TWILIGHT IN OLYMPUS

Track 01 - SMOKE AND MIRRORS. Although Tom Walling replaced former drummer Jason Rullo on this album, I can't help but admit Walling does a superb job, especially on this clear-cut yet mingled opening track. Up until singer Russell Allen's gaping verse, I really thought Michael Pinnella fashioned the song into nothing less than remarkable keyboarding "modus operandi." That was, until Michael Romeo [guitar] launched the attack that provided a strong, unbroken riff that would be engaged until Allen swiftly came in. "It's all perpetual dreams, this hidden life ain't what it seems; walking dead we are. Victims of misfortune, lies, and tortured bringers of demise, circling above like vultures," was not only shrewd musically, but despite the shadowing aura (which was no doubt meant for such a song, thereby contributing mutely either way), Allen really brought out the lyrics, as well, but I may just be biased - as I listen to this group, each time I grow fonder of Allen's vocals, only because of how they construct the song. If truth be told, I wasn't always a fan of Russell Allen; you see, the first album I heard was The Odyssey, and aside from tracks such as "Accolade II," "Incantations of the Apprentice," and "The Odyssey," his vocal chords weren't that innovative (they reminded me of a mixture between James LaBrie and John Arch) in that they didn't present much interest. It's true, but that was then; I suppose we can call this now. With each time he harmonizes (or disengages into something aggressive), the alteration furnishes to the given song, and I admire him for doing such a thing that not many other vocalists have the courage to at least experiment. Not to mention he's a great lyricist, too, which helped my viewpoint on his work strengthen.

Eh, I apologize for rambling, but getting back to the piece at hand, I thought this introductory track was probably the best of their other work, and yes, that includes The Odyssey "Inferno (Unleash the Fire)" if any of you adherent fanatics are out there reading. Although that song is decent (yes, decent, not great), it doesn't compare to this one.

Track 02 - CHURCH OF THE MACHINE. What I really enjoyed about this one was the chorus, however almost all of Symphony X's are enchanting; in fact, you'll most likely note I bring up a lot of their greatly chorused pieces either for the reason that I find something appealing and stirring contained by them, or merely due to enthusiastic bias, I've fallen in love with them for no ample purpose. It's also a faultless echo written by the band that exemplifies their unified approach to mark over the more symphonic-progressive genus. As a collaboration done by the entire group, I'd imagine it to be more like a clutter of sharply-tuned notes delineated by poor choral manner that doesn't much highlight a lyrical bit seemingly written by bloody retards; nevertheless, I can't help but enjoy this song for that reason alone: they all supplied some sort of their talent and interlocked it wonderfully.

Track 03 - SONATA. Partly taken from Ludwig van Beethoven's "Sonata #8 in C minor," which I highly recommend you all finding and inherit something I find to be purely brilliant. Unlike other progressive musicians, I admire Symphony X the most for putting this portion in and allowing such a gift to be enjoyed by listeners a lot less educated on the world of classical music

Track 04 - IN THE DRAGON'S DEN. Undoubtedly my favorite moment of Tom Walling's, here from the start. While I missed Rullo on this release, I still think Walling did his best and did quite well in Rullo's place; however, I loved hearing that Rullo came back for The Divine Wings of Tragedy, and has stayed on the project since.

"The end never in sight, soaring through an endless plight," the emphasis Allen's puts on plight, that's exactly what I love about him; what I keep loving about him. You can find much of the same from other vocalists, and we progressive rock aficionados all take it for granted, but I can't help but enjoy the display of such a thing whenever it appears, even if many singers tend to overdo the method a little too much (i.e., James LaBrie, Ray Alder, and Neal Morse), which isn't always an awful thing, just a little protracting. Given the somewhat omitting words, I think "In the Dragon's Den" establishes a necessary title for this scrupulous cry.

(MY FAVORITE TRACK ON THIS ALBUM.) Track 05 - THROUGH THE LOOKING GLASS (PARTS I, II, III). Whether done wittingly or by mistake, this prelude bears quite the similarity to Dream Theater's "Surrounded," which you can find on their Images and Words release; in fact, I think it's damn near identical, and nowhere near accidental. With that, I'd have to say I value this group for, in a sense, giving respect to Dream Theater, kind of like an enveloped tribute to them for such an influence they've had on both the genre as well as Symphony X's musical endeavor, although. . . that's just me. Cook up your own analysis, 'cause mine is purely speculative. Seconds later, the song is welcomed by Romeo's tranquil guitar tuning that carries over from the same, except allows Walling to present a far more substantial thump. Just before Allen officially "starts the engine," so to speak, Pinnella implements a serene piano lead up that opened the door to the futuristically enlightened piece I was allowed to venture.

I also forgot to mention this: Romeo and Thomas Miller's [bass] use of syllabic structuring aligned with Pinnella's keyboarding was amazing. I mean, this song has everything: strong flow, creative thought-out verses, and three transitional partitions that initiate both longing and dread. For example, as the second fragment chills over, the words, "Alice. . . Alice, run, Alice, run," left me with an acute sense of dismay, an unexplainable passion. In short, this one is my favorite for obvious reasons. . .

Track 06 - THE RELIC. "Carry on, into the horizon, wielding courage, staff in hand; journey on, through shadows and dreams, and what lies beyond the guardian's keep." This is what I'm talking about, or "a cosmic paradigm," one German might say. This chorus is flawless, and if you disagree, please contact me somehow so we can discuss it more personally, as I'll defend choruses like these any day. The rest of this song isn't that inventive, I have to acknowledge, but the chorus does enough for it to be appreciated.

Track 07 - ORION - THE HUNTER. "I cannot see my future destiny" killed this song for me. From the beginning, I sensed something wrong, something misplaced with this one, but I figured optimism was best in this kind of situation, but when I heard that line, this song was dead. I'll always stand behind Russell Allen, but if I had just heard this song - the very first one I heard - I probably would have lost interest.

Track 08 - LADY OF THE SNOW. "Garden of ice, ivory trees dimly glow, maiden in white, led by lanterns of stone" wouldn't have been as meaningful had Allen not sounded so magnificently, and that is undisputable. Listen to it enough times if you differ and you'll eventually see it.

"Captured by the light of moon, diamonds and Jade-dressed in ashen blue" just scared the hell out of me upon my first taste, and that's never happened to me whilst listening to music. This what I was talking about with Russell Allen, he always manages to persuade the frame of mind with his singing, and scarcely disappoints me. Granted, it probably wouldn't be best to force someone unfamiliar with his voice to listen to it for the first time, but I can't help but get pleasure from it, and rightly so, because it nonetheless is exceptional vocal harmony.

Well, writing this out allowed me to fully listen to this album another time, and I am in no way regretful. I understand my judgment may not be like your own, whoever may be reading, but I implore we can find a communal acknowledgment in the idea that this group is artistic and unquestioningly unique, especially in an industry (universal, not only progressive) where not many musicians are these days.