martindavey87 Heavy: 1. of great weight; difficult to lift. 2. of great density. 3. 'Paradise Lost' by Symphony X.

Symphony X's seventh studio album, 'Paradise Lost', is, simply put, heavy. The majestic sounds of their earlier releases are gone, and the more orchestral feel of their previous two albums have dwindled. Now, in their place, is an all-out assault of the heaviest, beefiest, and arguably some of the most aggressive music you'll ever hear.

The song structures, while still maintaining progressive characteristics, are nowhere near as complex as past efforts, and the keyboards don't have as prominent a role in the songwriting. Much of the music is based around guitarist Michael Romeo's massive riffs and vocalist Russell Allen's intense yet melodic voice, both fitting together so perfectly that it's easy to forget the bands more classically-inspired days.

'Set the World on Fire', 'Serpent's Kiss', 'Paradise Lost' and 'Revelation' are all fantastic-enough reasons to get this album, but then there's what I consider one of the heaviest songs of all time; 'Domination'. The sheer weight of its huge riffs is insane, amazingly produced to really give it the thickness it needs. You really don't know what "heavy" means until you've cranked this song out at full blast!

Overall, this is certainly not Symphony X's best album, but it's a natural change of direction for the band, and one which should help them appeal to a broader metal audience. And you'd sure-as-hell better be a metal fan if you're going to listen to this!

Warthur On Paradise Lost Symphony X hit on a fabulous new sound, a darker and grimmer variation on their progressive power metal approach which dials back the cheesier aspects of power metal substantially, even more so than on V. Substantially heavier than their preceding work, the album stands on a par with The New Mythology Suite in opening up new sonic possibilities in the band's music and expands their horizons, even at points bringing them close to the threshold of more extreme metal styles. For a band who previously often left me a little cold with their indulgence of the cheesier, lighter side of power metal, this is a welcoming broadening of their vocabulary, though at parts it still struggles to keep my attention.

Time Signature Set the world on fire...

Genre: progressive power metal

This album features Symphony Xs Dream Theater meets Pantera meets Dio meets Dragon Force style of power metal and kicks ass from beginning to end with its combination of in-yer-face guitar riffs, complex melodic figures, odd time signatures, double bass drum power metal drums, Dio-esque vocals and symphonic keyboards.

The album kicks off for good with "Set the World on Fire (the Lie of Lies)" (after the orchestral chorus intro "Oculus Ex Inferi"). It is no coincidence that it was this song which was one of the big hits of this album, because it is awesome (it is also this song that got me interested in Symphony X). The remainder of the album maintains a high level of writing and performance quality. There may be some cheesy elements at time, but I totally disagree with all the Symphony X who bash this album for being cheesy - compared to much present-day European power metal, "Paradise Lost" is power metal with huge big balls.

Any power metal fan should enjoy this album!

(parts of this review were originally posted on progfreak.com)

Phonebook Eater Deadly flying angels from a distant paradise, lands covered in fire and ice, and a world coming to an end are all well suitable in the themes of this excellent album.

Paradise Lost is the seventh studio album by Neo Classical/Progressive Metal band Symphony X, and it definitely shows that the band is starting to achieve a new sound, that already started to develop in heir previous opus "The Odyssey" and is developing even more with this release.

Heavier and faster riffs, that are evidently closer to Power Metal than Progressive, strong and powerful vocals like never before, heavily distorted guitars, and a very supportive rhythm section. The songs show a maturity that had yet to be reached by the band, even though the album can't be put into comparison with their masterpiece "The Divine Wings Of Tragedy", the ultimate, theatrical expression of life, or "The Odyssey", the epic and dark journey described with mystique and violence at the same time.

Some of the best songs I can think of are "Set The World On Fire" (truly a masterpiece, one of the band's best compositions), the hopeful title track, or the epic "Revelation". Not to forget "The Walls Of Babylon", with it's amazing arrangements, or the heaviness of "Seven".

An excellent album, no doubt in that, with memorable, haunting moments that make this album unique compared to the other albums of the band. 4 stars.

arcane-beautiful I remember being a very happy bunny when this album was being released, because not only did Symphony X have a new album, but so did Dream Theater (Systematic Chaos). I wasn't the biggest fan of the single they released from this album (Serpent's Kiss), but I knew that I would have to digest the rest.

When I first heard it, I thought it very cheesy, and I wasn't really overblown by it. But it really does sink in to your head.

I love this album now. It is definetly one of their best (coming close to V, but never accomplishing that masterpiece).

One thing I did notice about this album is that is mammothly heavy.

This album is so well produced that every riff Michael Romeo plays just hit's you in the face.

Their is also a very Megadeth influence present in this album (having earlier toured with them on Gigantour).

