UNDERWORLD

The New Jersey Prog Metal Masters are back with their newest album "Underworld"

The album is an in between Paradise Lost and Iconoclast. It is clearly grounded in the bands new style: heavy and intense, (there are even a few blast beats thrown in one part!) darker, less progressive and less shred riffing/neoclassical insanity of their old days...however "Underworld" drifts a little more towards the style of "Paradise Lost" rather than "Iconoclast" meaning this album is a little more progressive, features more keyboard, less "hardcore" vocals and is just more varied in style.

While I am a fan of Iconoclast, I greatly appreciate the drift away from there and back to a more classic sound. Don't misunderstand, this is firmly within the band's new sound and you should not expect The Odyssey or V or Divine Wings here, but there are plenty of classic Symphony X riffs, melodies, sounds and staples to please any fan.

Style aside, all the musicianship is superb, as is to be expected, the songwriting tight and well composed, the audio quality is great and I particularly love the sound of the bass. The songwriting of Symphony X is what always struck me, their ability to create songs with great flow, surprise, technicality and musicianship but without wasting any of our time, and they have done so yet again. There are still moments that surprise you, and all the instruments, while getting to showcase the skill of the musicians, work together.

"Underworld" is not a perfect album, there are some weak moments, and there is nothing here really unexpected, but it's another great output that continues to walk the line of pleasing fans and originality, technicality and musician ship, heaviness and progressiveness, and they walk the line superbly. The vocals of Russell Allen are brilliant as always, displaying a great range, there are riffs galore, and Jason Rullo, (one of my all time favorite drummers) continues to increasingly show off his drumming prowess. Michael Romeo still solos like the best of them, and the composition is a bit more progressive than Iconoclast, with some truly beautiful movements sprinkled throughout.

Standout songs are: Without You, Kiss of Fire and Legend

Symphony X is one of the greatest metal bands of their time, and continue to prove it with yet another strong output. "Underworld" should be a great addition for Symphony X fans, and please prog metal fans. Excellent album.

FOUR STARS

Symphony X's 'Underworld' is an album I've been anticipating ever since the band first spoke about it last year. Four years is a long time to wait between albums, but Symphony X have never been a band to rush releases out on a yearly basis, particularly in the later part of their career. While I've been really anticipating this record, I've also been a little bit worried about what it might contain, particularly after hearing the two pre-release songs ('Without You' & 'Nevermore'). Not that those songs were bad, far from it, but it confirmed that the band were continuing on with their newer song writing style.

My favourite Symphony X albums are their earlier ones - there is no denying that starting with the 2006 'Paradise Lost' the band underwent a fairly massive change in their style and song-writing approach, moving away from longer symphonic progressive works to faster and much heavier 'progressive thrash' style. A lot of the songs and riffs from the band since 2006 could easily fit into a technical thrash or melodic death metal band. This 'heavier and faster' approach was really solidified with the 2011 album 'Iconoclaust' and is definitely carried forward with much of the music on 'Underworld'.

So what about this album then. Don't expect to hear 'The Odyssey' or 'Divine Wings Of Tragedy' on this disc. There aren't any 'epic' old-school Symphony X tracks on here, which is a shame but not unexpected. Frankly I don't think the band will ever write material like that again. To be honest this album isn't even all that progressive - its actually quite a straight forward metal album most of the way through.

What you get on 'Underworld' is utterly sensational guitar playing from Michael Romeo, one of the absolute finest modern guitar players on the planet today. Some of his riffs are utterly mind-bending - as a guitarist myself I can't even fathom how he's able to play some of the parts on this album, such is the precision and speed of his riffs. Russell Allen sounds great as well - he couldn't sing poorly if he tried, so good is his voice! The music is mostly of the fast, thrashy melodic-death metal style, without the death metal growls. There are some softer moments, but actually they are pretty few and far between, as are the bombastic keyboard solos that were so prevalent in the earlier Symphony X releases.

