JudasMyGuide
The incorrigible papist
Just to be perfectly clear, we got an American pope (from Chicago!) before The Winds of Winter, GTA VI, Elder Scrolls 6 AND a new Symphony X album.
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Symphony X
- Thread starter Night Prowler
- Start date
Detective Beauregard
Leviathan of Doggerland
Pretty good set from the guys to kick off the North American “Final Farewell to Underworld 10 Years Later Acting Like It’s Our Magnum Opus” tour:
www.setlist.fm
Glad to see at least one surprise in there, and several other “haven’t played in a while-sies.” We’ll see if they shake it up for ProgPower XXIV on Saturday.
Symphony X Setlist at Sherman Theater, Stroudsburg
Get the Symphony X Setlist of the concert at Sherman Theater, Stroudsburg, PA, USA on September 4, 2025 from the North American Tour 2025 Tour and other Symphony X Setlists for free on setlist.fm!
www.setlist.fm
Glad to see at least one surprise in there, and several other “haven’t played in a while-sies.” We’ll see if they shake it up for ProgPower XXIV on Saturday.
MrKnickerbocker
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This year, I'll be attempting to conquer The Symphony X Extended Universe!
What does that mean? Why, listening to every Symphony X album and member-related album I can find! Here's what is currently on the docket:
I won't be going in-depth on these things, but just a broad overview, highlights, lowlights, and a final grade based on zero scientific reasoning!
What does that mean? Why, listening to every Symphony X album and member-related album I can find! Here's what is currently on the docket:
- Michael Romeo - The Dark Chapter (1994)
- Symphony X - Symphony X (1994)
- Symphony X - The Damnation Game (1995)
- Symphony X - The Divine Wings of Tragedy (1996)
- Symphony X - Twilight in Olympus (1998)
- Symphony X - V: The New Mythology Suite (2000)
- Symphony X - Live on the Edge of Forever (2001)
- Symphony X - The Odyssey (2002)
- Star One - Space Metal (2002)
- Kotipelto - Waiting for the Dawn (2002)
- Star One - Live on Earth (2003)
- Redemption - Redemption (2003)
- Michael Pinnella - Enter by The Twelfth Gate (2004)
- Kotipelto - Coldness (2004)
- Russell Allen - Atomic Soul (2005)
- Allen/Lande - The Battle (2005)
- Symphony X - Paradise Lost (2007)
- Allen/Lande - The Revenge (2007)
- Allen/Lande - The Showdown (2010)
- Star One - Victims of the Modern Age (2010)
- Symphony X - Iconoclast (2011)
- Adrenaline Mob - Omertà (2012)
- Michael Pinnella - Ascension (2014)
- Adrenaline Mob - Men of Honor (2014)
- Allen/Lande - The Great Divide (2014)
- Mike Lepond’s Silent Assassins - s/t (2014)
- Symphony X - Underworld (2015)
- Level 10 - Chapter One (2015)
- Joel Hoekstra’s 13 - Dying to Live (2015)
- Adrenaline Mob - We The People (2017)
- Michael Romeo - War of the Worlds, Part 1 (2018)
- Mike Lepond’s Silent Assassins - Pawn and Prophecy (2018)
- Allen/Olzon - Worlds Apart (2020)
- 3 Rules - Rule of 3 (2020)
- Mike Lepond’s Silent Assassins - Whore of Babylon (2020)
- Joel Hoekstra’s 13 - Running Games (2021)
- Allen/Olzen - Army of Dreamers (2022)
- Michael Romeo - War of the Worlds, Part 2 (2022)
I won't be going in-depth on these things, but just a broad overview, highlights, lowlights, and a final grade based on zero scientific reasoning!
MrKnickerbocker
clap hands
And kicking it off...
Michael Romeo - The Dark Chapter (1994)
Our Jerseyian guitar wizard launches onto the scene with this melodically ambitious, productionally-challenged instrumental guitar album. And honestly…it’s pretty alright! Romeo employs his entire bag of tricks (which are shockingly all on display from his first recording) and Michael Pinnella backs him up with keyboard tapestries. Some melodies don’t quite land, a lot of transitions are clunky, and many of the heavier, chordal riffs are a bit weak - but it’s still Michael Romeo. Also, it’s pretty impressive that Romeo was able to achieve this level of drum programming in 1994.
