It's amazing what happens to metal when you add a rich classical influence -- You get Symphony X, a neoclassical/progressive metal band with a unique, dynamic, and intense sound. Heavy, melodic, brilliant, and powerful...these are words that describe Symphony X. "V - The New Mythology Suite" is the band's best work, showing jaw-dropping musicianship and a story revolving around one of the world's most intriguing mythologies -- ancient Egypt.

'V' is like a single, one hour song divided into 13 parts, as each track flows seamlessly into the next. The album kicks off with the haunting opener "Prelude" then moves into the exhilarating speed metal track "Evolution - The Grand Design", anchored by its unforgettable guitar riff. Over the next hour, 'V' takes you on a musical journey that will leave you speechless in the end. Michael Romeo is an incredible guitarist, fast, melodic, and a complete virtuoso. The keyboarist is a one-man orchestra and his performance adds a rich sound to the music. One of the bands coolest aspects is their approach to solos. The guitar-keyboard switching is simply awesome -- when you hear a guitar solo, you know a keyboard solo is close behind (or vice-versa) and the effect is dazzling, with Romeo's mind-bending shredding and Pinnella's lightning-fast keys merging tigtly together.

Symphony X's studio production quality has always been excellent, and this is no exception. The bass is crystal-clear, even when layering the heavy riffs, a feat that is all too rare. Drumming is kept to the perfect volume level in the mix, even when the standard speed metal drumming kicks in. All in all, the production complements the music and makes the album even more accessible so it can immediately enthrall the listener.

In terms of songwriting, the band was definitely on a roll. Songs are concise, equally dividing instrumental passages with lyrics. This is the band's most progressive release, with shifting time signatures and a more open approach to their classical influence. Lead vocalist Russel Allen is probably the best singer in metal today -- he shows tremendous control in the gamut of octaves. Earlier in the band's career, Allen sounded much like Dio, but now that sound has been diluted with Allen's own unique operatic qualities (ignore the connotations that would otherwise denigrate such a description). And just as Queen used rich harmonies to hard rock, Symphony X does the same to metal -- and the result is something better than ever attempted with this type of music. Lyrics are something that have to be heard to be believed -- the band's combinations of internal rhyming and parallel structure are incredible.

Tremendous in scope and staggering in its delivery, Symphony X's 'V' is the best metal album of the year. Thank you, Metal Blade, for picking SyX up for a North American distribution deal.

Symphony X, no doubt disturbed by the consistency of fans saying, "That was good, but nowhere near as good as Divine Wings of Tragedy," felt they had something to prove with this release. And prove something they did.

The album opens with "Prelude," an operatic thrust of vocals accompanied by a Wagnerian "in your face" symphony line. Are those actually keyboards I hear...sounds like the London Symphony Orchestra. And can that full choir be but one man? The drums on this track are a sign of things to come--Jason Rullo is not merely a drummer, he is a true percussionist. Simply amazing!

Secondly, comes the speed-metal, neo-classical masterpiece "Evolution-The Grand Design." This cut is very melodic. It sounds very much akin to the chords heard on "Divine Wings," but much more refined. Russell Allen no longer sounds like Dio, the beauty and range of his voice are a definite focal point in this and later songs.

The third song, "Fallen," begins with keyboards reminiscent of "Damnation Game" and follows with a clear base line and the entry of drums and Michael Romeo's haunting guitars. The interplay between the keyboards and guitar is very intricate here, and the beautiful yet dark solo at the end of the song is awe-inspiring. Slowly Allen's voice comes back and the music returns to the original theme.

"Transcendence" sounds like something that could have been composed by John Williams, if he were still composing good theatrical music. Seriously, it sounds like it could be lengthened into a full theatrical soundtrack. How this band is able to get that much sound out of their instruments one may never know. It provides the perfect interlude and flawlessly meshes with the following song.

"Communion and the Oracle" begins with acoustic guitar and soft keyboard interplay. Then the base line comes in and the guitars and piano begin a pop sound. Suddenly the piano is contrasted with violin--almost Kansas sounding. The keyboards and guitar then provide a nice hint for the coming chorus. Then they both return to the softer intro while the crooning of Allen begins. This has to be my favorite song on this album. All of the musicians stand out perfectly. The solos are pure bliss, some of the most beautiful ever done. The pianos blended in with the softer electric guitar are a truly magnificent sound--I hope the band continues this as they excel at it. The melody is the best I have heard in a very long time. You will want to listen to this one repeatedly.

Just then, with "Bird-Serpent" the band go unleashed and throw the listener into a web of intertwining heavy guitars and thumping drums. Throughout this track, the band is allowed "let loose." Never straying too far away from their trademark neo-classical sound, this one will please fans of "Damnation Game." Allan's voice is more forceful here--how he can use his full range and volume without straining his vocal chords is beyond me, the man is something else.

The albums second theatrical composition comes next with "On the Breath of Poseidon." Hey Metallica, even with a real orchestra you never sounded as good as SymX. Are those REAL French horns and oboes in the mix, I would swear they are! This band should be allowed to compose and conduct their work with a real orchestra--the result would be incredible!

