Symphony X - The Divine Wings of Tragedy

"The infallible Symphony X."

Symphony X occupies an obscure corner of the progressive metal world, best described as ::deep breath:: symphonic neo-classical progressive speed metal. When one thinks of progressive metal, you usually think of the genre's most eminent champion, Dream Theater. Makes sense, considering all the Dream Theater clones out there. But Symphony X is no Dream Theater clone. Malmsteen-like guitar heroics, fiercely heavy riffs, symphonic keyboards, Queen-like vocal harmonies, and Russell Allen's godly "bad-ass" metal vocals are all part of the package. Forget the Dream Theater comparison... Symphony X is something else entirely, and it's something awesome.
Many praise The Divine Wings of Tragedy as the band's best work. Although I'd personally suggest that such an honor goes to their 2000 release V, this one -- the band's third album -- does make a strong case. "Of Sins and Shadows," while far from the album's best song, is all it will take to enthrall any metal lover. Devastating, bass-heavy riffing, Allen's vicious vocals, and majestic choral harmonies. Oh, and the solos. Guitarist Michael Romeo and keyboardist Michael Pinnella are one of the best lead teams in the genre. Romeo combines godly speed with amazing sweeping technique, and Pinnella's glistening synth leads will slay almost anyone. What's better is their approach, where they alternate leads, usually guitar-keys-guitar-keys. To borrow a Mike Portnoyism, the solos kind of "shrink and grow" into each other, creating a seamless effect even though the instruments are changing. I realize I'm probably not describing it very well, but it's awesome.

The album's title track is one of the best 20-minute progmetal epics out there, along with Dream Theater's "A Change of Seasons" and Power of Omens' "Test of Wills." "The Divine Wings of Tragedy" is basically a metal iteration of Holst's "Mars - The Bringer of War," with a sublime two-minute a capella opener, where the band sounds like a bunch of Gregorian monks. The middle section, called "The Prophet's Cry," is one of the most powerful moments from any metal record, where Allen growls with unrivaled venom "Banish all kings from the face of the land," underscored by destructive & fast riffs.

Also incredible is the 10-minute piece "The Accolade," blending exhilarating metal riffery with sophisticated violin synths, bells, pianos, and machine-gun like percussions. This is perhaps Allen's best song, as he sings a beautiful vocal solo with a grandiose church organ backdrop. Finally, there is the album's ultra-progressive closer, "Candlelight Fantasia" which is one of the most musically compelling songs I've ever heard. Telling the possible story of a raging musician, the song's breadth of texture and tempo are incredible. Sometimes it's haunting, sometimes beautiful, sometimes heavy, but whatever form the song's demeanor takes on, you will ceaselessly marvel at the band's innovative melodies and arrangements.

Everything else here is good: The mini-epic "Pharaoh" (a good companion for Iron Maiden's "Powerslave."), the speedy neoclassical cuts "Out of the Ashes" and "The Witching Hour," the symphonic yet blisteringly vicious "The Eyes of Medusa," and the dynamic and thrashy "Sea of Lies."

On a supplementary note, this is one of the best-produced metal albums ever. The clarity between the instruments and vocals sacrifices nothing, which you'll understand when the thick, bass-heavy riffs pump through your speakers while Allen's vocals are poignant and clear. Well, if I had to complain, I'd say Jason Rullo's drums don't hit as hard as they do on V (Rullo didn't play on Twilight in Olympus). But that's nitpicking, really.

What are you waiting for? Buy it. Now. Don't let the (somewhat) steep import price deter you...it's worth every penny. (Note, however, that Inside Out Music America will be releasing the entire catalogue domestically.)