. It's actually my least favorite solo in the song, and it's still a 10/10. Some sexy whammy bar action concludes the solo and leads into one more verse...
• Musically, this is identical to the previous verse in Am. Man, do I love that delay effect.
• We finally arrive at a repeat of the previous chorus (in Dm), which eventually ascends into Em with Russell wailing away while Romeo (never to be outdone) wails away an octave higher. They compliment each other beautifully here, and Romeo's melody is actually more like a proper solo (obviously a 10/10 one, at that). That little descending classical line he plays at the end melts me every time. This leads into Russell humming the previous melody, which is where the fade should have started. There should have been at least another minute of this, as this fade is far too steep.

This song is pure perfection, and easily the band's strongest of this type (again, a sad, weeping ballad of sadness - not an Accolade II or a Paradise Lost "power" ballad). Other sad ballads in Symphony X's catalog include Lady of the Snow, The Sacrifice, and Swan Song. These range from mediocre to very good - but none of them touch this song. I think this is a perfect closer, as it would feel weird before the title track (which also would have been a perfect closer).

Then we get a video game breakdown!

Funny you should mention that, as the section reminds me of this:

...ah, the nostalgia.

 

[Diesel 11]

Pinnella's synth solo represents the raging sea of tyranny, and oh do I love it so. This is played over the bridge riff, but now we're in Cm. I actually think that this is P's best solo to this point, never veering off into scalar noodling as many of his others do. Every note and run is played with purpose, and I love those little bendies with the wheel thingy (note: I am not a keyboardist). 10/10.

Yeah I disagree with Knick’s take, about “violent strings of my symphony” leading to a melodic instead of chaotic piece. I feel like more deliberate notes work better to follow that line myself. Maybe Pinnella could’ve gone darker, harder, and heavier, but by starting with control it works better for me than just plunging into wank territory from the start.

Of course in a perfect world they could’ve gone and gotten a whole string orchestra just to highlight that one line. Or Pinnella could be playing this on a better keyboard than a fuckin Yamaha. (Unless this is as high end as you can get, idk shit about keyboards.) But ultimately what he gives us works really well in the song and feels like the Symphony X that we — or at least I — love. As they got more “professional” I think they began to lose touch with what made them special. This Symphony X, for as low-rent as the sound quality may be, is the band that I fell in love with. And the song is a good example of why.

 

[MrKnickerbocker]

Slight divergence for some stock:

 

[MrKnickerbocker]

Wrapping this up with a bow before we hit the one year mark...

The Divine Wings of Tragedy is a classic. It is flawed, sure, in the same way as Powerslave is a flawed, but classically awesome Maiden album. The first four tracks and the last two tracks here are near perfect. The fluff and lameness in the middle may be far lesser in quality, but they do not diminish the greatness of everything else. The beautiful, mystical force that permeates the majority of the melodies on this album is sublime.

This is not my favorite Symphony X album. It's....maybe my third favorite? We'll see, I suppose. But it is certainly a classic for the band and a classic within the genre. This was their defining moment and they defined the shit out of it.

1. Of Sins and Shadows - 10/10
2. Sea of Lies - 10/10
3. Out of the Ashes - 10/10
4. The Accolade - 10/10
5. Pharaoh - 8/10
6. The Eyes of Medusa - 7/10
7. The Witching Hour - 6/10
8. The Divine Wings of Tragedy - 10/10
9. Candlelight Fantasia - 10/10

Album Rating - 9.0/10

I will say that playing the whole album through again, I'm not as bothered with "Candlelight Fantasia" being the closer as I have been in the past. It works the way they set it up. I still think the smarter path would've been to swap it with the title track, but ah well, it's aight. The fade-out definitely should've come later though. You've got like fifteen more minutes of CD space, idiots, what the hell.

I very much agree after a couple more listens. It works in the overall scheme of the record and, in that regard, it is a successful track listing.

 

[Yax]

I'm going to make an effort to get into Symphony X. I saw them live in either 2007 or 2008 at Sweden Rock Festival, thought Allen was awesome but I didn't know much about them, nor did they leave any profound mark on me, although I have spun The Odyssey a couple of times.

I just purchased Underworld on vinyl, spurred by the fact that Jens Bogren mixed it. Cost me 50$. which is annoying since I neglected to buy it for 15$ on sale a couple of years ago. Seems to be a fairly divisive album (I just checked the thread + various reviews), and I've listened to a couple of tracks, but not the album in it's entirety. I hope I'm in for something great, and not just sonically.

 

[Diesel 11]

I'm going to make an effort to get into Symphony X. I saw them live in either 2007 or 2008 at Sweden Rock Festival, thought Allen was awesome but I didn't know much about them, nor did they leave any profound mark on me, although I have spun The Odyssey a couple of times.

They’re a band that benefits from multiple listens. When I first played their music I was like, yeah this is okay. Now after many spins of their classics I can firmly say they’re among my favorites. Although I’ve only played Iconoclast and Underworld once since I was not enamored by them, but maybe when I come back to them they’ll leave a better impression on me.