Highlights: Cask of Amontillado is legitimately awesome. His Paganini cover is super cool.
Lowlights: None specifically, just the production.
Grade: B- (7.5/10)
Symphony X (1994)
A muddy beginning, mostly due to the production and an average, mostly annoying vocalist. The most interesting thing about the album is that the enduring style of Symphony X is there, it’s just buried by the production, performances, and clunky songwriting. As with The Dark Chapter, you can hear most of Michael’s Romeos tricks at play that would be featured in later tunes (including many direct musical passages and lyrics that would be reused for better material). There is nothing here that would ever reach any sort of classic status, and for good reason.
Highlights: Absinthe and Rue has some rewarding moments and Masquerade is fun, though mostly because I am familiar with the superior Russell Allen version.
Lowlights: Shades of Grey. The single worst moment in the Symphony X discography.
Grade: D (5/10)
Michael Romeo - The Dark Chapter (1994)
Our Jerseyian guitar wizard launches onto the scene with this melodically ambitious, productionally-challenged instrumental guitar album. And honestly…it’s pretty alright! Romeo employs his entire bag of tricks (which are shockingly all on display from his first recording) and Michael Pinnella backs him up with keyboard tapestries. Some melodies don’t quite land, a lot of transitions are clunky, and many of the heavier, chordal riffs are a bit weak - but it’s still Michael Romeo. Also, it’s pretty impressive that Romeo was able to achieve this level of drum programming in 1994.
Highlights: Cask of Amontillado is legitimately awesome. His Paganini cover is super cool.
Lowlights: None specifically, just the production.
Grade: B- (7.5/10)
Symphony X (1994)
A muddy beginning, mostly due to the production and an average, mostly annoying vocalist. The most interesting thing about the album is that the enduring style of Symphony X is there, it’s just buried by the production, performances, and clunky songwriting. As with The Dark Chapter, you can hear most of Michael’s Romeos tricks at play that would be featured in later tunes (including many direct musical passages and lyrics that would be reused for better material). There is nothing here that would ever reach any sort of classic status, and for good reason.
Highlights: Absinthe and Rue has some rewarding moments and Masquerade is fun, though mostly because I am familiar with the superior Russell Allen version.
Lowlights: Shades of Grey. The single worst moment in the Symphony X discography.
Grade: D (5/10)
MrKnickerbocker
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The Damnation Game (1995)
This is where Symphony X truly begin their glorious trajectory thanks in no small part to the arrival of Sir Russell Allen on the mic. The songwriting is tighter, the production is a little better, and the vocals have improved 110%. There is a beautiful, wintery magic to this album that has always captivated me. It is not considered one of their best records, but I still argue that it contains a few incredibly strong tracks and nothing particularly bad. Romeo and Pinnella are once again the instrumental showcase, with Jason Rullo providing his trademark awesome drumming. Original bassist Thomas Miller adds a lovely jazziness to the proceedings, too. It's a bit of an overlooked record due to the strength and popularity of the next 5 albums, but I still love it. I would be absolutely delighted to hear 3-4 of these songs put back into a setlist (LOLOLOLOLOL).
Highlights: The epics, of course! The Edge of Forever is their first masterpiece and A Winter's Dream is a lovely ending to the record and the first time we hear Russell really taking control of the melodies to suit his voice. The opening duo of the title track + Dressed to Kill is also awesome.
Lowlights: Savage Curtain is probably the weakest thing here. Not even Russell can save those lyrics and vocal melodies.
