Review by Michael on February 15, 2021.

Does anyone else know the book (or movie) "The Relic" by the great authors Douglas Preston and Lincoln Child? When I heard the flute intro for the first time, I felt directly transported to the jungle, where some natives chew strange leaves to put themselves in a trance and summon the Mbwun. Given the current weather conditions in Germany (snow and -10°C outside temperature), quite a remarkable feat, especially when walking through the streets of a major city. Well, I survived the walk and didn't get eaten by the monster.
So, the intro of the EP The Primitive Conception of Evil of the Brazilians Necromante knows how to grab the listener, but can the rest of the album do the same?

The band starts with 'Fire of Death' with a pretty punky riff reminiscent of old Venom or Motörhead. (I say old Venom because I played "Temples of Ice" to a friend the other day and he claimed it didn't sound like Venom). However, this is only maintained for a short time and soon a good pinch of old thrash in the style of Kreator or Sodom is added. The singer also sounds pretty much like Tom Angelripper rattled off in his early days. On the next tracks there is some South American black metal like Mystifier plays it (some fast rumbling and some slow doomy parts). 'Rising from Hell' is a catchy mid-tempo song, which also contains some doomy passages. In any case, the above-mentioned influence can be recognized here again.

It follows again a short (acoustic guitar) intermezzo, which is nicely arranged, to then pick up speed with 'Necromante'. Again, slightly doomy passages are incorporated into the song, which makes it a very varied track. With 'King of Blasphemy' it becomes clear right at the beginning why Necromante likes to use doomy passages in their tracks. The opening riff could also have been used on one of the first Black Sabbath albums. As an ardent Black Sabbath fan, I find that quite likeable. If you listen to the album several times, it becomes more and more obvious that besides the already mentioned influences, Black Sabbath might have served as a great source of inspiration for the CD. Also in the last track 'Lucifer' the beginning and also the riffing between strongly reminds of the British heroes (I say only "Iron Man").

Production-wise, one could still improve a bit here, the whole sounds pretty raw and unpolished, but that has a certain charm in my eyes, which might otherwise be lost. The band convinces with good song structures and arrangements and has gained another listener through me!!!

Rating: 8.3 out of 10

Review by Allan on October 15, 2002.

One of the better bands in the progressive genre, in 2000 Symphony X offered up their fifth album, “V: The New Mythology Suite”. Being that “V” was one of the most anticipated releases of the year 2000, Symphony X weren’t about to collapse before their fans. They didn’t fail, and “V” has become many fans favorite Symphony X album. However, “V” is little more than the band making small refinements on their sound and playing the game safe.

Who can blame them? They’ve simply got their game perfected. You can’t quite go wrong just making minor adjustments to your sound with each album. But that’s my biggest problem with Symphony X. I don’t quite know where has the identity gone after so many records. A song from “The Divine Wings of Tragedy” could have easily made it on here and would have fit right in the whole scheme of things. However, “V” as a whole is probably the most consistent and even flowing album Symphony X has created. It follows a whole theme, and is really just a one-hour song divided into thirteen different parts. I guess those tiny adjustments do account for something eventually.

As always, Symphony X’s arrangements are full of many different characteristics. The classical arrangements range from truly professional and beautiful vocal sections, piano interludes, and some of the excellent varying guitar-work. Symphony X also creates a mixture of moods, ranging from melancholia to some downright sinister sections, and even some more uplifting moments. Yet even with the many changes Symphony X still manage to keep their sound free of any out of sync segments or displeasing segues.

The atmosphere of the album is fantastic, as always. The synths create a wonderful backdrop to Romeo’s ripping rhythm guitar, and also manage an interesting interplay when Romeo decides it is time to do a little shredding. As for Russell Allen, his vocals haven’t changed much. They’ve always complimented the music well, Allen not ever passing the sensitive barrier of cheesiness, nor trying to steal the show like the instrumentalists do, since it’s obviously theirs.

Bottom Line: Symphony X may have created the best album of their career, but it is a bit disappointing since it wasn’t anything unexpected. My advice is for them to quit playing it safe, experiment with their playing styles and the sound of the band which they’ve defined a countless amount of times.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 9
Originality: 7
Overall: 8

Rating: 8.4 out of 10

Review by Allan on October 15, 2002.

One of the better bands in the progressive genre, in 2000 Symphony X offered up their fifth album, “V: The New Mythology Suite”. Being that “V” was one of the most anticipated releases of the year 2000, Symphony X weren’t about to collapse before their fans. They didn’t fail, and “V” has become many fans favorite Symphony X album. However, “V” is little more than the band making small refinements on their sound and playing the game safe.

Who can blame them? They’ve simply got their game perfected. You can’t quite go wrong just making minor adjustments to your sound with each album. But that’s my biggest problem with Symphony X. I don’t quite know where has the identity gone after so many records. A song from “The Divine Wings of Tragedy” could have easily made it on here and would have fit right in the whole scheme of things. However, “V” as a whole is probably the most consistent and even flowing album Symphony X has created. It follows a whole theme, and is really just a one-hour song divided into thirteen different parts. I guess those tiny adjustments do account for something eventually.

As always, Symphony X’s arrangements are full of many different characteristics. The classical arrangements range from truly professional and beautiful vocal sections, piano interludes, and some of the excellent varying guitar-work. Symphony X also creates a mixture of moods, ranging from melancholia to some downright sinister sections, and even some more uplifting moments. Yet even with the many changes Symphony X still manage to keep their sound free of any out of sync segments or displeasing segues.

The atmosphere of the album is fantastic, as always. The synths create a wonderful backdrop to Romeo’s ripping rhythm guitar, and also manage an interesting interplay when Romeo decides it is time to do a little shredding. As for Russell Allen, his vocals haven’t changed much. They’ve always complimented the music well, Allen not ever passing the sensitive barrier of cheesiness, nor trying to steal the show like the instrumentalists do, since it’s obviously theirs.

Bottom Line: Symphony X may have created the best album of their career, but it is a bit disappointing since it wasn’t anything unexpected. My advice is for them to quit playing it safe, experiment with their playing styles and the sound of the band which they’ve defined a countless amount of times.

Categorical Rating Breakdown

Musicianship: 9
Atmosphere: 9
Production: 9
Originality: 7
Overall: 8

Rating: 8.4 out of 10