Symphony X is an American progressive/power metal band from New Jersey founded in 1994 by guitarist Michael Romeo. The band came into existence when guitarist and composer Michael Romeo recorded a demo tape entitled "The Dark Chapter" with the keyboardist, and future band mate, Michael Pinnella in early 1994. Romeo distributed the tape to various recording labels and, due to the tape's reception in Japan, he got himself a record deal in the Land of the rising Sun with the now defunct Zero Corporations Label. Musically Symphony X is similar to, although heavier than most other progressive metal bands to which they are commonly compared: Dream Theater, Fates Warning and Pain of Salvation. They play in a very syncopated, progressive fashion, also incorporating elements of symphonic metal into their sound…
On Symphony X’s eighth studio album, the iconic Progressive Metal band deliver their most intense and thought-provoking album yet. Truly one of the most innovative bands on the planet, Iconoclast is the result of years of hard work, dedicated craftsmanship and an innate sense of melody and hooks so infectious they rival their prior brilliant catalog of work.
Symphony X is an American heavy metal band from New Jersey founded in 1994 by guitarist Michael Romeo. Musically, Symphony X is often compared to other progressive metal bands such as Dream Theater and Fates Warning. They play in complex timings and odd meters while incorporating elements of symphonic metal and more traditional heavy metal into their sound. Their music also contains strong neo-classical elements reminiscent of Yngwie Malmsteen, Cacophony, Randy Rhoads, and other neo-classical metal artists.
Live on the Edge of Forever is the first live album by progressive metal band Symphony X, which was recorded on their European tour in 2000 and 2001.
The Epiphany, the debut CD from the symphonic metal band is a celestial blend of enigmatic lyrical threads and layered neoclassical metal. While traces of Hendrix, Symphony X and J.S. Bach can be detected throughout the 10-track CD, X Opus has shaped a dense musical landscape pockmarked by major plateaus and minor gullies. The combination of doomy chord changes, bombastic compositional grandness, the flavor of Middle Eastern scales, and lyrical themes, based on the redemptive nature of faith, is enough to send chills up and down your spine.
Korean-born but a political exile in Germany for the last 25 years of his life, Isang Yun (1917-1995) managed to create a workable synthesis between western and eastern traditions, which fused a musical language based upon the total serialism of the post-war avant garde with elements drawn from both Korean and Chinese traditional styles. The three pieces here, all composed in the 1980s, show just how expressively effective that synthesis could be. In the First Chamber Symphony, it allows Yun to create a richly cushioned sound-world, full of shimmering textures, hazy microtones and supple, swooping gestures, while the rich string layering and urgent melodic writing of Tapis and the evocations of the sound of the Chinese harp in Gong-Hu, for solo harp and string orchestra, create music that is instantly attractive, even if the details of its inner workings are not always obvious.