Grade: B+ (8.8/10)
This is where Symphony X truly begin their glorious trajectory thanks in no small part to the arrival of Sir Russell Allen on the mic. The songwriting is tighter, the production is a little better, and the vocals have improved 110%. There is a beautiful, wintery magic to this album that has always captivated me. It is not considered one of their best records, but I still argue that it contains a few incredibly strong tracks and nothing particularly bad. Romeo and Pinnella are once again the instrumental showcase, with Jason Rullo providing his trademark awesome drumming. Original bassist Thomas Miller adds a lovely jazziness to the proceedings, too. It's a bit of an overlooked record due to the strength and popularity of the next 5 albums, but I still love it. I would be absolutely delighted to hear 3-4 of these songs put back into a setlist (LOLOLOLOLOL).
Highlights: The epics, of course! The Edge of Forever is their first masterpiece and A Winter's Dream is a lovely ending to the record and the first time we hear Russell really taking control of the melodies to suit his voice. The opening duo of the title track + Dressed to Kill is also awesome.
Lowlights: Savage Curtain is probably the weakest thing here. Not even Russell can save those lyrics and vocal melodies.
Grade: B+ (8.8/10)
Detective Beauregard
Leviathan of Doggerland
While the self-titled album is dragged down heavily by Rod Tyler’s crooning, I still think several of those songs would sound absolutely killer with Russell. Absinthe and Rue, Premonition, Thorns of Sorrow, and A Lesson Before Dying (truly an underrated piece) come to mind.
Related: I have to admit that the last few times I’ve seen Symphony X, in my drunken stupor I’ve forgotten to yell “Shades of Grey!” at random moments between songs. I have to start that back up again.
As for Damnation Game, I dig most of it when viewed through the lens of being a proto-Divine Wings. The Edge of Forever is a top 10 proggy Symphony X track for me, and Dressed to Kill is a lower-end top 20 heavy Symphony X cut.
@MrKnickerbocker you should tell the story of the dude after the 2007 show whose life was tragically altered forever after Russell explained that Edge of Forever “just doesn’t gel as a live tune.”
Related: I have to admit that the last few times I’ve seen Symphony X, in my drunken stupor I’ve forgotten to yell “Shades of Grey!” at random moments between songs. I have to start that back up again.
As for Damnation Game, I dig most of it when viewed through the lens of being a proto-Divine Wings. The Edge of Forever is a top 10 proggy Symphony X track for me, and Dressed to Kill is a lower-end top 20 heavy Symphony X cut.
@MrKnickerbocker you should tell the story of the dude after the 2007 show whose life was tragically altered forever after Russell explained that Edge of Forever “just doesn’t gel as a live tune.”
MrKnickerbocker
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The Divine Wings of Tragedy (1996)
An absolute masterpiece. Everything has been said of this album already and it's all true: this is the first Symphony X classic. The songwriting (on the best tracks) is nearly immaculate, the performances are flawless, and the overall mood just oozes medieval glory. Russell Allen completely comes in to his own on this record. Although his talent was obvious on The Damnation Game, he solidifies himself as one of the best in the business here. Just an absolute joy to listen to, through and through. The only major criticism I have with the album has to do with the "Powerslave-ness" of the track listing (i.e. the bookends are incredible and the three tracks in the middle merely exist) and the fact that they tried to close the album with anything other than the title track. But make no mistake: this is one of the best progressive metal albums ever released.
Highlights: The Accolade. The title track. The first three songs. Candlelight Fantasia...
Lowlights: The absolute lowest point of the album starts with the random oceanic sounding interlude in the middle of Eyes of Medusa (a completely pointless exercise in "being prog" just to elongate a track) and ends at the conclusion of The Witching Hour.
Grade: A+ (9.8/10)
Twilight in Olympus (1998)
Following up The Divine Wings of Tragedy was always going to be difficult. Symphony X do not manage to top that album here, but they honestly get pretty damn close! Once again, the opening tracks are magnificent, the epic is beautiful and moving, and the heavy tracks are groovy and fun. I actually think that, overall, the songs are far more consistent here than on Divine Wings, even if they don't reach the same highs. As with the previous album, the biggest issue here is the track listing and, unfortunately, it's an even bigger issue than before. I know there were contractual obligations that rushed this record and you can certainly feel it in the way the tracks are arranged. It's a bit of a disjointed listen that could have been helped by doing something like, IDK, maybe this:
At the end of the day, though, the songs are still amazing and the band sounds wonderful. I am deducting .1 from the score for the unfortunate lack of Jason Rullo, but Walling does a good job behind the kit.
