SYMPHONY X – Paradise Lost

Beginning with Damnation Game in 1995 (the debut wasn’t really that much to speak of, was it??) Symphony X has released a string of Prog Metal albums, which have built the band a reputation as one of (if not THE) leading band in the genre, and gems like Divine Wings Of Tragedy and V – The New Mythology Suite will forever stand as milestones in the genre. The band’s previous offering, The Odyssey, was another very strong effort, sporting masterpieces like “Inferno (Unleash The Fire),” “Accolade II,” “King Of Terrors,” “Awakenings,” and the 24-minute title track. The album did cause some controversy, though, being the band’s heaviest by far, and also showing the band from a far less Symphonic side than before. Paradise Lost continues in this tradition, and there’s often more Pantera than Dream Theater there, both in the guitar riffs and drum beats.

This is not at all a bad thing, though, and actually this new-found approach just helps Symphony X stand out from the Prog Metal lot, especially when the songs are as good as they are on this album -– maybe except for the closer “Revelation (Divus Pennae ex Tragodeia)” every damn song in here is a masterpiece. The quick-paced opener, “Set The World On Fire (The Lie Of Lies),” and the Neo-Classical “Eve Of Seduction” and “Seven” sports catchy melodies, phenomenal choruses, and a fair share of insane shred licks from guitar wiz Mike Romeo, while the heavier “Domination” and “The Serpent’s Kiss,” and the epic “The Walls Of Babylon” show that the band can groove with the best of ’em, as well as showcasing vocal God Russell Allen from a rawer, less polished side (like in “King Of Terrors” from The Odyssey or “Eyes Of Medusa” from Divine Wings …).

The title track picks up where “Communion & The Oracle” from V … left off, with atmospheric keyboards, mellow guitars, and fantastic melodies, and the ballad “The Sacrifice” shows why the aforementioned Allen is known as one of the best singers in Modern Metal.

Paradise Lost also sports the best production of any Symphony X album so far, with a fat, still crunchy, guitar sound, powerful drum sounds, and cleverly arranged keyboards -– performed to perfection by Michael Pinnella. The only letdown is, as mentioned before, that the closing epic “Revelation …” is far from the level of previous Symphony X album closers (“Candlelight Fantasia,” “Lady Of The Snow,” “Rediscovery,” or “A Winter’s Dream” anyone?), but this does not in any way ruin the impression that Paradise Lost is another gem by this fantastic band –- and a strong, very strong, contender for the album of the year award for 2007. A compulsory buy.