Symphony X is one of those interesting, and ultimately frustrating, cases where an American band scores European and Japanese record contracts, but can't get a record deal to release their albums in their home country. After 5 or 6 years of trying Symphony X finally scored a record deal with Inside Out America to release their back catalog on CD in the U.S. for the first time, and also to release their new album. In this case the new album is The Odyssey, and it is a fantastic album.

Heavier than their previous work, and perhaps more musically cohesive from a song standpoint, The Odyssey could be the album that earns Symphony X some serious attention in the United States. Produced and engineered by their guitarist, Michael Romeo, The Odyssey has an epic feel to it. From the fiery opener, "Inferno (Unleash the Fire)," to the epic twenty-four minute closing title track, The Odyssey is a grand, lush Heavy Metal album not unlike a more Metallic version of Dream Theater. While many "Progressive Metal" albums can lose song cohesiveness while focusing on the musicianship, The Odyssey remains focused on the song first, and the flash and bombast second.

The opening song, "Inferno," st great example of putting the song first. Starting out with some wonderfully intricate instrumental parts, the song settles into something that could almost be described as Zakk Wylde joining Dream Theater. With some great Zakk-esque rhythm guitar parts, and some outstanding vocals from Russell Allen, "Inferno," is the perfect opening cut to the album, and really sets the tone for what will follow. The songs that follow are complex, but (for the most part) accessible. "Wicked," is dark and moody with good dynamics and tempo changes, and it is another standout track. "Incantations of the Apprentice," is heavy, with more good dynamics and t Wi changes (which is, of course, a running theme with Prog Metal), and it ranges from near Thrash to melodic Rock.

Where Dream Theater gets caught up in some fairly sappy balladto bSymphony X uses mellower parts to set up heavier parts within the same song. "Accolade II," is a good example. It opens as a nice (and very good) piano ballad, and morphs into a heavier song somewhat reminiscent of a Prog Metal version of UFO's "Love To Love." Just when the album seems to be nearly flawless, a noticeable flaw surfaces on "King of Terrors." While the song itself is fairly strong, and the riffs are great throughout, the vocal melody in the verse is almost non-existent, and Russell Allen just seems to be barking out the lyrics with little noticeable pattern or purpose. This becomes fairly distracting, but is more than made up for with an excellent chorus melody, and fantastic vocal work.

"The Turning," is another solid track. Often fast and furious, with some very nice tempo changes and great melodies, "The Turning" is another well written and very well performed song. The last "regular" song on the album is "Awakenings," which has a moody opening which brings The Police to mind. After the intro, "Awakenings," becomes very progressive, but still fairly accessible.

The last track on the album is the epic twenty-four minute title track. "The Odyssey," starts off as a legitimate Classical/Metal crossover, and is amazingly effective as it twists and turns into a Prog power ballad, then into full blown Progressive Rock, then to a Heavy Metal part, and ends as a ballad. It is an amazing song, and never loses the listener's interest. Simply brilliant, "The Odyssey," is a track that Symphony X should be (and probably are) proud of.

Despite a few minor flaws The Odyssey is an outstanding Progressive Metal album, and should win Symphony X a good number of new fans. -E.R.