Highlights: Through The Looking Glass, Smoke and Mirrors and Church of the Machine are all absolute top tier SX material.
Lowlights: I would say Sonata solely because it ruins the flow of the album, but as a full original piece Lady of the Snow is probably the weakest track. I still love it, but it's a sonic palette that Symphony X only dipped into this one time probably for a good reason.
Grade: A+ (9.7/10)
An absolute masterpiece. Everything has been said of this album already and it's all true: this is the first Symphony X classic. The songwriting (on the best tracks) is nearly immaculate, the performances are flawless, and the overall mood just oozes medieval glory. Russell Allen completely comes in to his own on this record. Although his talent was obvious on The Damnation Game, he solidifies himself as one of the best in the business here. Just an absolute joy to listen to, through and through. The only major criticism I have with the album has to do with the "Powerslave-ness" of the track listing (i.e. the bookends are incredible and the three tracks in the middle merely exist) and the fact that they tried to close the album with anything other than the title track. But make no mistake: this is one of the best progressive metal albums ever released.
Highlights: The Accolade. The title track. The first three songs. Candlelight Fantasia...
Lowlights: The absolute lowest point of the album starts with the random oceanic sounding interlude in the middle of Eyes of Medusa (a completely pointless exercise in "being prog" just to elongate a track) and ends at the conclusion of The Witching Hour.
Grade: A+ (9.8/10)
Twilight in Olympus (1998)
Following up The Divine Wings of Tragedy was always going to be difficult. Symphony X do not manage to top that album here, but they honestly get pretty damn close! Once again, the opening tracks are magnificent, the epic is beautiful and moving, and the heavy tracks are groovy and fun. I actually think that, overall, the songs are far more consistent here than on Divine Wings, even if they don't reach the same highs. As with the previous album, the biggest issue here is the track listing and, unfortunately, it's an even bigger issue than before. I know there were contractual obligations that rushed this record and you can certainly feel it in the way the tracks are arranged. It's a bit of a disjointed listen that could have been helped by doing something like, IDK, maybe this:
1. Church of the Machine
2. Smoke and Mirrors
3. Orion - The Hunter
4. Lady of the Snow
5. Sonata
6. The Relic
7. In the Dragon's Den
8. Through the Looking Glass
2. Smoke and Mirrors
3. Orion - The Hunter
4. Lady of the Snow
5. Sonata
6. The Relic
7. In the Dragon's Den
8. Through the Looking Glass
At the end of the day, though, the songs are still amazing and the band sounds wonderful. I am deducting .1 from the score for the unfortunate lack of Jason Rullo, but Walling does a good job behind the kit.
Highlights: Through The Looking Glass, Smoke and Mirrors and Church of the Machine are all absolute top tier SX material.
Lowlights: I would say Sonata solely because it ruins the flow of the album, but as a full original piece Lady of the Snow is probably the weakest track. I still love it, but it's a sonic palette that Symphony X only dipped into this one time probably for a good reason.
Grade: A+ (9.7/10)
I guess my hot take is that of that three album run, Damnation Game is the most consistent. I actually think every song is extremely strong and it's well sequenced. Even the less discussed songs like Savage Curtain, Whispers, Secrets, are fantastic. You could say the album lacks a truly meaty epic, but I think you could also make the case that this was never Symphony X's strong suit anyway. I love the harpsichord neoclassical vibe throughout this album, Russell's charmingly young sounding voice, and there's a little more sonic variety than what you usually get with this band.
With that in mind, I think Powerslave is an apt comparison to Divine Wings. This album is definitely more Powerslave than it is Images & Words and that three song run from Pharaoh to The Witching Hour is pretty forgettable. That said, the first four songs plus the title track are among the band's best work. Higher highs than Damnation Game maybe, but also more filler IMO.
