X Opus: The Epiphany (2011)

US band X OPUS is the creative vehicle of composer and multi-instrumentalist James Williams. Just when this project started isn't stated officially, but as their MySpace page was created in 2010 one might assume that the project was shaping up around that time. Doing everything himself apart from the vocals, Williams composed and recorded X Opus debut album "The Epiphany" himself, and project and album alike was picked up by US label Magna Carta Records and released in the spring of 2011. Since then X Opus has evolved from a one man project into a full fledged band from what I understand.

I'll give Williams a lot of credit for the end result of this initial disc as it really doesn't come across as a one man band project. He's a capable instrumentalist, and while the guitar does have a dominating place in all songs and arrangements the supporting instrumentation have important supplemental roles rather than merely functioning as a basic foundation for the guitar to play upon. In short: This is an album planned and assembled as a band would do it, more or less, but perhaps with a tad more of a singular nature to it than what one might have had with several band members participating in planning and execution.

In style we're dealing with a disc that follows tightly in the footsteps of early Yngwie Malmsteen, with occasional references pointing in the direction of a band slightly more refined: Symphony X. In style I'd think that neo-classical metal with some progressive metal aspirations is as good a description as any, power metal bordering on progressive metal with a slight emphasis on symphonic backdrops and classically flavoured soloing another one that should fit quite nicely.

Dark-toned slow to mid-paced riff constructions with occasional lapses into territories closer to thrash metal and perhaps even black metal is what we're served, mostly staying put within a frame of reference that makes associations to early Malmsteen inevitable. The distinctly neo-classical soloing throughout adds a certain emphasis to this, but Williams' does write compositions that in structure and arrangements both seek out slightly more sophisticated territories on occasion. Hence the further references to Symphony X, a band that developed Malmsteen's initial forays into the neo-classical realms into one of the most well known varieties of progressive metal today.

X Opus isn't quite there yet, and only time will tell if they'll develop into such a direction. On their debut their compositions are tight and compact, the symphonic bakcing courtesy of the tangents functions very well, and while the music as such isn't the most innovative it is well performed and well made. The main flaw, as is so often the case with bands exploring metal as a style, is in the vocal department. Brian Dixon and David Crocker, who lend their voices to this production, are able providers of powerful vocals well suited to this material. But when they attempt to take on operatic delivery the end result isn't as pleasing to my ears, more often than not resulting in rather typical metal wails and shrieks. Effective when restrained and perfectly controlled, bothersome when not. And in this case the latter is more frequent than the former.

If you enjoy neo-classical metal in general and have a soft spot for Malmsteen's earlier material in particular, "The Epiphany" by X Opus is a CD you might want to investigate. The sound and approach is of a slightly more refined nature, closing in on progressive metal in expression and refinement, but not to the extent to merit a description as innovative. It is well made however, and if typical old school metal semi-operatic vocals is to your liking there's a fair chance that this is a production you will enjoy.

My rating: 66/100


Track list:
1. Terrified 5:43
2. On Top of the World 3:56
3. Pharaohs of Lies 6:22
4. I'll Find the Truth 4:19
5. In the Heavens 5:38
6. The Epiphany (Opus Benedictus Interlude) 1:50
7. I Will Fly 7:09
8. Forsaken (Requiem of the Forsaken) 10:39
9. Angels of War 4:56
10. Never Forgotten 6:58