If you like their newer albums you'll love 'Underworld'. If you consider their old work to be superior then 'Underworld' isn't going to change your mind one bit. I've only given this album 5 or 6 listens since buying it last week - its brilliant quality and for the guitar playing alone I would recommend it - but just don't expect 'The Odyssey', 'V' or 'Divine Wings' because you'll be disappointed! Rating wise I'm somewhere between 3 and 4 stars for this. I'll stick with 3-stars for its progressiveness, as a pure metal album its probably 4-stars...

When Symphony X released Paradise Lost in 2007 it marked a shift in direction with the metal elements taking precedence over the prog making it their heaviest to date. Iconoclast, released in 2011 marked an even bigger shift in that direction. Four years later they have now released their ninth studio album Underworld and it's a killer!

Where does it fit in with past releases then? While it sits more comfortably with the last two albums than anything before ? this really kicks ass! - it marks a return to more emphasis on the melodies. This is particularly noticeable with Russell Allen's vocals who went for a harsher style of singing on the last two albums. He does that here too at times but they've clearly put a lot of effort into giving much of the material here strong vocal hooks. As usual Allen's vocals are stunning ? if there's a better metal vocalist out there at the moment I've not heard him. Don't be led into thinking they've gone soft though, this is a very heavy album ? just listen to Kiss Of Fire for proof with some stunning instrumental interplay and even some blastbeats from drummer Jason Rullo who never fails to impress me with his incredible technique. Of course the rest of the band live up to the high standards they've previously set themselves too. There are times however, like on Swansong where they lay back a bit and this could fit comfortably on some of their earlier albums like V.

This album is stunning from start to finish making picking favourite tracks futile. Back in 2011 I rated Iconoclast as their best yet, in truth Paradise Lost was just as good but Underworld is the equal of both of them making a trilogy of albums the equal of any prog metal band. While there's always a prog element on their albums fans who prefer their earlier work will still be in mourning for the old days however. Album of the year? Could well be.

After the last two disappointing albums (Paradise Lost & Iconoclast) I was really very reluctant to buying Symphony X new effort. I thought it would've followed these last two and completely abbandon their unique style that completely conqured me with their masterpiece "V: The New Mythology Suite" and epic "Odyssey". Sure Underworld is not even near these last two, but there is something special in their last album: it is sung "I think" perfectly! Yea, that is what completely astonished me and that is the secret here: Russell Allen!!! In the last two albums his voice took was quite misarable! That disappointed me the most. I like the fact that bands try to change their style but when the result is like the last 2 albums then I have to take a step backward and say: wait...I don't like this at all!! But, guys Underworld, despite not being "Typical Syhphony X" old style, it KICKS AXX!! There is only one song that didn't seduce me: Kiss of Fire ... in fact it is Iconoclast style. All the other songs are great, some better than others, but they are all captivating. In particular, Nevermore, Without You, To Hell and Back, Swan Song & Legend. This is based on my modest opinion one of their best beside V: The New Mythology Suite. 5 stars - without Regret!!!!!

From the first track "Overture," I knew what I was getting myself into with this album: a very proggy, very technical, very heavy, and very symphonic album. With a keyboard and synthesizer introduction, the listener experiences the cinematic approach that will last throughout the entire album. It's a familiar sense to fans of the genre, characterized by its soaring vocals, aggressive guitar sections, and a dramatic keyboard presence. Unfortunately, it's one of those sounds that's present in most progressive metal albums.

With that said, "Underworld" is still a very enjoyable album. Within the first few songs on the album Symphony X is able to jump between different genres of metal as influences. The symphonic "Overture" blends into the power metal sounding "Nevermore." After jumping into another symphonic "Underworld," the direction completely shifts towards an almost ballad- like "Without You," a song that sounds like a Rush cover. The incorporation of acoustic guitars provides a necessary tonal change, especially after the bashing received in the previous two songs. I thoroughly enjoyed this track, and consider it one of my favorites after my first few listens.