Twilight in Olympus is probably my favorite of the three. I like that they tried a lot of experimental stuff on the back half and the run from Smoke and Mirrors to Through the Looking Glass is such a wild ride. This album's biggest flaw is that clearly a big epic is missing and the second half falls a little flat as a result. It feels a bit hodgepodgy and loses steam by Lady of the Snow.
With that in mind, I think Powerslave is an apt comparison to Divine Wings. This album is definitely more Powerslave than it is Images & Words and that three song run from Pharaoh to The Witching Hour is pretty forgettable. That said, the first four songs plus the title track are among the band's best work. Higher highs than Damnation Game maybe, but also more filler IMO.
Twilight in Olympus is probably my favorite of the three. I like that they tried a lot of experimental stuff on the back half and the run from Smoke and Mirrors to Through the Looking Glass is such a wild ride. This album's biggest flaw is that clearly a big epic is missing and the second half falls a little flat as a result. It feels a bit hodgepodgy and loses steam by Lady of the Snow.
MrKnickerbocker
clap hands
I think it's more consistent than Divine Wings and better sequenced than Divine Wings or Twilight, but I think Savage Curtain is a pretty sub-par song compared to what else they put out on the subsequent albums.
LOLwuuuuuuuutt?!
Yes, this is absolutely true of Damnation Game and TIO in particular.
It's definitely hodgepodgy, but the songs themselves all hold up. Agreed about Lady of the Snow, too.
I may have told this story before, but, essentially we were hanging out by the tour busses after one of the Paradise Lost gigs in 2007 and some superfan just could not let it go that the band didn't play The Edge of Forever.
He asked Lepond about it, and his response was, "oh yeah, that's a cool one, we should play that!"
He asked Rullo about it and his response was, "look dude, the setlist is like a roller coaster and it's gotta keep moving. There's just nowhere for a song like that to go, it falls flat." He kept pushing it and Rullo literally peaced out to go eat dinner with his family.
He finally badgered Russell about it until Russell basically repeated what Rullo said, added, "it just doesn't really work live" and then expressed that he especially doesn't really feel attached to The Damnation Game at all since he had literally just joined the band and basically "walked into the studio to record those songs".
I swear, I think that guy stopped being a Symphony X fan that day.
MrKnickerbocker
clap hands
V: The New Mythology Suite (2000)
This album is the band's biggest masterpiece. It's amazing from start to finish with absolutely zero bad songs or missteps. It delivers everything you want out of the band - classically infused orchestral metal with soulful and soaring vocals, just the right amount of prog, and some delightfully cheesy lyrics. It's also the first of 4 Symphony X albums that center around a concept. Granted, this is the only true concept album in the discography, but it still set the tone. It is both the culmination of and the farewell to the old Symphony X sound, as they would begin veering towards heavier, more riff-oriented songs after V. Simply put: this is peak progressive metal.
Highlights: The vibe is honestly the winner here. The whole album is tonally spellbinding; it casts a mystical net over your ears. Songwise, my personal favorites are Communion and the Oracle, Egypt and Rediscovery.
Lowlights: If I had to find fault with the album, it suffers from Segue overload. Maybe you could lose Poseidon? But what's the point if the music is so good? Also: the concept is very silly.
Grade: A+ (10/10)
This album is the band's biggest masterpiece. It's amazing from start to finish with absolutely zero bad songs or missteps. It delivers everything you want out of the band - classically infused orchestral metal with soulful and soaring vocals, just the right amount of prog, and some delightfully cheesy lyrics. It's also the first of 4 Symphony X albums that center around a concept. Granted, this is the only true concept album in the discography, but it still set the tone. It is both the culmination of and the farewell to the old Symphony X sound, as they would begin veering towards heavier, more riff-oriented songs after V. Simply put: this is peak progressive metal.
Highlights: The vibe is honestly the winner here. The whole album is tonally spellbinding; it casts a mystical net over your ears. Songwise, my personal favorites are Communion and the Oracle, Egypt and Rediscovery.
Lowlights: If I had to find fault with the album, it suffers from Segue overload. Maybe you could lose Poseidon? But what's the point if the music is so good? Also: the concept is very silly.
Grade: A+ (10/10)