Next is probably the second best song on the album, "Egypt." It begins with acoustic guitar playing an Eastern chord progression with orchestral accompaniment. The percussion stands out with the instruments here and some of the band's most progressive nature shines bright. The vocals in this track are fantastic. Again, I can hear faint likeness to Kansas and perhaps Queen--and the song is easily as good as anything the two bands have produced. Michael Romeo proves he can play something other than electric guitars throughout this album, and this song is probably his best display of acoustic virtuosity. The bass playing during the Eastern solos in this cut is breathtaking--with Romeo's guitar flawlessly incorporating it toward the end of the solo. The piano at the end of this song would make Puccini proud. "Gaze in these eyes my child and see," the best band that is and ever was...

The bands third foray into theatrical music comes next with "Death of Balance - Lacrymosa." However, this time around the metal sound is much more prominent. The ever-wonderful percussion of Jason Rullo stands out here. Once Allen joins the mix, the tune becomes operatic--once again Allan proves that he may be the best vocalist out there; a whole choir exists thanks to him.

"Absence of Light" could be described as Dream Theater-esque speed-metal. The piano/organ/metal-guitar returns here--thanks guys!

"A Fool's Paradise," another speed-metal opus, showcases Allan's vocal range.

A short interlude of guitars and spacey keyboards and we are on our way to experiencing the grand finale "The New Mythology." This song brings back many of the themes introduced throughout the album and rounds out the band's magnum opus perfectly. The piano/guitar combination resurfaces here, and again the music dances in my ears. Russell Allan runs the gamut from his subtle operatic tones to the emotionally eruptive growl, often in succession. About midway through this song, the listener is treated to almost a tribute to Queen, capped-off with Allan's full emotion coming to the fore. As much as Allan's voice explores the entire sonic spectrum, so too does the music--accentuating the vocals superbly.

To sum it up, this album is the best effort to date by progressive metal's GREATEST band.

Wow... that's the first thing that comes to mind upon hearing this album. This is truly "classical inspired progressive metal." The phrase is used to describe a lot of bands, but it truly fits Symphony X like a glove. More metal than contemporaries like Dream Theater and Spock's Beard (think 80's Metallica or Malmsteen), particularly in the guitar department. However, the keyboards and operatic vocal arrangements take the music to another level entirely. The bombastic vocal arrangements on the opening Prelude and various points on the rest of the album definately show the classical influence, as do the ethereal sounding keyboards. I cannot put into words how majestically epic in scope this combination is... it simply has to be heard to be believed. I will not point out any standout tracks, because there really aren't any - no tracks are weak all are good, and the album is really one continuous suite. I recommend unceasingly this album to anyone who considers themselves a metal, progressive rock, or even classical fan.

This CD was a major stepping-stone in the discovery of my music taste altogether. I was always interested in something different in music, but I didn't know exactly what, or where to look for it. One day, a little over 2 years ago, someone I worked with recommended Mushroomhead to me, so I went online when I got home to Amazon.com, which I rarely visited back then. I was reading the reviews on Mushroomhead and was planning on ordering it because it was the first CD that I couldn't find in regular stores. Suddenly, a negative review caught my attention. This guy hated everything about this cd. So, I clicked on his profile to see what else he liked, and this album, "V: The New Mythology Suite" was the most recent of his reviews. I read it, and it seemed extremely interesting. I think I downloaded two songs to see how much I liked it, and decided to order it along with Mushroomhead. I loved this (Symphony X) CD and listened to it so much. I listened to it insane amounts the first week, and then every 2 or 3 days for about 3 months. It was the very first thing I bought that wasn't a normal radio band, which had very interesting progressions and instrumental combinations. Before that I listened to the artsy sort of radio bands, such as Tool, Deftones, Radiohead, and Smashing Pumpkins (don't get me wrong - I still enjoy these bands today). Tool always had amazing, intricate, progressive, interesting songs, and Radiohead always a unique sound unlike anything on the rtadio, but this CD really inspired my tastes from then on. As for Mushroomhead, well, I don't like them anymore, but if it wasn't for them I might not like what I like today, and not own over 200 CDs, which is kind of ironic. I could have been a whole different person and only buy CDs sporadically, not write reviews, and not share obscure and interesting tastes with some good friends today. What a nightmare!

In the very short review I wrote about this almost 2 years ago, I stated that it would never get old. I was right - It never did. I listen to it with the interest level I had the day I got it. Although, I'm not much of a fan of all Symphony X stuff, I only really enjoy this and "Divine Wings of Tragedy." Yeah, 2 years is definitely not very long compared to some CDs people still love from 20 or 30 years ago when they got it, but in my life it is quite significant.

All right, enough about my personal story. This album is practically perfect from start to finish. The Egyptian atmosphere is nice, although it doesn't sound like it that much. The piano/keyboarding is truly excellent. I would probably pay full price for the CD if it only contained the last 37 seconds of "Egypt," which is one of the most beautiful and flowing, yet short and to the point, piano solo song endings I've ever heard. "A Fool's Paradise" contains harpsichord-sounding keyboard melodies parallel with the guitars, sounding incredibly classically-influenced. Keyboards are usually played underneath all the other music at heavy parts, even if you don't notice them, which add a necessary mysterious atmosphere.