This album is also a concept album, based on John Milton's Paradise Lost, but if you are interested by this story, another masterpiece of an album based on this poem is Cradle Of Filths Damnation & A Day, which I do favour more than this album.

1. Ocuclus Ex Inferni - Wow, this was all done with computers? Yes, this is one of the greatest intros I have ever heard in an album. 10/10

2. Set The World On Fire (The Lie Of Lies) - Wow, what a kick in the face. Russell's vocals just sound so aggressive but so epic and mastery. Incredibly fantastic chorus. 10/10

3. Domination - This song is very cheesy but incredible at the same time. Amazing guitar work and overall it's just a perfect metal song. 10/10

4. Serpent's Kiss - I wasn't the biggest fan of this song, but I really do like it now. Amazing vocals from Russell. 9/10

5. Paradise Lost - This albums Communion & The Oracle. Basically the ballad, but don't be put off, it does easily match Communion. So beautifull and amazing lyrics. 10/10

6. Eve Of Seduction - Again, I wasn't the biggest fan of this song, but as Justin Hawkins once said, "you're really growing on me." Great chorus and just amazing. 10/10

7. The Walls Of Babylon - Wow, what an intro. Yes, this build up in this song is amazing. Very chessy, but in such a good way. This song also has Russell's first experience with shrieking head voice. 10/10

8. Seven - Very kick ass. A bit too cheesy for my liking, but meh, who cares about how much cheese is in a song. 9/10

9. The Sacrifice - Another ballad esque song. Amazing vocals from Russel. 9/10

10. Revelation (Divus Pennae Ex Tragoedia) - Out of all their epics, I was expecting a little more, but this song does really bite the bulled. 10/10

CONCULSION: The headbanging quallity is worth the price alone. The songs are even better.

topofsm Although many claim this to be a substandard release, Paradise Lost is still fairly good, has a couple great songs that will surely pump up the listener. Of course, there are also quite a few straightforward songs that really don't add to the album, ultimately getting shoved to the filler pile. But other than that, Paradise Lost is pretty good.

Symphony X fans will know what to expect from another one of their albums, but the main difference is the better production on the album. It is different from other releases in the sense that the production seems modern. Not only that but when there's a choir, it sounds like a choir. When there's an orchestra, it's an actual orchestra, as opposed to on the Odyssey which, while having great songs, was filled with many symphonic instruments that sounded too synthetic.

Not to mention, there are some great tracks. The two part opener starts with "Oculus ex Inferni", which is bombastic and symphonic, a perfect meld of metal and neo-classical many bands strive to create. The next song is technically the first one since it contains Russel Allen's singing, a bit rougher than he's known for, but it's a killer energetic track, with plenty of energetic aggressive riffs, one of the most pumped up power metal songs you will ever hear.

Most of the tracks seem more similar after this. "Domination" sounds eerily similar to the intro from Dream Theater's "Panic Attack". "Seven" and "Walls of Babylon", while having awesome neo-classical intros and wonderful instrumental interplay, are really again, just songs with a bit more flourish than normal. "The Sacrifice" is a typical ballad with nothing memorable, and "Revelation" is nothing special as a closer as well. But the title track is wonderfully emotional as a softer song and "Eve of Seduction" has an excellent solo and some awesome verses. Despite the album's inconsistency in quality, it manages to keep up the energy and maintain a good standing.

Overall, there are worse albums than Paradise Lost, and there are better albums. You shouldn't really go wrong with getting this one, but many Symphony X's earlier releases would be a better bet, and certainly a better one to start with if you're not familiar with the band.

AtomicCrimsonRush "Paradise Lost" is a heavy powerhouse of prog metal.

"Paradise Lost" is the latest Symphony X from 2008. The album is as heavy as the band get featuring a much more aggressive approach. Gone are the heavy reliance on big bombastic orchestras from "The Odyssey" and gone are the pretentious conceptual themes of "Twilight In Olympus", this is just solid power metal with killer riffs, and it's awesome. Russel Allen is angry and darker on these tracks, The concept is present though it is more based on john Milton's epic poem rather than retelling it.

It begins with the instrumental 'Oculus Ex Inferni' that features mass choirs and orchestra, but it stands alone in this regard.

'Set The World On Fire' is a riff heavy guitar dominated thrasher. The lead break is incredible trading off between Romeo's guitar and Pinella's keys.

My favourite track on the album is 'Domination' that riffs along at a blistering speed. There is a scorching lead solo that tears the fabric of time apart itself.

'Serpent's Kiss' is another very good track with a strong melody. Romeo goes ballistic on guitar with time sig changes to die for.

'Paradise Lost' slows things down a little with a nice piano interlude and sustained synth pads. It builds up to an infectious chorus with catchy lyrics.

