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Rating:
The 1997 is the year of grace for Symphony X. This album produced by them is a masterpiece of '90s metal, as well as their artistic peak.
There is no comparison with the concurrent “Falling Into Infinity” by the “rivals” Dream Theater, also because there would be no reason to do so.
Extremely talented musicians, extremely talented composers, Symphony X have transcended the canons of prog-metal, with magnificent baroque and neoclassical arrangements. Today more than ever a reality, they have become the reference point of the genre; a guitarist like Michael Romeo, never self-serving, is inimitable yet at the same time a beacon to follow for budding virtuosos, who often mistakenly try to grasp the messages of Satriani or Malmsteen, only to complicate their artistic path needlessly. Instead, in prog-metal, one should know by now, the good things are done in a group, and Symphony X, and even better this album, are clear examples of that.
There are nine tracks, all characterized by a powerful intro that foreshadows their smooth development. The epic lyrics, as in “Out of the Ashes” or “Pharaoh”, marry the music quite admirably; the time changes, although typical of prog, always manage to surprise; some medieval digressions, as in “The Accolade”, season the metal with an epic tone. A singer like Russell Allen, another unsurpassed example, is magnificently gritty and manages to hit impressive notes without ever going overboard. The title suite, despite its 20:41 minutes, never bores, on the contrary, magniloquent and unpredictable, it almost seems the manifesto of this art.
One could say that here prog-metal is simplified, stripping it of that too standardized connotation, and at the same time, you feel the concreteness and realization of an appropriate study on the technical-sonic fluidity partnership. Since it is not a concept, you won’t need to dedicate too much time to it, but it's enough that it's “good.”
And then, allow me to say it, what a powerful voice Russell Allen has!
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