The album's longest song "To Hell And Back" is perfectly titled, and although contains the finest performance by each individual member of the band, is probably one of the album's most repetitive songs. The listener is brought to hell and back as the soft introduction shifts to a very metal rhythm section. Sprinkle in some tasty guitar and keyboard solos, and the listener is locked into ten minutes of bashing and thrashing. Guitarist and main songwriter Michael Romeo guides the band through twists and turns, providing quick paced rhythm sections riddled with time signature changes. Teaming up with keyboardist Michael Pinnella halfway through the song, the two perform an amazing solo battle, one of the more memorable moments of the album.

The rhythm members, consisting of drummer Jason Rullo and bassist Michael Lepond (how many Michael's are in this band?), are experts in setting the tempo for the rest of the band. Although I didn't recall a single drum or bass moment that stuck out to me, both of them perform admirably behind the rest of the band. Suffering the fate of most progressive metal musicians, Rullo and Lepond are shadowed by the front men, being the lead guitar, keyboards, and singer. I will say, though, that "Run With The Devil" contains some of the most technical drum and bass fills on the album, using the signature double bass pedal and tremolo picking sound.

The second to last "Swansong" feels oddly place to me, but contains the most personal and moving vocal sections in "Underworld." With a voice similar to the likes of Bruce Dickenson of Iron Maiden and Brent Smith of Shinedown, Russell Allen is able to invoke so much emotion and sadness in this song, especially the song's chorus:

"With you, I wouldn't change a thing / Just for you, I'd do most anything / But now you´re gone / And my swan song echoes on"

The album closes with "Legend," a barbaric piece with continuous shredding reminiscent of the Dream Theater album "Train of Thought." It is fitting that the album's final words are "the legend never dies," befitting of the status and popularity of their own band.

For my first dose of Symphony X, "Underworld" was a great listen and introductory album to the band's discography. I will admit that much of the material sounds very similar to every other progressive metal band out there, with very little deviation from the genre. Although there isn't much originality in the album, I was still impressed with each musician's performance, especially the amazing speed and skill of Michael Romeo.

A MASTERPIECE OF EPIC PROPORTIONS! It's Been a Few yrs since the last album came out and this is worth the wait!! Every song is superb, not one filler on this album Right from the Opening of the "Overture" Into the song "Nevermore" you know your in for a treat of mastery fingers by Michael Romeo the thundering bass of Mike Lepond the Powerful vocals of Russell Allen, Jason Rullo on drums doesnt miss a beat and finally Michael Pinnella amazing playing and orchestrations gives the album the ambiance for an incredible journey of Dark n Light themes, you really need to trust me and purchase this album/CD/mp3 .

Michael Romeo has done an excellent job mixing and mastering this masterpiece, very clear and powerful mix , actually sounded really good in my car! I wont go over each song, but my Faves are: Nevermore Underworld Kiss of Fire Charon Hell and Back Legend

If you Love Melodic Rock/Metal and Prog then you have to put this in your collection, I can't stop listening to it!! \m/

I'm sorry to go against the grain, but I did like a couple of Symphony X's earlier albums and, to my ears, this album sounds like outtakes to those albums, or like covers of "vanilla" Metal music--that is, there is nothing new or innovative here; the band sounds like they are suspended in a time warp around 1989. They remind me of an aging KISS. At times they sound like a 80s power ballad hair band (e.g. Whitesnake, Bon Jovi, Poison) and others like a heavy metal-on-the-verge-of doom metal. Nothing like the still-evolving, still adventurous IRON MAIDEN.

Musically there a few songs that get the blood boiling ("Kiss of Fire," "Charon," and "In My Darkest Hour" come to mind) but they are inevitably taken down by a Tom JONES-like quality in the vocals--especially in the choruses. What's happening to Symphony X? Maybe they need to get out of New Jersey.

3 stars. Recommended only to die hard 80s & 90s metal heads.

