War Of The Worlds, Pt. 1 Michael Romeo

• 1 Introduction 03:41
• 2 Fear The Unknown 04:20
• 3 Black 06:18
• 4 F*cking Robots 04:29
• 5 Djinn 07:28
• 6 Believe 08:22
• 7 Differences 04:32
• 8 War Machine 03:10
• 9 Oblivion 05:06
• 10 Constellations 05:34
• Total Runtime 53:00

Info for War Of The Worlds, Pt. 1

Symphony X Guitar Star Michael Romeo Goes for Broke on His Daring First Real Solo Album

The adventurous and diverse War Of The Worlds / Pt. 1 is due out July 27th on Music Theories Recordings.

Internationally acclaimed guitar hero Michael Romeo has announced the release of his eagerly anticipated first official solo album, War of the Worlds / Pt. 1, on July 27th thru Music Theories Recordings / Mascot Label Group. The wildly ambitious 10-song disc sees the founder, chief songwriter and prime mover of the progressive titans Symphony X furthering his reputation as one of the world’s preeminent axe slingers and composers of adventurous, multi-faceted orchestral metal.

“It’s me putting all the things I love about music in a blender,” says Romeo. “Somebody might listen to it and say, ‘What is this guy thinking?’ But it’s all about being creative and having a good time with it.”

No doubt there will rapturous responses from Romeo’s longtime fans. While War of the Worlds / Pt. 1 brims with the kind of thrill-seeking guitar chops that have placed the Garden State shredder in numerous “all-time greats” lists, it also offers some unconventional twists: Along with classic metal textures, Romeo pays homage to film score giants Bernard Hermann and John Williams, and there’s even some surprising EDM/dubstep elements guaranteed to turn heads – all of which makes for an enthralling and immersive journey.

Romeo recorded the bulk of War of the Worlds / Pt. 1 over a year-and-a-half period in the comfort of his home studio (nicknamed “the Dungeon” by his wife) in Hazlet, New Jersey. The project gave him the perfect opportunity to work with the rising Long Island star Castellano, a singer he’s had his eye on for some time, as well as fellow Jerseyans Macaluso and Black Label Society member DeServio. “JD and I went to high school together,” Romeo notes. “We always wanted to do something together, so this was the perfect opportunity. The planets finally aligned, and we were able to work together. It was great to have him play on it.”

Symphony X fans have been waiting two decades for an honest to goodness Michael Romeo solo album (not counting his 1994 demo recording, The Dark Chapter, which was released in several countries), and the arrival of War of the Worlds / Pt. 1 will be no doubt be cause for celebration. And the guitarist promises a sequel – “Most of Part II is already finished,” he says, “It just needs a few vocals, a couple solos, a few tweaks here and there. I want people to absorb the first one for a while, and then we’ll put out the second record. They’ll complement each other, but they’ll also be a bit different.”

Michael Romeo, guitar
Rick Castellano, vocals
John „JD” DeServio, bass
John Macaluso, drums

Produced by Michael Romeo

Symphony X
A distinct murmur went around the world in 1994 when a certain six-string guitarist from New Jersey named Michael Romeo of the prog band Gemini recorded The Dark Chapter demo and sent it out to record labels. It seemed the new guitar messiah of the coming 21st Century had made himself known to the world and he’d soon launch a new band that would stir up the prog genre. With an innovative mixture of heavy metal, progressive rock and neo-classical sounds, Romeo and his men in SYMPHONY X recorded a debut album (released in Japan in '94; released worldwide in 1995) that began their journey to create a blueprint for the young generation of prog metal bands to follow. The Damnation Game (1995) celebrated the debut of the band‘s second asset: the charismatic, deeply emotional and relentlessly aggressive vocals of Russell Allen. The Divine Wings Of Tragedy (1997) placed the emphasis on the band’s progressive approach and is still considered to be SYMPHONY X’s ultimate masterpiece. Twilight In Olympus (1998) livened up the band’s classical aspects with the instrumental 'Sonata' (which is based on the piano Sonata No. 8 'Pathétique' by Ludwig van Beethoven). Via V: The New Mythology Suite (2000), the quintet delivered their first concept album at the turn of the millenium that dealt with the myth of Atlantis. Live On The Edge Of Forever (2001) was visual proof that the band could easily transpose their complex material onto the stage. Oriented towards the eponymous poem by English poet John Milton, the thrashing harshness of The Odyssey (2002) is said to be the band's most aggressive album to date. Paradise Lost (2007) is the darkest and most gothic-like work in the band’s discography. Considering this accomplished history of prolific creation, prog connoisseurs may ask themselves how SYMPHONY X could possibly go one better. The answer comes from the singer himself, Russell Allen: "Iconoclast delivers a summary of our previous work and a musical positioning of SYMPHONY X within the second decade of the new century." Meanwhile, Michael Romeo raises the bar enormously with his guitar work: "This record will only become accessible to the listener after several runs. That was our purpose – otherwise we would have failed trying to create a multi-faceted and profound album that gives pleasure to our fans for a long time!” 'Iconoclast,' an opus of an eleven-minute opening track, leads off with convoluted, labyrinthine guitar parts that become smoothly interconnected. To comprehend its motives right away would be an achievement; this also remains true of the remaining 52 minutes of concentrated prog-power. Whether it's the straight rock track 'The End Of Innocence,' the ponderous and doom-like 'Dehumanized,' the dynamic 'Bastards Of The Machine,' the thrashing dark 'Heretic' (the most obvious cross-reference to the previous album Paradise Lost), or the virtuosic but brutal 'Prometheus (I Am Alive),' the fusion of musicality and the fascinating richness of detail shown here will make the listener ask whether Iconoclast should be considered a straight prog rock album or a classic rock record accentuated with elements of prog. Apart from Romeo's crazy and explosive outbursts on his six-string, one more very important ingredient shapes SYMPHONY X’s eighth studio album: the incomparable delicacy and depth of feeling expressed by Allen's vocals. Paying tribute to his biggest idol, he confesses: "There is a lot of Ronnie James Dio between the lines!" The best evidence for it: the monolithic half-balladic heavyweight 'Children Of A Faceless God' (where Allen truly sings like a reincarnated Dio), the epically metallic 'Electric Messiah,' and the yearnful ache in 'When All Is Lost' with its wistful piano sounds, acapella vocals, and gorgeous acoustic guitars. Iconoclast can definitely be referred to as a manifesto – a commanding declaration of an inventive blend of classic rock, straightforward heavy metal and ambitious prog. These are the elements albums destined for an eternity of praise are made of!

This album contains no booklet.