Author: Peter Podbrežnik
Artist: Symphony X
Label: Zero
Released: 1998
Running time: 52:40
Rating: 4/5
The thing with progressive metal is that you have to build a recognizable sound and throw in at least one extra sonic ‘spice’ if you want to reach a wider circle of (demanding) listeners. This genre is often too complex for most orthodox metalheads, while prog-rock purists tend to get bored fast if things repeat too much, because the fact that everyone in the band is a master of their instrument usually isn’t enough for them.
The Americans in Symphony X found their winning formula in a symphonic approach to progressive metal, one packed with Michael Romeo’s neoclassical guitar variations, Michael Pinnella’s epic keyboard arrangements and the superb (hard rock) vocals of Russell Allen, who sounds a bit like the legendary Ronnie James Dio and also Tony Martin (ex-Black Sabbath). Plenty of people used to compare Symphony X to their American prog metal contemporaries Dream Theater, even though the two have little in common. Symphony X often wove influences from literature and ancient Greek mythology into their lyrics, which was another noteworthy genre quirk.
»Twilight in Olympus« was their fourth studio album and the follow-up to »Divine Wings of Tragedy« (1996), the record that first brought them a somewhat higher profile. It’s also the only Symphony X« album so far without Jason Rullo on drums, who had left the band (temporarily) for personal reasons right around then. He was replaced by Thomas Walling, who proved a decent (temporary) stand-in before Rullo came back.
»Smoke And Mirrors«, the opening energy catalyst, features an almost iconic Symphony X intro motif with a neoclassical guitar riff and epic synth textures, while Allen’s vocals crank up the glowing atmosphere from one second to the next. The even more epic »Church of the Machine« is another example of a successful cross between symphonic and metal elements, and at the time of release it sounded pretty fresh and innovative. Well, it still sounds good today, even though Symphony X have strayed only a little from this recipe over the years. The instrumental sections sound thoughtful and intelligent, with plenty of room for dynamic tempo shifts, while Allen’s mighty singing keeps the drama tense the whole way through. He gets some commendable backing harmonies for company along the way. »Sonata« is a short guitar instrumental built on the second movement of Beethoven’s ‘Piano Sonata No. 8’ and serves as a solo spot for Romeo’s neoclassical playing. More than anything, it’s a bridge into the next track.
»In The Dragon’s Den« features aggressive double bass drum work, which is successfully reined in by a combination of epic vocal harmonies and tasteful symphonic textures, so the whole thing sounds suitably grandiose rather than overly brutal. The ambitious »Through the Looking Glass« is an epic of more than thirteen minutes, split into three sections and inspired by the literary classic ‘Through the Looking-Glass’, the sequel to ‘Alice in Wonderland’. The first section is an epic instrumental part with gorgeous interplay between synth and guitar passages, backed by massive rhythmic shifts. Subtle piano interludes build bridges between the punchy passages, while Allen’s vocals bring the theatrics and the tense drama. The finale of this monumental piece is without a doubt one of the best moments in Symphony X history so far.
»The Relic« brings a baroque arrangement while fiery guitar passages, sacred-tinged keyboard textures and massive drum fills rule the roost. Allen once again shows off the elasticity of his superb vocal cords, which is why he quickly became one of the most admired singers in prog metal. »Orion – The Hunter« is actually the only piece on the album that ties directly into ancient Greek mythology, as it’s about the legendary hunter who, once his adventures were over, was forever fixed among the stars. Part of the lyrics is lifted from »The Raging Season«, which appears on Symphony X’s self-titled debut from 1994. It’s another atmospherically intense creation where tense drama reigns throughout and an epic story unfolds across numerous symphonic passages. Romeo’s neoclassical guitar variations rule here at full throttle.
The slightly melancholic closer »Lady of the Snow« draws its inspiration from a female figure in Japanese mythology called Yuki-onna. That’s why an ancient motif from Japanese folk music keeps surfacing throughout the composition, boosting the mysterious mood even further. Soon it shifts into a punchy section ruled by stormy vocal harmonies under the more-than-obvious influence of the legendary Queen. These quickly give the composition epic dimensions, while the eclectic Allen once again proves himself an exceptional storyteller and keeper of the tension.
With »Twilight in Olympus«, Symphony X pulled off one of their defining achievements and earned themselves a well-deserved higher profile among those prog metal fans who didn’t swear by Dream Theater alone. »Twilight in Olympius« was really a kind of overture to the masterpiece »V: The New Mythology Suite« (2000), which still rightly counts as the best achievement in the band’s history to date. Plenty of stylistic and arrangement parallels can be found between the two albums, but on »V« Symphony X took another step forward in maturity as composers, arrangers and lyricists, which is why »Twilight in Olympus« often ends up as a somewhat overlooked achievement within their discography.
Line-up
Russell Allen – vocals
Michael Romeo – guitar, sitar, mini-harp, backing vocals
Michael Pinnella – keyboards, backing vocals
Thomas Miller – bass guitar, backing vocals
Thomas Walling – drums
Production
Michael Romeo, Steve Evetts and Eric Rachel
Track list
1. Smoke and Mirrors (6:09)
2. Church of the Machine (8:57)
3. Sonata (1:25)
4. In the Dragon’s Den (4:00)
5. Through the Looking Glass (Part I, II, III) (13:05)
6. The Relic (5:03)
7. Orion – the Hunter (6:56)
8. Lady of the Snow (7:09)
