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SYMPHONY X

Progressive Metal • United States


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Symphony X biography
Symphony X is an important progressive metal band that has been born on the fertile American progressive metal scene. The band came into existence when guitarist and composer Michael Romeo recorded a demo tape entitled "The Dark Chapter" with the keyboardist, and future band mate, Michael Pinnella in early 1994. Romeo distributed the tape to various recording labels and, due to the tape's reception in Japan, he got himself a record deal in the Land of the rising Sun with the now defunct Zero Corporations Label.

For Symphony X's first album, the 1995 self titled, Michael recruited bassist Thomas Miller, drummer Jason Rullo, keyboardist Michael Pinnella and vocalist Rod Tyler. Despite not being a bad album, Symphony X is widely considered to be the band's worst album for two reasons: 1 - the album has a relatively bad production; 2 - it does not has Russell Allen. That is because Russell not only has better singing abilities than Rod Tyler, but also because Russell Allen is one of Symphony X's main composers (alongside with Michael Romeo), so the lack of his presence is really something to be noted. In addition, the self-titled debut is the only album that features Rod Tyler as the band's singer.

Only six months after the release of the debut, the band releases their second album, called Damnation Game. Tyler had to leave the band, so Russell Allen was recruited as a replacement. He has stayed as the band's singer ever since.

Damnation Game represents the start of the current band's style for the same reasons why the majority of the fans do not like Symphony X: with Allen in the band and the start of his collaboration with Romeo, there were set the foundations for the band's "traditional style". On the other hand, Damnation Game is still something of a raw album, specially when compared with subsequent releases.

In 1997, the band released their third output, entitled The Divine Wings of Tragedy. This album can be considered their breakthrough album, as it was with Divine Wings that they managed to reach a wider audience than before. The feedback from the specialized media also helped the band greatly to get a foothold in Europe as well as keep growing in Japan, their biggest market so far.

The Divine Wings of Tragedy also can easily be considered the band's first full progressive metal release. Not that their other albums so far didn't had any progressive hints, but this was the first one to fully embrace such tendencies...
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UnderworldUnderworld
Nuclear Blast America 2015
Audio CD$5.25
$5.24 (used)
Paradise LostParadise Lost
inside out 2007
Audio CD$9.98
$5.14 (used)
IconoclastIconoclast
Extra tracks · Deluxe Edition
Nuclear Blast America 2011
Audio CD$8.97
$8.02 (used)
V: The New Mythology SuiteV: The New Mythology Suite
Metal Blade 2000
Audio CD$16.00
$7.21 (used)
OdysseyOdyssey
Limited Edition · Extra tracks
Inside Out import 2002
Audio CD$16.14
$7.17 (used)
Damnation XDamnation X
Import
Imports 2012
Vinyl$19.76
$21.57 (used)
Twilight in OlympusTwilight in Olympus
Limited Edition
Inside Out U.S. 2004
Audio CD$15.76
$223.10 (used)
Paradise Lost 5.1 (CD/DVD)Paradise Lost 5.1 (CD/DVD)
Inside Out / SPV 2008
Audio CD$10.92
$6.48 (used)
The OdysseyThe Odyssey
Inside Out U.S. 2004
Audio CD$14.72
$13.78 (used)
Divine Wings of TragedyDivine Wings of Tragedy
Import
Imports 2012
Vinyl$20.06
$23.61 (used)
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SYMPHONY X discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SYMPHONY X top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.87 | 173 ratings
Symphony X
1994
3.37 | 211 ratings
The Damnation Game
1995
4.11 | 488 ratings
The Divine Wings Of Tragedy
1997
3.77 | 293 ratings
Twilight In Olympus
1998
4.15 | 601 ratings
V: The New Mythology Suite
2000
3.94 | 485 ratings
The Odyssey
2002
3.79 | 449 ratings
Paradise Lost
2007
3.78 | 410 ratings
Iconoclast
2011
3.82 | 182 ratings
Underworld
2015

