627. Symphony X / Symphony X. 1994. 3/5

Symphony X's debut came at a time when grunge was already fading away in the memory, and complex guitar and keyboard composing bands were again rising in estimation of the music listening world populi. As soon as you put on the album there are the unmistakable influences of bands such as Yngwie Malmsteen, Dream Theater and Michael Schenker Group, not only musically but even vocally. Rod Tylor's vocals are very similar in pitch to the half a dozen vocalists that Yngwie has used through his career. Michael Romeo's guitaring and Michael Pinnella's keyboards are also heavily influenced by these bands.

The opening intro of "Into the Dementia" leads into "The Raging Season", mixing together all of the elements of progressive metal and it was known at the time, synth and keyboards, a faster guitar riff overlaid with very Brian May-eque solo chords, and power metal vocal effects. This song isn't sure if it is going to be a fast riff-fest or a power ballad, and so it combines both. "Premonition" is led by Pinnella's keys and synths, and though it drifts towards power metal ballad it doesn't quite make it, leaving it also languishing between genres and not able to distinguish itself. "Masquerade" is almost a 80's pop rock direction, and apart from the solo (which really doesn't fit the rest of the pattern of the song) the guitar is buried by the keyboards.
"Absinthe and Rue" starts off with the very progressive nature of heavy guitar riff and prominent atmospheric keyboards, along with the double kick driving the song along, and although it is a good song, you feel as though something is missing.
There is no pretence on "Shades of Gray" however, it is a power ballad without a shadow of a doubt. I can see why some fans would enjoy it, but to me it just bogs the album down at an inopportune time. 

"Taunting the Notorious" tries to restore the balance, coming back in faster and heavier, while Tylor certainly tries to put some oomph in the vocals. "Rapture or Pain" has a good feel to it as well. "Thorns of Sorrow" could have almost been pulled off an Yngwie Malmsteen album, though it is is the keyboards here that dominate rather than the blazing guitar riff.
"A Lesson Before Dying" combines every essence of progressive metal. We have the dominating keys, we have the ninety seven changes in tempo and song parts, we have the bass given its chance to harmonise, we have the soaring vocals, and eventually the flailing of guitar. In the end, it feels as though five different songs have been mashed together to form one twelve minute monster, and really, none of it works well.While Tylor's vocals are good on this album, they just seem a bit thin to carry everything that is going on around them, and when they really need to carry some power, such as in "Absinthe and Rue", they just don't quite come up to the mark. It's nothing against him - I wish I could sing like him - but his replacement from the next album onwards, Russell Allen, really does have that presence.
 
As the opening salvo from this band, it is a bit of a double edged sword. You can hear some good things happening, but in the long run it feels as though the band are just trying too hard to make an immediate impression and impact. It has its moments, but the best is most definitely yet to come.