Hello and welcome to another installment of Station to Station, the cryptically named segment in which we stop at all the stations on the journey that is a band’s career and then rank those stations… the stations are albums. Previously, we scaled a mountain of Haken before falling into a pit of Leprous. This time we’re going back to a more traditional progressive metal sound with the neoclassical/powerprog blend of genre icons Symphony X! Starting out in heavy metal, evolving through a staunchly progressive era, and ultimately settling on a weightier modern metal sound, the New Jerseyan act are Big News in the prog scene (and that Big News is invariably an upcoming anniversary tour). Symphony X’s career has eras aplenty, but which resonated most with our writers? 

A note on methodology if you want to know how we work these rankings out: we had twenty writers listen through the gravelly hooks of Russell Allen and blistering solos of Michael Romeo. Everyone came up with a ranking, with their first-place choice getting 9 points, second place receiving 8, and so on. We then aggregated the points to get an overall total. Our writers also provided a score out of 10 for each album, which we used to calculate an average score for tiebreak purposes (which happened again). 

So without any further ado, come ye damned, ye iconoclasts and soar with us on divine wings through underworlds and lost paradises; we’ll witness new mythologies and twilit mountains on our odyssey through the discography of Symphony X. 

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9. Symphony X (1994) – 26 points

Well, what a way to start. Without giving too much away, the top end of this list features our highest collective score yet for a discography ranking. But here at the bottom, we also came to a shockingly strong consensus about Symphony X’s worst album, giving it the lowest score so far. Only one of the twenty contributors placed this album higher than second-to-last, and a veto-proof majority had it dead last. All this to say: Symphony X’s self-titled debut is not what you’d traditionally call a banger. Rookie vocalist Rod Tyler lacks the gravelly self-assurance of longtime singer Russell Allen, instead getting hung up on wavering and sometimes inaccurate pitches (especially on the high notes). The song compositions are flashy and intricate, but fall short of the effortless artistry that the band’s best works would eventually feature. At the same time, Symphony X presents tantalizing teasers of the future neoclassical progressive power metal behemoth. Soaring, virtuosic guitar solos trace vaulted arches across the metaphorical cathedral ceiling, enhancing the now-familiar fantasy theming of the lyrics. Symphonic keyboard features add extra baroque flavor as well, although the quality of the electric piano effects still leaves much to be desired, as one might expect for the era. As lackluster as the embarkation point is for Symphony X’s journey (dare I say odyssey?), their debut merely leaves more room for the development to come.

Write-up by: Doug

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8. The Damnation Game (1995) – 48 points

After humble beginnings, The Damnation Game meant a huge step forward for Symphony X. Sharper songwriting, more refined compositions, and muuuuch better production helped crystallize the sound prog fans would grow to love in later years. Oh, and one more small thing I’m forgetting… hmm, what it was… yeah, Russell Goddamn Allen on the mics!!! Rod Tyler did a decent enough job on the debut, but there’s a reason Allen has become an industry icon since. The idea on The Damnation Game was “simple”: Malmsteen meets Dream Theater, and boy, did Romeo mean business. From the very first arpeggiated neoclassical flourishes, the man made an entire generation of aspiring young guitarists question things about themselves, setting the stage for Allen to define the gold standard of power singing. What follows is an unbridled demonstration of technical proficiency barely ever seen before.

The Damnation Game is not without its flaws, though. With thirty years’ hindsight, the songwriting can feel tropey, cheesy, and inconsistent; the overemphasized choruses often miss the mark compared to the rest of the songs, and the weirdly metallic choir effects sound cheap. Nonetheless, the album was truly one of a kind back in its day. While The Damnation Game fell short of the masterpieces to come, it was a solid proof-of-concept, with a few genuinely jaw-dropping moments that showcased Symphony X‘s true potential. Beholding the record through nostalgia-hazed eyes, some might even say it’s a classic¹.

Write-up by: Attila

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7. Iconoclast (2011) – 87 points

Symphony X proved with Iconoclast that they could write an album full of heavy tracks with a progressive metal complexity and featuring extremely memorable choruses, without getting too wrapped up in the kind of sprawling musical ambition that often overcomes prog metal. Every composition is concisely pieced together: from the winding intro riff of “Iconoclast” to the grooving verses of “Children of a Faceless God”, through to the insanely catchy refrains and instrumental bridges of “The End of Innocence” and “Dehumanized”. There is never a jarring transition and nary a ballad to stop the album in its tracks (well, one forgettable one, but I forgive them). Through it all, Russell Allen’s voice alternates between the sound of a gravel road and a clear blue sky. And while some may criticize the “tough guy delivery” of the former, there’s no getting around the fact that it just works. The years have passed, and the band no longer wishes to be strictly and exclusively confined to writing 16th-century-inspired hymns for castrati about ancient Greece and Egypt while Niccolò Paganini and Johann Sebastian Bach fight for your attention in Michael Romeo’s rapid-fire sweep-picking barrages (although they wouldn’t outright rule out the latter). Symphony X’s new emphasis on low-end guitar work meant the sound’s dynamic range changed, and so too did Allen’s vocal technique. However, although Iconoclast continued on the path set by Paradise Lost, it might have lacked the shock and awe imparted by its predecessor’s change in style—and for some, that would mean it lacked a lasting impact. 