 

[MrKnickerbocker]

Twilight in Olympus (1998)

Following up immediately on the heels of their career-defining album, Symphony X released Twilight in Olympus. Although this album has been called "rushed" by the band, it was instrumental in launching them to the stage for the first time. That's right: until the release of this album Symphony X were a studio project! Following the urging of their record labels and distributors, they completed this record and then toured Japan and Europe for about a month.

Worth noting that this is the only Symphony X album without Jason Rullo on drums and the final album with original bassist Thomas Miller. Tom Walling fills in on drums and does an admirable job. Walling would leave following this record and Rullo would quickly rejoin. Regarding these lineup changes, Michael Romeo said:

About Jason, he left after Divine Wings, there was some tension in the band, everyone was a bit stressed out from all the recording, and Jason was having some other personal problems that seemed to add to things. We weren’t happy with him and he wasn’t happy either, so it was a mutual thing that he left. We started working with Tom Walling for Twilight in Olympus, and new problems arose with him. He couldn’t make any commitments to the band, and was growing disinterested. We were still friends with Jason, and one day he came down to jam and things felt much better and he sounded great.

According to this interview with Russell, Thomas Miller was unhappy once touring began as he preferred the studio nature of the band. Another odd tidbit: apparently Michael Pinnella is credited with "knife and chainsaw juggling" on the record because he almost severed his fingers before tracking, but finished the record with two fingers at minimum capacity!

MICHAEL ROMEO — It was the week we started recording the basic tracks, we were at Trax East waiting for Mike P. to show up, we hadn’t heard from him for a few days…so when he showed up, he had a cast and a million bandages on his hand. He had severed three tendons in his right hand with a knife. It seemed that he was doing some handy work around his house and was a bit reckless with a butter knife….?!?!? He managed to get through the recording and has recovered fine.

MICHAEL PINNELLA — Yes…well, about the credits… it’s kind of a joke. I did almost cut off my 4th and 5th fingers with a knife and was in the hospital for a few days.

Twilight in Olympus is one of only two Symphony X albums with no title track. The unfinished compositions from these sessions which would have formed the title track were later reworked and distributed in fragments throughout V: The New Mythology Suite. Romeo has confirmed, "About half of [Rediscovery (Part II)] is the song 'Twilight in Olympus', maybe a little more". All songs from the album have been performed live, except for The Relic and Orion - The Hunter. Smoke and Mirrors has endured as a mainstay on the band's setlist.

 

[Diesel 11]

Although this album has been called "rushed" by the band, it was instrumental in launching them to the stage for the first time. That's right: until the release of this album Symphony X were a studio project! Following the urging of their record labels and distributors, they completed this record and then toured Japan and Europe for about a month.

I wonder if them becoming a live act is what really made them unhappy about being less accessible and streamlining their sound as the albums progressed. There’s pros and cons to being a studio only band, but I think they crafted some of their best work without thinking about how it would translate onto the stage.

Twilight in Olympus is one of only two Symphony X albums with no title track.

Does that count the debut or V? I suppose “Rediscovery” technically counts as the title track with the latter.

Just spun this record a week or two ago in preparation. It’s good shit, but a definite weird interlude between the peaks of Divine Wings and the majesty of V. Weakest of the classic four albums (Wings to Odyssey) but still pretty strong and I look forward to getting into the individual songs!

 

[MrKnickerbocker]

I wonder if them becoming a live act is what really made them unhappy about being less accessible and streamlining their sound as the albums progressed. There’s pros and cons to being a studio only band, but I think they crafted some of their best work without thinking about how it would translate onto the stage.

I think that definitely has to be a part of it. Looked at in that sense, V was basically the pinnacle of their classic sound and washed away the idea of writing solely for the studio. Makes a lot of sense, too, considering they barely toured for Twilight and only where they were already popular, i.e. Japan and Europe.

After more extensive touring for V, I imagine they realized the heavier songs were going down better at the shows and that's where The Odyssey comes from.

Does that count the debut or V? I suppose “Rediscovery” technically counts as the title track with the latter.

The debut is the one I was talking about, as Rediscovery's subtitle is The New Mythology.

 

[Detective Beauregard]

All songs from the album have been performed live, except for The Relic and Orion - The Hunter. Smoke and Mirrors has endured as a mainstay on the band's setlist.

Which is a damn shame, as both of those songs would be pretty killer live. They're definitely stronger than the middle of Divine Wings.

I wonder if them becoming a live act is what really made them unhappy about being less accessible and streamlining their sound as the albums progressed. There’s pros and cons to being a studio only band, but I think they crafted some of their best work without thinking about how it would translate onto the stage.

I could not agree more with this. In a recent interview, Romeo stated that the ability to reproduce songs in a live setting heavily influenced the songwriting from Paradise Lost onward. This is likely why we have less keyboard and less complexity overall, which is a major bummer to me.