As I find myself delving further and further into the Metal underground movement I am continually amazed at what I am hearing. It seems as though while the underground fights to breakthrough the surface I struggle to go deeper and find what majestic treasures lie beyond. Recently there has been an explosion, of sorts, with an astounding onslaught of talent making some serious impact in the mainstream roots. This has, in turn, given me a handful of reviews to try and dish out - as if I wasn’t already behind in my work. Nevertheless I intend to give each one of these profound artists the glory and praise they deserve. First on my list is New Jersey based Symphony X who I’ve found to be, like many other underground metal acts, living legends who have survived for many years without the help of any mainstream or corporate entity. This is, of course, mainly due to the acceptance the rest of the world gives these bands, as opposed to the artistic freedom oppressors we have here in America.

Formed in 1992 by guitarist virtuoso Michael Romeo, the band gained critical acclaim with works such as the magnum opus, Divine Wings of Tragedy and the groundbreaking, V: The New Mythology Suite. After a two year break the band have now returned with the epic masterpiece, The Odyssey, based on Homer’s fabled literary work of the same name. Pushing the boundaries of progressive metal the world over, Symphony X have created an absolut1.giastonishing work of genius. The musical diversity shown on The Odyssey is enough to have Mozart and Beethoven, if they were alive, humbled to tears. At the same time it has enough heavy patterned riffs to satisfy the appetite of just about any metal worshiper on the planet.

The production here just doesn’t get any crisper. Some might feel that this album is, in fact, a bit overproduced. All I can say is; I’ve always been a fan of large productions and if this CD, for some unknown reason doesn’t fit your tastes, check out the last Nirvana album it’s guaranteed to keep your mind as dull as a butter knife. It is such a blessing to experience seasoned musicianship of this magnitude. Each player contributes intensely to this undeniably perfect album, holding his ground admirably and with unparalleled conviction and integrity. Michael Romeo indeed leads the way with his infectious crunch and neo-classical insight. However, adding icing to the cake is lead vocalist Russell Allen who’s soulfully triumphant voice could give Foreigner’s Lou Gramm a run for his money. Now I’ve heard it rumored that Allen’s earlier work came across as having a little bit of a Ronnie James Dio streak in it. Although I can see where people might perceive this as truth, I would have to say that Russell Allen is in a category unto himself and shallow comparisons need not be an issue. Bassist Mike LePond has officially been dubbed this editor’s favorite choice for 2002; ‘nough said. And adding just the right accent of keys to the mix, I have to give props to Michael Pinnella as well as the man who holds it all together, drummer Jason Rullo. There are just too many good things to say about this CD. With the title track clocking in at an alarming 24:09 this is a must have for any prog. rocker’s collection.