On Underworld, Symphony X continues with the fantasy-themed, gothic-tinged, prog-lite power/thrash style of their last few albums, but tilted more toward power metal than the thrashy riffs of Iconoclast. This means there are better pronounced melodies and sing-along choruses (and references to 80s cheese metal), although to someone who is not in love with metal, all of Symphony X probably sounds the same.

The guitarist and the singer are super-talented, of course, but I feel that most of the songs follow the same predictable formula - consisting of a, admittedly, kick-ass riff, a sing-along chorus and a show- offy solo. No one should hold against Sympnony X the fact that they toned down the progressiveness and neo-classical influences of their early days, but there are literally hundreds of bands playing the same style. And even the fact that Symphony X do it better than most doesn't elevate this album in my book.

Another triumph for Symphony X!

The band have come a long way since their early days when The Divine Wings Of Tragedy and V: The New Mythology Suite made the band a staple name among the progressive metal fans. They even managed to attract the attention of non-metal fans with The Odyssey (specifically it's opus title track) and Paradise Lost. I was personally not a big fans of those last two album since I felt that Symphony X were losing their heavy metal and neoclassical metal influences in exchange for the more straight symphonic metal. Luckily, the release of Iconoclast changed all that by featuring some of the band's heaviest material to date while toning down the symphonic metal side of their sound.

After another four years where Russell Allen managed to keep busy by releasing a bunch of Adrenaline Mob albums plus one new Allen/Lande and Level 10 release respectively, Symphony X suddenly returned with another heavy set of tracks. Underworld sounded initially as business as usual for me since the record continued their classic mix of heavy metal and power metal with a slight shift towards the latter while still maintaining their progressive metal aura.

Two differences that were very clear between Iconoclast and Underworld where the slight shift in tone from almost thrash sounding riffs, on the former, to heavy metal and the other differences being the shorter songs. After a few more spins of the record it was also clear that Underworld was a much more accessible record with most songs featuring memorable melodic hooks and choruses. The first single, Nevermore, being the only exception due to it's strong riffs and verses but completely anticlimactic chorus that ruins the momentum that the rest of the composition manages to build up.

After that weaker intro the album actually gets better with each new track. The title track, Charon and Swansong being some of the highlights in this very solid mix of compositions. It all comes to a triumphant finish with the album's final track. Appropriately titled, Legend managed to completely knock me off my feet by delivering one of the bands stronger tracks in their entire discography. Yes folks, I'm talking about the same quality as Communion And The Oracle and the title opus from The Divine Wings Of Tragedy! The only downside is that the track is merely 6,5 minutes long but I definitely respect Symphony X for not milking the track and instead making it straight and to the point.

If you're a fan of Iconoclast then this album will be an easy purchase for you. Fans of the early Symphony X will probably also enjoy Underworld since there is a stronger power metal emphasis here than what the band have had in years, still I respect them for not taking this influence too far. Hence, you won't find another Of Sins and Shadows or Evolution (The Grand Design) here. What you will find are a bunch of really awesome tracks that are extremely catchy and heavy while maintaining the band's signature progressive metal sound.

***** star songs: Underworld (5:48) Charon (6:07) Legend (6:30)

**** star songs: Without You (5:51) Kiss Of Fire (5:10) Hell And Back (9:24) In My Darkest Hour (4:22) Run With The Devil (5:38) Swansong (7:28)

*** star songs: Overture (2:13) Nevermore (5:30)

"Underworld" is the 9th full-length studio album by US, New Jersey based progressive power metal act Symphony X. The album was released through Nuclear Blast Records in July 2015. It's the successor to "Iconoclast" from 2011. The four years between albums have been spend touring and writing the new album, but also with the bandmembers doing other projects. Lead vocalist Russel Allen has been busy with Adrenaline Mob, the Allen - Lande project, and with Level 10, bassist Mike LePond released a solo album in 2014 where guitarist Michael Romeo was also involved, and keyboard player Michael Pinnella also released a solo album in 2014.