SYMPHONY X Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.83 | 60 ratings
Live on the Edge of Forever
2001

SYMPHONY X Videos (DVD, Blu-ray, VHS etc)

SYMPHONY X Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.26 | 13 ratings
Prelude to the Millennium
1999

SYMPHONY X Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.58 | 10 ratings
Rarities And Demos
2005
4.00 | 4 ratings
Without You
2015

SYMPHONY X Reviews


Showing last 10 reviews only
 The Divine Wings Of Tragedy by SYMPHONY X album cover Studio Album, 1997
4.11 | 488 ratings

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The Divine Wings Of Tragedy
Symphony X Progressive Metal

Review by Progrussia

4 stars On occasion of the release of Symphony X new album, Underworld, let's mark The Divine Wings of Tragedy, which may be their definitive work. By definitive I don't mean necessarily the best (The New Mythology Suite may be their most artistic creation, while the uber-technical power metal of Underworld may be more difficult to play), but the one that best illustrates what they set out to do - marry the thrashy riffs of Metallica and kin, baroque theatricality of Queen and Yngwie Malmsteem's neoclassical leanings with his light-speed guitar/harpsichord-styled keyboard duels. The album begins with three fast-paced rockers featuring some of the over-the-top vocalisms. Following is a medieval- themed epic, three mid-paced clunkers, and the icing on the cake, the 20-minute neoclassical metal piece, that, while being quite cheesy, is remarkably well-composed for metal. That would be a fine end to any other album, but, wait, there's more, in a form of another classically-inspired rock sonata.

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 The Odyssey by SYMPHONY X album cover Studio Album, 2002
3.94 | 485 ratings

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The Odyssey
Symphony X Progressive Metal

Review by Prog Leviathan
Prog Reviewer

4 stars There's a lot to like in this release by prog metal greats Symphony X. The Odyssey shows the band in transition, blending the ambitious and a nuanced song writing of their early releases with the more aggressive approach that knocked my socks off in Paradise Lost. As a result one gets the best of both worlds: a metal release that focuses on composition and a "total package," while also kicking up the intensity enough for those that gravitate towards powerful metal hooks.

One thing that Symphony X excels at, perhaps more than any other prog metal band that comes to mind, is their ability to create mood and vision through their performances. Each musician is fantastic, but the combination of their talents, over which Allen's fantastical lyrics and powerful vocals reach out and grab you, creates an effect that is just plain more fun to listen to than the bathos-ridden schlock about self-reflection and catharsis that dominates the genre. Symphony X doesn't feel like a band of blow-hard "auteurs", nor a band of instrumental elitists that demand to be heard through snapshots of excellence hidden within messy songs. They feel like a group of guys who like telling awesome stories through their music, and as a result the care about every note and every emotion conveyed in their songs. This appeals to me a lot.

Of course... it doesn't hurt that the musicianship in The Odyssey is first rate. Romeo's guitar is relentlessly enjoyable, especially his memorable riffing that compliments the vocal melodies. His soloing is also great through use of dramatic builds in intensity. The metal crunch isn't quite as intense as we'll hear later on albums like Iconoclast, nor is at as filled with as many face-melting moments of awesomeness - but it's still damn good. The rhythm section deserves special attention as well. Rullo's drumming doesn't impress with a profundity of fills, but instead through support of the album's many melodies. Whereas players like Portnoy give you razzle-dazzle, Rullo feels more like he understands how his drumming fits into the tone of the composition, enhancing it's drama and effect through restraint (when called for), and complex rhythms (when needed). As usual the bass player's role in metal music is often forgotten, but The Odyssey's warm production allows us to pick out most of LePond's melodic, and very complex, playing, giving the album a more dense palette to enjoy.

Metal fans will not be disappointed by The Odyssey; it's the total package of hard riffs, fantasy cliches, soaring vocals and solos, all wrapped up in a classy package by one of the genre's best bands. A great addition.