Write-up by: Francesco

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6. Underworld (2015) – 88 points

After eight full-length releases spanning noodly power metal to weighty groove metal, what does Symphony X offer on their latest LP? Underworld’s inspiration comes from, well, the underworld of Dante’s realm, exploring what it’s like to travel to Hell and back. Opener “Overture” wastes no time with an otherworldly male choir, setting the atmosphere before exploding into an hour of driving grooves accompanied by insanely energetic synths. Russell Allen trades his gruff, gravelly voice for a sound that’s a bit more melodic, dancing over heavy, angular two-note chugs in “Underworld” and “Charon” to make the soundscape soar, keeping the listener from getting bogged down in Romeo’s deep sound. Underworld sees the near completion of Symphony X’s departure from powerprog to a groovier, more metronomic soundscape that’s a better fit for the ears of modern prog fans. Even when Romeo’s noodly callbacks to Divine Wings of Tragedy appear in tracks like “Nevermore”, chunky synth chords and clean bass work keep the instrumentals from getting too experimental. While Underworld is tight in its songwriting and rhythmic feel, its new approach forgoes the identity of what makes Symphony X so beloved to earlier fans. The whimsy found in Symphony X’s earlier records is absent in Underworld, and the lack of playfulness in the record is what earns it its place in the middle third of our ranking. 

Write-up by: Noor

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5. Twilight in Olympus (1998) – 88 points

Allow me to be candid and admit that I have become a Twilight in Olympus truther. During one month of note taking and Subway bantering, several truths became apparent: Odysseus could remain at sea a bit longer; Paradise was lost upon me; and Icons didn’t last. The trilling legato guitar riffs ad nauseum and James Hetfield-lite “yeeeAAAhhhAHHHs” to come on critically acclaimed releases didn’t cut it for me. Instead, at a pivotal junction where Thomas Walling stepped in suddenly on drums and Thomas Miller’s time as bassist approached an end, stood Olympus, where Michael Romeo’s neoclassical guitar work and Russell Allen’s dynamic vocal delivery finally achieved their recognizable sounds. Individual performances are only half of the story, however. From the onset, powerprog anthem “Smoke and Mirrors” sends an empowering wave crashing into the shores of Athens bearing offerings worthy of the prog pantheon. Smooth compositional transitions, theatrical flair, and—retrospectively—clairvoyant lyrics on technological advancement illuminate a fun and philosophical ambiance that avoids getting lost in meandering wankery. Literary affinity drives the album’s thematic lyrics of tragic storytelling, from Alice in Wonderland to Yuki-onna folklore, which syncs up with the dramatic instrumentation. Symphony X also explored late-90s airy synth and funky-as-hell alternative rock vibes on a mid-album epic, “Through the Looking Glass”, without exiling their technical gravitas. While commercial highs were yet to come for the quintet, Twilight in Olympus captures a creative high where the band found their lasting sound.

Write-up by: Johnno

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4. The Odyssey (2002) – 134 points

Following up the neoclassical conceptual epic that was the entirety of V: The New Mythology Suite was always going to be a daunting task, so Symphony X said “fuck it” and didn’t. Instead, the New Jersey quintet poured all their energy into crafting the single greatest song of their entire career—the mammoth twenty-four-minute “The Odyssey”, adapted from Homer’s longstanding epic—and filled in the remaining thirty-plus minutes with some absolute standalone rippers. The Odyssey stands as a transitional phase for the band, a nexus point of past and future. While tracks like “Inferno (Unleash the Fire)”, “Wicked”, and “Accolade II” still upheld the band’s whimsical neoclassical origins à la Michael Romeo’s liquid riffage and elegant compositions, there was a weightiness emerging, a muscularity most keenly felt on cuts like “King of Terrors” and “The Turning”. Not simply through the thickening, razored guitar work and darker synth textures, but Russell Allen’s shifting from Dio-worshipping cleans into gnarly, harsher vocals served as signposts for the more aggressive and darker journey the band would undertake on Paradise Lost. Even as the wait for a new Symphony X record reaches Odyssean levels, The Odyssey’s musical crossroads is like Calypso’s island dotting the wine-dark seas: a cradle of respite and joy whose obsessive spell I’ve no desire to break.

Write-up by: Vince

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3. Paradise Lost (2007) – 137 points

Even angels grow restless in paradise. Having spent the better part of a decade frolicking in neoclassical grandeur, Symphony X decided that it might be better to rule in hell than serve in heaven [so they released the first single on MySpace]. On Paradise Lost, the band’s rebellion against the familiar is no descent into mediocrity, and trades some of their celestial ornamentation for fire and brimstone. And what a glorious fall it is.