Stylistically the material on "Underworld" pretty much continues down the darker and more heavy road which was initiated on "Paradise Lost (2007)" and which was continued on "Iconoclast (2011)". While the music is undoubtedly US power metal (with progressive leanings, or the other way around if you prefer), Symphony X is among the heaviest and at times even brutal acts in the genre. Guitarist Michael Romeo churns out one catchy groove laden and crushingly heavy riff after another and often crosses the border into thrash/groove metal- and even death metal territory. If that description scared away a couple of power metal listeners, don't worry too much, the music is still loaded with epic guitar themes and keyboards, lightning fast melodic guitar/keyboard solos, anthemic choruses, and a rhythm section who can play both "regular" fast- and mid-paced beats, and more varied progressive inclined dittos.

It's just generally much heavier than what you usually hear in the genre. "Kiss of Fire" and the title track are especially heavy. A melodic power ballad track like "Without You" pulls in the other direction, and "Underworld" is overall a pretty varied album (also including a mini- epic in "Hell and Back"), which successfully showcases the diversity of Symphony X. Highlights are to my ears "Nevermore", the title track, "Without You", "Kiss of Fire", and album closer "Legend". I like "Run with the Devil" too, but it's mostly because it's a bit of a different sounding Symphony X track.

The musicianship is as usual on a very high level. Michael Romeo deserves a mention for his many creative riffs and solos, and Russel Allen is a powerhouse. The type of singer that most acts would kill to have in their lineup. He has a strong voice and a commanding delivery, able to sing both gruff, and higher pitched and melodic. A very skilled and versatile singer that one. The rest of the band members are of course very well playing too, their performances just don't stand out as much as the performances by the two gentlemen mentioned above.

"Underworld" is packed in a powerful, detailed, and professional sounding production, which brings out the best in the music, and upon conclusion it's another strong album release by Symphony X. It's so an so with the innovation and development of the band's sound, so it's not a revolutionary release taking their full discography into consideration, but it's a high quality release through and through and both fans and more casual listeners should be able to enjoy this one. A 4 star (80%) rating is deserved.

Symphony X returns for their 9th studio record, Underworld. I could end the album here with this: If you like modern day Symphony X, don't hesitate to pick this up. I have some more thoughts that I wish to talk about though.

After it's typical opening track, it begins with the first real track, and its single, Nevermore. It starts off on the wrong foot with this one. The opening is powerful and the main riff is classic Michael Romeo chaos. I get lost with the lifeless chorus. It sounds too weak and dull, and it drags on for too long. It has a cool little breakdown section before the solo, which is cool. The track is pretty repetitive, not a good first single IMO. Next is the title track which suffers the OPPOSITE of Nevermore. Minus the intro ( with some very welcomed keyboards,) the song is dull, EXCEPT the chorus which is your epic, strong Symphony X Chorus. Neither of these songs are bad mind you, they would be your typical album filler, except these are your opening tracks.

Thankfully, things pick up steam, starting with, "Without You." Your power ballad-ish song, similar to "Paradise Lost." Good stuff here. Catchy riffs, melodies, chorus. It has an "Accolade" like moment where you hear an acoustic guitar, then piano, drums, bass all come in adding to it, building up to a powerful drum beat, with Jason Rullo smashing away on a crash cymbal. Very Powerful. Next is "Kiss of Fire," which is short and sweet. Unlike any SymX song, it even throws in blast beats! If you want a perfect example of aggressive modern day Symphony X, this is up there with the best. Followed by the track, "Charon," which has grown to one of my favorites. The chorus will get you hooked. "To Hell and Back" and "In My Darkest Hour," are both solid tracks, one is long and builds up, the other is more simple and a headbanger, one that will work great live. "Run With the Devil," opens with a badass Dream Theater like movement, guitars, keyboard and bass all running up and down the neck, drums powering along in the back. Good stuff. The worst track is "Swansong." It's the slowest track. I love me some slow and clean material, but this track is just rather lifeless overall.