Russell Allen is an awesome vocalist, with incredible range, emotion, and a smooth, flawless, melodious vocal tone. He usually has very climatic, powerful singing in between the softer, delicate, more emotional vocals. There are sometimes such light, crystal-clear, melodic vocals on top of crunchy guitar riffing and delicate piano playing. Two other members of the band also do backup vocals, usually on choruses, which make songs more interesting and harmonized.

I don't think any of the tracks "drag" or are too long or redundant. I don't know if anyone thinks they are, but it's quite the opposite. There are three segues which are little instrumentals between main songs, and are just as good. The songs flow so perfectly into each other, which always important to me, and makes the entire thing seem much more epic. Some songs are so interesting, such as how "The Death of Balance" starts off, it sounds like music to a Christmas movie when a kid is discovering Santa Claus is real or something. But it seriously sounds amazing. The clean guitar melody that starts off "Communion and the Oracle" is so good. "Absence of Light" is a darker, more frightening song with a heavy echoed and harmonized chorus. "Evolution (The Grand Design)" is a great adrenaline-pumping opener with such fast guitar riffing juxtaposed with choir-like vocals at certain parts. "Rediscovery" is an excellent transition between two songs, with an interesting keyboard tone and melody. "On the breath of Poseidon" is another transition with incredible melodies that sound just like a powerful beast or god is rising out of the sea. Sure, it might sound melodramatic but I think it's in a good way.

There are actually a few bad things about this CD too. The cover art and inside booklets is kind of pretentious and cheesy looking, although unique and cool at the same time... not that that has any effect on the music. Something that annoys me a little is are these little solos after one another, sometimes alternating between keyboard and guitar... they seem overused and like they didn't know what to do with the song and just added all those to show off. Don't get me wrong though, this is just a minor thing and they usually have a good melody anyways. The last thing is that the lyrics aren't the greatest; they're kind of cheesy and ostentatious like the artwork, but not too bad.

Overall, if you've somehow stumbled upon this page and never heard of this band or anything like them before, give them a try. It may truly inspire your tastes for the rest of your life, like it helped me do.

This is my first Symphony X review I decided to do. And yes, I'm one of those people that reviews song by song. So people buying the album can get a good feel

1.)Prelude-Pretty much just an opener, with a chorus, shows you how good this album can get symphonically.

2.)Evolution-My Favorite track, opens with a good guitar riff, than the vocalist kicks in. Good lyrics, sets the mood. Towards the end of the song, the chorus is repeated over and over...but in different variations so you don't get bored.

3.)Fallen-Good song, just when your getting a little tired of it, it changes around the 3:00 minute mark. The guitar and keyboard riffs together at the 3:24 mark are brilliant!

4.)Transcendence-Just a Segue, lots of keyboards.

5.)Communion and the Oracle-A "slower more melodic" song. When the vocals kick in you know for sure this song is going to be different. Pretty good riff at 2:43 The song completely changes around though and becomes more powerfull with the chorus at 5:39 (Total Time 7:45)

6.)The Bird-Serpent War-Easily the hardest song on the album. The lyrics describe an apocalypse type war. "raining fire from shore to shore/a million souls crying out/", and that's how the music feels. Heavy Guitar Chords blare all over this one.

7.)On the Breath of Poseidon-another Segue...a little bit to long though. The album completely switches around its concept here.

8.)Egypt-The song sounds like the title...don't really need a better description. The total song time is 7:04

9.)The Death of Balance-I love the chromatic scale of the guitar and the organ at the 2:15 mark. Also the Waltz style chrous towards the end of the song.

10.)Absence of Light-I don't know why...but I don't like this song as much, simply because it sounds just like EVERY OTHER BLOODY SONG ON THE ALBUM!

11.)A fool's Paradise-Yes...Unlike the last track, Symphony X actually decides to rebuild your excitement. As the drums pound, the guitar races, and the vocalist screams...you just want to start bangin' your head! "Is this the end of all we know?" I love the middle, with the guitar riff, keyboard riff, keyboard + guitar riff(sounds classical) Second favorite song on the album. I really think they should have closed with this.

12.)Rediscovery (Segue)-meh, just makes you want to skip. Sounds to 80's.

13.)Rediscovery Pt.2 The New Mythology-This is it, the climax, the big ending totaling at 12 minutes...this is the finish. Opening is heavy on the guitar, with light keyboards in the back. At 30 seconds the keyboards get a little louder. The keyboards than continue to play the main theme of the album but in a different key so it sounds different. The vocalist comes in and out aided by the guitar. Keyboard kind of does its own thing in the background. At 3:03 theres a riff with the guitar that copies one of the previous songs in the album as well. At 4:30 the song changes completey. At 5:31 the piano takes center stage and gives us a brief pause from all the commotion...but then at 5:56 the guitar comes back in. The song continues to be heavy until about 10:48 when it breaks back into the chrous/symphonic style sound...this continues...until the end, thus concluding one of the best albums ever recorded.