Published on Feb 20, 2001
Isn’t it a little ironic that Symphony X’s fifth album,
appropriately titled
V, is their first major release in the U.S.? (At least, this
is as far as I’ve been able to find around the Web.) Guitarist
Michael Romeo and crew have developed quite the following around
the world (including some very dedicated fans in the States), but
they’ve never had the chance to make their mark on the American
progressive metal scene.
Finally, though, it looks like that might be changing.
Progressive rock/metal is starting to gain a significant following
– enough for a two-day festival dedicated to this genre to be
launched. There’s even enough interest where an American label has
given Symphony X the chance to work their magic on listeners in the
States.
V is that disc – and while there is plenty to sing about on
this release, it’s not always the most listener-accessible at
times.
I know. I spent all day with just this one disc going back and
forth on certain songs, trying to capture every nuance and
wondering why I wasn’t always getting sucked into the storyline
that flows through the disc. Oh, don’t get me wrong, I enjoyed this
album. But if you’re exepecting the band to lay out the story in a
nicely bound book for you, you’re going to be disappointed.
The band – guitarist Romeo, vocalist Russell Allen, keyboardist
Michael Pinnella, bassist Michael Lepond and drummer Jason Rullo –
show their musical influences throughout
V. Yes, there are touches of several European acts I’ve
heard over the years (could it be that what I’ve called “Viking
metal” actually has progressive roots?), but stronger than those
are nods to bands like pre-1980 Genesis, Marillion… and even UFO.
(Listen to Pinnella’s keyboard work on “Communion And The Oracle”
and tell me you don’t hear traces of “Love To Love”. I thought it
was a nice touch.)
Romeo and Pinnella both get plenty of chances to show their
mettle in solos, though there is more control in these than one
would expect. In a sense, maybe that disappointed me a little bit.
Yes, there is flash from both players, and what they come up with
is indeed exciting. But, had there been a little more willingness
to break free from the structure the story line added to the music,
maybe we’d have heard some really blistering guitar solos from
Romeo or out-in-space keyboards from Pinnella. (Then again, had
they done this, I’d probably be complaining about it. Guess there’s
no satisfying me.)
The tale of good versus evil played out in
V seems to be pretty standard fare, with one major
exception: in this tale, the battle is not completed when the story
ends. Sure, you could claim on one side that evil has won out,
while some still hold out for the resurgence of good. “Rediscovery
(Part II) – The New Mythology” suggests that the story will
continue on long after the CD spins down to a stop – and could well
be an illustration of modern-day life.
V also makes me think that this album is just the latest
stop in the musical journey that is Symphony X – and that if you
haven’t heard their previous albums, it’s like coming into a movie
halfway through. Maybe some of the band’s fans who have the earlier
albums can back me up on this, but I’d tend to think that
V is a disc which can only be fully appreciated by someone
who is familiar with all of Symphony X’s work.
As it stands,
V is a decent enough release, though it’s not necessarily a
disc you’ll get into on the first listen. In the end, the effort
proves to be worth it.