Ending is "Legend," which is wonderful. Hooked from the first listen. Again, with a classic Symphony X chorus. Great way to end the album.

As a whole, this album ends better then it starts. I can recommend it. However, I can't help but be let down. It's more progressive then their last album, "Iconoclast," but I feel it doesnt compete with Iconoclast, and for SURE it can't touch Paradise Lost.

Good, recommended, but don't expect the return old Symphony X. I fear those days are in the horizon, and gone for good.

Best tracks: Kiss of Fire, Charon, Legend

3/5

"Underworld" is the ninth studio album by progressive/power metal band Symphony X. Ever since 2007's "Paradise Lost", Symphony X has gotten increasingly heavier from album to album. Their last album "Iconoclast" was a heavy slab of crushing metal, and they continue to go further with the prog/US power/thrash/groove hybrid that they have developed with a few more things added in.

The albums begins with a symphonic opening appropriately titled 'Overture', before the entrance of 'Nevermore' which is a great US power metal song. The songs range from melodic power-oriented songs like the aforementioned song and 'Charon', power ballads like 'Without You' and 'Swansong', full-on power-thrash/groove songs like 'Kiss of Fire', and various combinations of styles. The epic 'To Hell and Back' is a perfect example of the combination of all these sounds. Also, what other power metal albums can you think of that have death metal elements? Just take a listen to some of the riffing on the title track and 'Kiss of Fire', it sounds straight out of an old school death metal album.

'In My Darkest Hour', 'Charon', and 'Kiss of Fire' are probably my favorites on the album, the latter easily being my favorite Symphony X song. Russell Allen's vocals are amazing, on this one song he goes from great melodic vocals to gruff groove-metal vocals to powerful screams. This combined with Michael Romero's crushing grooves getting pounded into your skull makes this one addicting head-banging listen. 'Charon' has a really nice middle-eastern sound to it, reminding me of a cross between the bands Kamelot and Ra. Allen's vocals and Romero's riffs really shine on 'In My Darkest Hour', it's hard for the chorus to not get stuck in my head. While the vocals and riffs are what stands out the most to me on the album, the piano on 'Swansong' is very beautiful and certainly deserves a mention. As does the bass that opens the awesome groovy riffs on 'Legend'.

Overall, if you're looking for a prog/power metal album with a great blend of metal styles then you couldn't do much better than this album. An eclectic and incredibly addicting album, this is certainly one of the best 2015 albums I've heard.

(Originally written for www.MetalMusicArchives.com)

Symphony X continues their winning streak of excellent metal releases with Underworld, an album of monstrous hooks and savage riffing that checks just about every box you could want in a prog-metal album. It's conceptual, features brain-twisting instrumental moments, outstanding vocals, and memorable songs; however, one thing that Symphony X continually brings to the table more than many of their peers is a good old fashioned heavy metal style that is simply irresistible.

I had a gushing review of their previous album, Iconoclast, and much of that praise carries over here as well. This band is refreshingly consistent, crushing it from a songwriting and instrumental perspective. Songs are dramatic and ambitious, but not so much so that the album is weighed down in pretense or narrative baggage. The momentum doesn't let up, and the group strikes a fine balance between "normal" metal riffing and prog-metal scope. Every one of these songs has musical moments that will get in your head: maybe it's a soaring metal solo from guitarist Romeo, smartly integrated keyboards from Pinella, or the excellent rhythm section - which, by the way, is masterfully produced, sounding crisp and clear throughout; how nice to hear every member of a metal group! Likely though, you'll be drawn to the rugged and varied vocals of Russel Allen, who with each release becomes nearer and nearer to the top of my list of metal vocalists. The guy is a champ, delivering the often evocative (i.e., tongue-in-cheek) lyrics with gusto and machismo.

My only criticism is that Symphony X is beginning to tread familiar ground here, but when they produce melodies and hooks, and metal moments so epic, it's hard to argue that it's a bad thing.

