REVIEWS:
A modern prog/power/neoclassical metal outfit who hail from New Jersey, Symphony X are probably one of the more acclaimed underexposed acts of that genre, as their music is a professional and technical blend of these influences. They're actually only available by import despite being an American band (believe it or not), but still my brother managed to get a copy of their latest V (The New Mythology Suite), which I'm reviewing here.
--Nick Karn
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(reviewed by Nick Karn)
It seems really strange to me that both Symphony X and Spock's Beard both titled their fifth albums V, released them around the same time, and even the album art of each one is at least partially similar, with the yellow-textured desert sand being displayed here as well (though the rest of the visuals are different). Musically, however, despite both albums rooted partially in prog, they couldn't be more dissimilar - while the Spock's Beard album takes a pop song approach in the arrangement of their long epic songs, Symphony X's release is a conceptual outing, with each track connected by orchestral segues and extremely elaborate arrangements and lyrics. The playing is also much more influenced by classical and thrash elements, and musically a lot more complicated.
The biggest fatal flaw with this release (and perhaps their style in general), is that there is an undeniable bloated obnoxiousness that flows through the presentation of most every song here, with the emphasis being on the concept that's almost entirely rooted in pretentious 'mythology' that's almost impossible to get anything from. Plus, the band takes a page out of Yngwie Malmsteen's book instrumentally by incorporating a lot of flash but seriously lacking any sort of personality or sense of purpose. This wouldn't be so iffy if the band had a great power vocalist to carry this stuff, like Ronnie James Dio and Bruce Dickinson, who can really take this sort of thing to another level, but Russell Allen certainly isn't in that camp - he's got a fairly good range, but almost no power or distinctiveness in his tone. Because the songs are so tied to the concept here, it's also almost impossible for me to point out specific standouts, with the possible exception of "Egypt", which has a seriously memorable chorus and excellent arrangement.
Things are generally enjoyable more often than not, and a band that sounds this musically accomplished and serious in the age of new metal and boy bands is hard not to appreciate at least some. There are also certainly moments here that make this at least worthwhile, if certainly not essential like some prog fans claim - the convincing chorus of "Evolution", the gorgeous ending harmony work in "Communion And The Oracle", the heavy instrumental jamming of "The Death Of Balance", and the main piano part and groovy 5/4 refrain of the otherwise dull 12 minute closer "Rediscovery (Part II)" are just a few highly enjoyable moments. But the material is often so clinical and personality-less, and the instrumental segues are for the most part so cheesy and 'RPG fantasy' like that it can't help but bring down the experience a bit. Still, it could have been worse, especially if there were no worthwhile melodies or riffs like I initially thought.
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COMMENTS
I think you've approached the album in the completely wrong way. The concept is NOT supposed to taken seriously, and the group's blew it off some time ago, they're hardly full of themselves. There is an idea behind the 'mythology' but it is long, anbtract and complex (and not in the liners) and is certainly not meant to ball and chain the music whatsoever. The lyrics are present only as a frame, along with everything from the cover to the 'segues', to purposefully create the abstract and ethereal evironment in which the music (which is outstanding IMO) can work. This is not Bob Dylan, the music itself should speak.
Contrary to you criticism of the music being clinical, taken as it should be I see to music to be anything but - the delicious harmonies of 'Communion and the Oracle', 'Fallen' and 'Egypt' (for example),for me at least, only result in a warm, fuzzy fealing (sorry if my descriptions are really really vague :P) similar to what Savatage's WoM accomplished that's usually lacking in groups such as Dream Theater and Queensryche (good as they are), a sense of personality and style that SyX certainly has. With the exception of the final track (the only track at fault) Symphony X's melodies (and and rich sense of harmony) are of a very high quality indeed and the disk is nearly completely free of unrelated and tasteless solo-wanking that often kills lesser groups. Your reference to Malmsteen puzzles me, for the two seem completely unalike in anyway, both musically and in attitude.
And no, I'm not some raving fanboy. Syx has V (duh..) albums out and there other disks certainly have some very grave faults, but this album was the result of 3 years time off to correct their faults and it's something in my opinion they certainly achieved this.