Symphony X - Underworld [Full length] (2015, Nuclear Blast Records)

Introducing Symphony X should almost be unnecessary. Symphony X have been a mainstay in both the progressive and the power metal scene for many years now, each album reaping heaps of great reviews and praise from critics and listeners alike. Their reach is far and wide, spanning neo-classical, progressive and groovy compositions. Fronted as always by the immensely talented Russell Allen, Underworld is an album that needs only a few listens to convince.

Disregarding the quality or lack of the same of Russel Allen's many collaborations and appearances, including Jørn Lande, Ayreon and Adrenaline Mob, Symphony X will always feel like the vocalist's true home. His variation between gruff Anselmo-ish vocals and higher melodic vocals are in focus on almost each and every track, leaving no doubt that he is as essential a part of Symphony X's music as guitarist and main songwriter Michael Romeo. Where 'Iconoclast', the band's previous album, dealt primarily with mankind's promethean relationship with modern technology, Underworld has returned to the more mythological subjects as the albums from earlier in the band's career.

Though not among the initial singles, the track 'Charon' feels like one of the strongest tracks on their ninth album. There are several strong tracks that I for one will be listening to for years to come, including 'Nevermore' and 'Kiss of Fire'. Symphony X are masters of the power ballad, and of course there is one on Underworld as well. 'Without You' is as strong a ballad as ever, but Underworld lacks the lengthy prog display of power that most have come to associate closely with the group. Almost every album up until now has had one of these tracks, but 'To Hell and Back' is the best we've got this time around. A mighty track, but not quite akin to the masterpieces like the Divine Wings of Tragedy and the Odyssey title tracks.

In many ways Underworld feels like a mix of the band's three previous albums, combining the neo-classical progressiveness of The Odyssey, the lofty compositions of Paradise Lost, and the heaviness and powerful groove of Iconoclast. You always hear talk of "the difficult second or third album" when talking about a band's career. Never the impossible ninth album. Most bands have lost their flair long before reaching that point, and in that way it's refreshing to hear Symphony X release such a powerful and well carried-out album more than twenty years into their endeavour. Their output has been incredibly consistent quality-wise, and while Underworld may not be in their top 3, it comes incredibly close. Closer than many bands could ever hope to achieve this late in their career. This is unmistakingly Symphony X as we know them. 8/10 guitars.

Tracklist:
1. Overture
2. Nevermore
3. Underworld
4. Without You
5. Kiss of Fire
6. Charon
7. To Hell and Back
8. In My Darkest Hour
9. Run with the Devil
10. Swan Song
11. Legend

Symphony X official site
Nuclear Blast official site

Prajna - Lost in the Void [EP] (2011, Self-released)

With a name like "Prajna" I really had no idea what to expect. This Colombian band is in essence an effort with tendencies toward a lot of different styles, most notably of which are 80's heavy metal paired with power and speed metal in the vein of Helloween, Fates Warning and at times even some early Anthrax. Let me just say that I was rather sceptical at first. The logo and coverart didn't look particularly inviting and it looks like it was sort of made in a hurry, making me think that maybe the music would be of equally bad quality.

In general it goes for the entire demo EP that the music, though presented with gusto on the band's behalf, is somewhat lacking in quality. I can see what Prajna are trying to accomplish with their music, but ultimately I found that Lost in the Void wasn't exactly up to par with other bands in the genre. I suppose that the fact that this is Prajna's first release should turn down expectations, and I could definitely see how Prajna could improve upon their chosen style in upcoming material to make it a worthy contender in the world of metal.

The most attractive things about Prajna are their simple but enjoyableriffs aswell as good choruses like the one in Electrocuted, but mostly every experience on the EP is numbed by the tame production and lack of aggression. And I know a lot of people will disagree with me on this because "power metal isn't about aggression!" and "you don't have to be evil to be metal!" but yes, it kinda is and you kinda do. Without that certain edge to underline the music all hopes of attaining some sort of climactic power in the music are useless and in the same manner I could've wished for a bit more daring or raw elements. Many will probably write it off as the ramblings of an old fashioned death metal fanatic, but I actually like quite a lot of power metal bands, but even bands like Rhapsody or Kamelot have a certain edge that carries their musical quality.

Prajna have a very destinct and recognizable style to their music, which really gives the EP the saturation it needs to stand out from others of its kind. If Prajna could somehow sharpen their music it would, to me atleast, have a more lasting appeal than it currently does. 6/10 guitars.

Tracklist:
1. Electrocuted
2. Fire and Iron
3. Lost in the Void
4. Storm of War

PRAJNA official facebook
PRAJNA official bandcamp (with free download of Lost in the Void)

The Blame - Born [Full length] (2011, Raven Records)

The Blame is a Turkish metal band formed in 2006. For a band that has only previously released a demo, I'm going to have to say that I'm severely impressed. "Born" from 2011 is a heavy, groove-ridden album with just a teeny tiny bit of power metal in the mix, and everything just comes together in one big explosion of nicely varied and powerful metal.

Coming out of nowhere it's not often you see a band's first effort be completely breathtaking. While the vocals struggle a little with the higher notes and the music in general lacks a bit of memorability, the album certainly isn't lacklustre and with the amount of variation The Blame put forth "Born" just didn't get boring.
I sensed a lot of Pantera and Machine Head in their songwriting and especially in the drumming, but it isn't overdone or even very noticable. The Blame's lead singer Enver Yilmaz has some pretty cool Phil Anselmo and Joey Belladonna-ish things going on with his vocals, and in general the album could probably best be described as a mix between early Anthrax and Pantera with some tendencies towards more high notes and epic melodies in the vocals, only a few times peppered by raw growley vocals. Obviously I'm over-simplifying things, but in order to just boil it down a bit that is generally the feel I get from listening to The Blame.

Reading about the band online I saw them described as progressive thrash metal once or twice, but in all honesty I can't quite put my finger on in what way The Blame is progressive. They certainly aren't your typical garden-variety thrash band (probably because they aren't trying to be Slayer), but bands like Artillery, Kreator and Megadeth are proof that modern thrash has moved in a more melodic direction with a wholesome and heavy production rather than the gritty, lo-fi production of the early 80's.

The Blame's debut album features both the close-to-mandatory soulful songs and highly melodic but great groove and energetic playing and drumming. There's something, however, about Born that I can't quite put my finger on. Sometimes the vocals are just a bit over the top, and the music lacks hooks. While Born is a great album to listen to while doing other stuff, it's not something that I would sit down and listen to closely, at least not very often. 7/10 guitars.

Tracklist:
1. Another Stolen Life
2. Beyond the Wind
3. Deserted Nation
4. Exile
5. Fading Day
6. Guiding Light
7. Lost in a Rabbit-Hole
8. Made of Stone
9. Sacred Souls
10. The Scarab
11. Valley of Trade

THE BLAME official site
Raven Records official site