Bottom line, Underworld is a ton of fun that should absolutely be checked out by metal fans. The "old" Symphony X was great, but the approach that the band has taken in the past three releases hits harder and aims to please, which it absolutely does. I still recommend Iconoclast as the current entry point to this excellent metal group's library, but Underworld is probably right behind it. Check it out, get your fists pumping, head banging, brain twisting, voice crackling, and emotions satisfied with this excellent prog-metal album.

Songwriting: 4 - Instrumental Performances: 4 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 5

I'd always found that consistency was a bit of a weak point for Symphony X, with only V: the New Mythology Suite being much of a keeper among their early work. Then Iconoclast made a very positive impression on me, and now I actually think Underworld has all their previous work beat, offering a true classic of their power-prog metal style. The band have developed a really nuanced sense of when to be a bit more restrained and when to let forth with full force, having learned that cranking things up to 11 for the entire album isn't always the best way - sometimes your assaults hit harder when you give people a bit of breathing space between them.

Whilst Iconoclast was fantastically heavy and Underworld is no slouch in that department, I sense some of their prog inclinations returning to the foreground this time, and I'd be really interested to see where their sound evolves next. To my ears, at least, Symphony X seem to have hit the most consistently high levels of quality they have achieved over their entire career, and I sincerely hope they can keep it up.

Underworld is a solid record by Symphony X. It's got the prog power that gets you hooked, the symphonic elements throughout and even a bass that shines through a little bit more than in the other records. However, that's also the album Achilles' heel: it stops there.

You see, this is a safe album: vaguely conceptual, no 10+ minutes tracks, all songs structured really similarly. It's got an overture, which is nice, but that doesn't make it a five-star record by far.

This album pleases the fanbase, the first-time listener, and the guy that only knows V and Divine Wings Of Tragedy. It's a great one to stream, but not to buy.

'Underworld' is the ninth studio album by progressive metal act Symphony X, released in 2015, and featuring the 'classic' line-up of the band, namely Michael Romeo (guitars), Russell Allen (vocals), Jason Rullo (drums), Michael Pinnella (keyboards), and Michael Lepond (bass guitar). The band is well-known for their 'neoclassical metal' sound, with influences borrowed from prog metal, symphonic metal, and power metal.

Sonically, 'Underworld' is all that you could expect from the band: fast songs, killing tempo, fascinatingly technical compositions, grandiose musicianship (and it seems like this is a mandatory part of a band's arsenal for performing this music). However, it is nothing new under the sun for the Middleton-based band. It is the sound that they are known for and that they have been playing for years (pretty much like other bands in the genre that sacrifice originality and experimentation for the sake of pursuing a signature sound - bands like Caligula's Horse, Queensryche, or Kamelot). These words should not, however, be dismissed as blind criticism, as most of these formations are more than enjoyable to listen to but tend to fall into the trap of creative stagnation, whilst pursuing the aforementioned not-too-progressive approach to writing music.

Still, 'Underworld' has many great tracks (like 'Nevermore', 'Kiss of Fire', 'Charon', 'To Hell and Back', 'Run with the Devil') that showcase the band's ability to write powerful, dramatic, and electrifying tracks, while displaying their instrumental prowess. Another thing that has to be mentioned, is that it is a logical follow-up to the previous record 'Iconoclast' (which is a bit heavier, but more song-oriented, unlike 'Underworld' which was written to serve as a whole). Moreover, Russel Allen's charismatic and recognizable voice is the perfect match for the music of this album, as it carries a strength that elevates the whole experience to a new level of adventurous, fast-paced metal.

'Underworld' is an enjoyable listen from start to finish (with the exception of a couple tracks in the end), and it could definitely speak to progressive and power metal fans, though it is not necessarily a landmark for the genre - not a bad record by any stretch of the imagination, but the line has to be drawn somewhere (maybe when a band repeats itself so much so that they stop releasing excellent material).