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

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by SillyhatMafia

3 stars 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

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 Iconoclast by SYMPHONY X album cover Studio Album, 2011
3.78 | 410 ratings

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Iconoclast
Symphony X Progressive Metal

Review by Prog Leviathan
Prog Reviewer

5 stars Right out of the gate you'll know that Symphony X's Iconoclast is going to be that sort of prog-metal album that hits-hard; it'll get your fists pumping, your brain melting, and speakers blasting... and just plain smash the hell out of the competition with a massive show of technical and stylistic flourish. Iconoclast is amazing.

The title opener kicks in the door with fairly standard power-metal atmosphere: epic choirs, big crunchy guitar chords, symphonic keyboards. Then the riffing starts, that powerful, irresistible chugging of Romeo's guitar that grinds with dexterity and aggression and skill - your attention is captured. Then Russell Allen's gravely, masculine, powerful vocals begin - your hairs start to raise. Then the whole band freaking explodes in a world- shattering series of melodies, time changes, instrumental showcases, and excellent soloing that just gets better and better as the 11 minute song unfolds.

And then the next song begins, and then the next, and the next... and it just gets better!

Let's be clear: Iconoclast is not going to win awards for being the most creative prog-metal release. In fact, there's predictability in the band's songwriting, and they use a lot of the tropes that define the genre. This isn't to say it's not top notch among their peers though; these songs are so freaking good, they just aren't experimental. And you know what, listen to Iconoclast and I can guarantee that you won't care. This album is everything that a great prog/power metal album should be, and maybe focusing on the basics is what makes it so good. I don't think I've heard a more addictive metal album.

I'm amazed that the band is able to sustain the momentum throughout the album's massive running length (although you'll probably need break half-way). The first disc especially is packed with more metal, more demonstrations of technical ability, and more memorable moments than you can count. Romeo proves he's a guitar giant throughout (especially in his soaring solo on "Dehumanized"), while Pinella impresses as well with very smart use of his keyboards, such as in the dynamic and more subtle piano work at the album's conclusion. They're never overdone or cartoonish, and his solo moments fit in very well with the tone of the songs. The rhythm section may be one of the highlights of the album. Thanks to an excellent production, we can appreciate all of Lepond's aggressive basslines and Rullo's personality-filled drumming. Symphony X was always sort of a side interest for me, as I got swept up in Dream Theater fandom during my mid '20's... but this album has seriously changed my mind.

To wrap up, I want to spend a few words talking about Russell Allen, both his vocals and the lyrics he's singing. First off... the guy is a beast. Try singing along and your voice will be gone in a few minutes. Try keeping up with the guy's range, and you'll be sounding like a you've got a cold, or are a puny little girl because he can scream and bellow with the best of them. Simply put, he's great. The lyrics, telling a loosely connected story about the synthesis between man and machine, are gloriously corny. Emphasis on the glorious. I'm a big fan of fantasy and sci-fi in my metal, and the lyrics deliver here in a BIG way. The rhymes are epic and memorable, and while listening I frequently daydreamed all kinds of robot on human violence. To me, this is the mark of excellent song-writing: not they convey some deeper message, which is all too often just a bunch of bathos bull[&*!#], but they instead are genuine and fun for the audience. And Allen completely nails it.

So bottom line, if you're a fan of metal music, get Iconoclast, dim the lights, and be transported to a world of massive sci-fi battles and explosions of musicianship that deserve to be at the top of the genre.

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

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "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.

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by Rune2000
Special Collaborator Prog Metal Team

4 stars 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)

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by Progrussia

3 stars 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.

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

3 stars 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.

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by metalrob4662

5 stars 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/

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 Underworld by SYMPHONY X album cover Studio Album, 2015
3.82 | 182 ratings

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Underworld
Symphony X Progressive Metal

Review by crashandridemusic

3 stars 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.

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