Right at the start, “Set the World on Fire (the Lie of Lies)” sets a darker tone than any previous Symphony X material, with Michael Romeo’s power-metal-infused riffing taking on a thrashier flavor, and Russell Allen’s angelic, anthemic delivery accompanied by a sinister snarl. The album practically never lets up. Serpentine riffs, blistering leads, and haunting symphonic and key passages all defy the established order throughout Paradise Lost, with one notable divergence in the title track. I generally find the namesake of a Symphony X album to be the strongest, and “Paradise Lost” is no exception. In addition to being a softer song, the off-kilter 6-6-6-7 phrase in the intro, lush chord progression in the chorus, and catchy vocal lines all coalesce into one of the band’s most memorable compositions. With Paradise Lost, Symphony X changed their sound without altering their identity, and emerged with a different crown—darker and heavier, yet adorned with all the ornate and captivating jewels the band always counted among its treasures.

Write-up by: Daniel

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2. The Divine Wings of Tragedy (1996) – 143 points

Symphony X were one of the first progressive metal bands I came across when getting into heavier music twenty-some years ago. Hooked by the “Sea of Lies” opening bass line, probably from some janky MP3 copy a friend had sent, I quickly went out and bought The Divine Wings of Tragedy on CD. Decades later, the record holds up remarkably. 

After an inauspicious debut and an improved but somewhat rough sophomore effort, Divine Wings embodies the worn-out adage “third time’s the charm.” Opener “Of Sins and Shadows” is one of the single best heaters in metal history, combining some of the finest riffing you’ll ever hear with an impossibly infectious hook and operatic bridge. Followed by the legendary “Sea of Lies” and the unbelievably catchy “Out of the Ashes,” the opening one-two-three punch is almost unmatchable. And still, Divine Wings unfurls with grace, moving seamlessly from strength to strength over its lengthy runtime. Few works with such showy musicianship have ever delivered such accessible, undeniably strong songwriting and vocals. From the concise yet headspinning four minutes of “The Witching Hour” to the enthralling twenty-one-minute journey the title track offers, Symphony X put not a single passage or line out of place. The result is a classic, fit for the prog metal hall of fame—and still, as far as The Subway is concerned, it’s not quite the band’s best.

Write-up by: Cory

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1. V: The New Mythology Suite (2000) – 149 points

When I think about panache, the first thing that comes to mind is the Calvin and Hobbes comic strip where Calvin is turning into a tiger and Hobbes tells him that he lacks sufficient tiger-ish panache to fully pull off the transition. But the second thing that comes to mind is Symphony X’s V: The New Mythology Suite. Falling squarely in the chronological middle of the band’s discography, V surpasses all that was great about its predecessors and sees the band ascend to their creative apex. With a sprawling concept encompassing Atlantis, ancient Egyptian mythology, and the eternal struggle between good and evil, the album is ambitious, but Symphony X pull it off with audacity and artistry in equally plentiful measure.

It’s the irresistible swagger and verve of V’s flamboyant riffs and interplay that make “panache” such an apt descriptor. When Russell Allen trades theatrical call-and-response vocals with the backing choir on “Absence of Light”, or when the lilting, bass-buoyed vocal melody of “Communion and the Oracle” melts into an effortless Michael Romeo solo, it’s just so darn cool. And Allen’s vocals are at their best, charismatic and commanding as he navigates soaring melodies that never fail to get stuck in my head (seriously, it happens every time). For all this bravura, there’s an equally pronounced reverence for the classical tradition, with Symphony X weaving homages to classical composers such as Mozart, Bach, and Verdi throughout the album, as in the instrumental “The Death of Balance / Lacrymosa”. Replete with what my old choir director used to call “feel-good key changes” (with my personal favourite coming in the final chorus of “Evolution (The Grand Design)”) and some decidedly aughties-coded keyboard sounds, V is hardly a subtle record, and that’s exactly what makes it so irresistible. Symphony X would go on to make heavier and darker (and more lyrically questionable) music, but never again would they sound—much like Calvin and Hobbes themselves—quite so dashingly larger than life. Congratulations on the crown, V. Wear it with pride.

Write-up by: Claire

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Symphony X’s links: Apple Music | Facebook | Instagram

Label: Nuclear Blast Records

Symphony X is:
– Michael Romeo − guitars, backing vocals (1994–present)
– Michael Pinnella − keyboards, backing vocals (1994–present)
– Jason Rullo – drums (1994–1997, 1999–present)
– Russell Allen − lead vocals (1995–present)
– Michael LePond − bass, backing vocals (1999–present)

Former members:
– Rod Tyler − lead vocals (1994−1995)
– Thomas Miller − bass, backing vocals (1994−1999)
– Thomas Walling − drums (1997−1999; died 2022)

1. Not us, though. 😀 ↩︎