844. Symphony X / Underworld. 2015. 5/5

The past two Symphony X albums have somewhat divided the band's loyal fanbase, with many of the long term fans believing that they had moved away from their core sound of progressive metal, and had transgressed into a much heavier sound that did not suit their music. Others on the other hand believed that this transfer to a heavier sound in fact enhanced their music, and was a real step forward. Well, the fans from the first category can rejoice, as the new album Underworld makes a concerted effort to reincorporate the progressive side of Symphony X.

There is no doubt that the musical progression in Paradise Lost and Iconoclast was to a heavier sound than the band had done previous to this, and while that is still prevalent here on the new album, it does sound as though the band was conscious of allowing a bit more of their progressive nature to seep back into the songs here. And that's terrific. You can't argue with the music this band has made over the years, and by ensuring they are keeping their roots as a part of their music in the current day is a terrific thing. Everything you expect from the band is still here, if slightly modified from those two previous albums.
The band has once again composed another fantastic opening instrumental piece, starting the album off with rising anticipation. This immediately crashes into "Nevermore", which races along at an impressive speed from all involved. The chorus reminds me eerily of a Fear Factory chorus, though with significant differences in vocal technique, but the similarity is there all the same. From "Nevermore" the album moves into the title track "Underworld", which mixes moments of heaviness with moments such as Russell Allen singing a bridge across Michael Pinnella's keyboards that brings goosebumps, closely followed by Michael Romeo's scintillating guitar solo. Here is where the true coming together of the two halves occurs, progressive and pure metal in the same song, co-habitating in idyllic conditions. This is offset by the almost serene start to "Without You", one of the two power ballads which find their way into the mix of the album. The keyboards in the middle remind me of the start of UFO's "Love to Love", before it falls back into the chorus, ringing through in melody. Then, just to show there can be no real rhyme or reason to track listing sometimes, the heavy guitar, bass and drums thump back into gear with "Kiss of Fire", a song at the complete other end of the spectrum from "Without You". terrific song, but somewhat out of character with the previous song.
"Charon" kicks off with that awesome Michael Romeo guitar riffing followed by Russell's brilliant vocal work rising through the atmosphere... but then does it just lose its focus a little? Probably not, and certainly once you reach the solo break it switches back into gear, but for a moment it seems to sail along with gathering any momentum at all. "To Hell and Back" is the longest song on the album and one that doesn't scrimp on the solo work, and doesn't overly compromise on the song structure. Russell's vocals shine here in a situation where he can utilise his magnificent vocal range through the different phases of the song. Truly magnificent.
"In My Darkest Hour" is perhaps the most obvious heaviest song on the song, mixing hard nosed vocals with the speed and hard-hitting drums of Jason Rullo and the rumbling undercurrent of Michael Lepond's bass guitar.
"Run With the Devil" really has elements of Foreigner or Journey thrown into the mix - not as obviously as allowing the whole song to be dictated by them, but certainly through the chorus those similarities because much more obvious. Then of course it crashes back into the verse or the solo break and those similarities sink into the mire.
"Swansong" is the Symphony X version of a power ballad, and if you have to have a power ballad in your arsenal (and let's face it, you either love them or hate them) then it may as well be one like this. Michael Pinnella's keyboards come noticeably to the forefront in this song, the pace slows down, and the vocals begin to soar in harmony rather than with power and authority. It sounds great, but my stance on the power ballad hasn't changed. This then molds its way into the album closer "Legend", which completes the album in fine style.

Underworld is yet another fantastic album from a band that has a proven track record in regards to its album releases. This should be able to satisfy both halves of the Symphony X fan base, with the mix between pure heavy and progressive metal done so well that it fits together seamlessly. Now all that needs to happen is to have the damn band tour Australia!

Rating:  I was my own worst enemy, still hellish memories remain.  5/5