'Eve Of Seduction' is a quick tempo speed metal blaster, with very significant time shifts in tempo and feel.

'The Walls Of Babylon' is a wonderful metal triumph. Russell tears it up on this with dynamic expression.

'Seven' is a fast metal bltzkrieg that has on onslaught of drums and bass. Romeo is incredible on guitar throughout and the lead sol is a fireball onslaught.

'The Sacrifice' is like an 80s power ballad that is interesting to compare with the rest of the power metal and makes a nice break form the blistering riffs, showcasing Allen's vocals.

'Revelation' is ultra heavy and violent with chunky distortion and crunching riffs like machine gun blasts. There are synth passages and piano to break the mayhem and then it locks into an infectious riff after 7 minutes.

"Paradise Lost" is the best thing Symphony X have done; creative, powerful, intense and a strong melodic approach are the main points. I am not into the concept, which is way too dark for my tastes; demonic and overbearing in places, however credit where credit is due; this is a monster riffng metal powerhouse. 4 blazing stars.

Isa Probably the band's most underrated and misunderstood work, and probably always will be.

Many Symphony X fans were held in anticipation for quite some time for this album's release, and I'm sure the band wanted very much to give them something that would top their previous works and progress the band's sound even further. In some ways I think they were successful in this endeavor. I think the band might have "sold out" a bit to the metal community with this work, but remarkably enough they managed this without surrendering really any their artistic credibility.

It's safe to say that this album was their least cheesy release. The band themselves believed this to be their best work to date, being a little less concerned with keyboard-driven composition and more concerned with musical expression, artistic craft, and being genuine about creating good music they love.

With this composition the band presents us with possibly the most drastic change of sound in their career. Paradise Lost is significantly darker and heavier than previous works. There are many more tracks in a minor key, and the guitar riffs have taken an even more central part in importance, much to the sacrifice to the orchestration and keyboard parts, save a few tracks on the album (especially the album title track, which is far more characteristic of their earlier work). Even in the production of the guitar takes a central forefront role and the keyboard pads and patterns are turned down to prevent an overly thick sound. However, being that the guitar work is as good as it is, the tone, the near flawless and quite expressive/inspired performance, this is little to complain about, especially given the band's aim to further their appeal with the heavy metal crowd. It's safe to say Michael Romeo and his talents have taken an even further central role in the band's sound. My main complaint with this is that sometimes the guitar covers up the added classical sonorities that pop up their heads every so often in heavier songs, such as the guitar entrance on the repeat of the string/choral section of Serpent's Kiss.

The band also brings us a concept album, with the theme of every track having a relation with something Biblical or that references Bible-influenced works, such as Paradise Lost, the written work. In fact having an understanding in Biblical history and the specific work Paradise Lost greatly increases one's appreciation for the lyrical themes and how they're musically and vocally expressed. There is an especially influence on Satan, which makes sense with "heavy metal brutality" and is displayed, ironically, with much elegance and thoughtfulness.

As far as the tracks themselves, each is very central to its own sound and theme. Each track has its own lyrical theme, and there is a strong relation of the lyrics to their expression from the vocalist and general composition, which scores big points in my book as I'd consider that the highest form of musicality. the introduction piece Oculus Ex Inferni is probably my favorite, molding modern film-score composition (which involves some medieval influences, always a treat!) with metal sonorities. Very impressive composition from a classical point of view. The following three tracks are all of the same vain, very prevalent guitar work, good displays of technical musicianship, broad chord progressions encompassing the ever prevalent guitar riffing. There's a lot of compositional creativity with all three. Russel Alan gets a little carried away with his growling sort of vocals, especially in Domination. Paradise Lost is among the band's best work of their career for certain, beautiful piano and string composition, very convincing and authentic composition. The rest of the album has a far balance between the heavy riffing and classical nuances of previous tracks, though the quality level of the work being generally slightly less inspired (especially Seven), but commendable high-quality work nonetheless. The Sacrifice is must like the album title track, yet with its own uniqueness and some really awesome harmonic language and modulations. Again I think Russel Alan gets carried away with being overly growly and emotional with his singing. I absolutely love the way the entire album is wrapped up at the end of Revelation, the sections of previous works, the choir, the pizzicato strings, it's all so tastefully executed.

I can't see any true fan of prog-metal having much to complain about this album, and I'd say it's essential to anyone who's a part of that listening community, and a solid album for those who are not. The production is spectacular, and the composition avoids the disgusting stereotypes of power-prog (and what stereotypes there are are fulfilled with convincing dignity to the composition). Paradise Lost should seriously be as hailed as highly as The Divine Wings of Tragedy and V: The New Mythology Suite, and if anything considered less cheesy than either, though. My only main complaint is that the album is a bit too long for the variation in timbres that it offers (which is greater than a lot of metal out there).