Symphony X
The Divine Wings of Tragedy

THE REVIEW

How many bands have an enormous technical rate? Many! But how many bands are not ashamed to show it? Few! Because there are many that, despite having this gift, decide to show it only on a few occasions... for fear of ending up on the critics' chopping block, especially after witnessing the numerous media conspiracies against Dream Theater (attitudes that have frankly become annoying).

Fortunately, this is not the case for Symphony X, a band that makes technique an instrument of power! Long and fast solos, furious scales, and cascades of notes are their trademark; Michael Romeo and Michael Pinnella, respectively guitarist and keyboardist, are the protagonists of all this; but their virtuosity does not lead to a barrage of criticism for them as it does for Petrucci and Rudess, demonstrating that criticism of Dream Theater does not stem from their own shortcomings but simply from the trend of attacking the group! But Symphony X are not just about technique! To it, they add that typically power-driven strength well conducted by the strong and decided tone of the guitar and the more than ever lyrical and expressive voice of Russell Allen (one of the best overall in the prog-metal scene), but also that symphonic and classical touch characterized by always very refined keyboard backgrounds.

"The Divine Wings Of Tragedy" is quite possibly the album where all these characteristics emerge in the right measure. We're in 1997, a significant year for prog-metal: the characteristics of the genre are now well-known, the genre, although young, is now established, and more and more bands follow that style; so much so that this very year, significant masterpieces of the genre were released. The band had already had two albums ("Symphony X" in 1994 and "The Damnation Game" in 1995) with ideas in place but which were characterized by a still cloudy and immature sound and structures that were not yet well perfected. Here, instead, the band has reached brilliance: finally, the sound has the right power, but the atmospheres are also well balanced and no longer weak and sparse, and the sounds are finally in the right place. The true Symphony X is born with this album!

The album opens with a trio that is certainly very immediate but able to leave a mark. Stunning impactful opener "Of Sins And Shadows", where Michael Romeo abuses his guitar with all the anger he can express, supported by clever and sincere keyboard interplay, beautiful guitar and keyboard solos. The second track "Sea Of Lies", introduced by a keyboard background and a bass line, surely leaves a mark with its frenzied rhythm and Pinnella's splendid note sequence in the instrumental part. "Out Of The Ashes" is memorable for its attack, truly ingenious with hammering guitar riffs well supported by keyboards. It's a great start, but with track number 4, we delve into the more progressive and introspective side of the band. "The Accolade" is more epic with keyboards more in the foreground and with the band's symphonic influences clearly in evidence, yet never forgetting the technical side. "The Pharaoh" is appreciable for its aggressiveness, although it does not reach the speed of the first pieces. Hearing Romeo thrash the strings gives a sense of release never felt before, but the symphonic and orchestral side of the band is just as good. The same goes for "The Eyes Of Medusa". Impeccable technique is ever-present in "The Witching Hour" and then... The curtain falls on the superb 20-minute suite that gives the album its title. Epicness, melody, symphony, technique, power... everything we've heard is synthesized in a single piece. And not yet tired from listening, we can treat ourselves to a noteworthy closure with "Candlelight Fantasia", more melodic and less aggressive, offering a kind of breath of fresh air to the listener who will surely need to relax after listening to such an intense album!

Those who love power will love it; those who love extreme tranquility... stay away! And go back to listening to Bach!