Symfonia - In Paradisum (2011)

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Symfonia - In Paradisum (2011)

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If you’re a fan of the old school European progressive power metal sound, there’s no bigger development so far this year than the birth of the new supergroup Symfonia. The band features a trio of the biggest names in the genre – guitarist Timo Tolkki (ex-Stratovarius, ex-Revolution Renaissance), vocalist Andre Matos (ex-Angra, ex-Shaman) and Uli Kusch (ex-Helloween, ex-Masterplan) – plus bassist Jari Kainulainen (ex-Stratovarius, ex-Evergrey) and keyboardist Mikko Harkin (ex-Sonata Arctica). Just looking at that lineup brings two observations to mind. The first is that with this kind of pedigree, you simply have to pay attention to this band. The second is that with this many exes, Symfonia really should have gone with Doesn’t Play Well With Others as the title of their debut instead of In Paradisum.

Given Tolkki’s post-Stratovarius work in Revolution Renaissance and the fact that he did most of the songwriting for this album, it’s not really surprising (though it is perhaps a bit disappointing) that In Paradisum sounds exactly like the albums he wrote for Stratovarius (think Visions and Infinite). This is great if you love the Stratovarius formula and want to hear Tolkki’s signature melodies and intricate solos, keyboards clearly modeled on Jens Johansson’s style, and that icy cold Finnish production. It just feels like these songs were written with Tolkki’s old bandmates in mind, and don’t fully capitalize on Andre Matos and Uli Lusch’s formidable talents. Speaking of Matos, the vocalist does an impressive job here, and it’s always good to hear his unique voice in a progressive power metal setting. Tolkki’s production job doesn’t do him the same justice that Sascha Paeth would.

Familiar as it is, In Paradisum is still a strong album with some memorable songs. The best Stratovarius albums always opened with an unforgettable anthem, and Symfonia gets off on the right foot with the stirring “Fields of Avalon,” which sounds like “The Kiss of Judas” with a bit of Angra’s “Angels Cry” coming from Matos’ vocal performance. The ultra-melodic “Forevermore” is another great song, and one that really showcases Uli Kusch’s drumming. There are no real epics here (the 6-minute ballad “Alayna” is the album’s longest song), so the instrumental passages never get too self-indulgent.

Given Tolkki’s history and very public split with Stratovarius, it’s almost impossible not to compare In Paradisum with Strato’s new album Elysium. Tolkki has probably written a more traditional Stratovarius album here, but Elysium showcases a band that’s moving forward, and not just treading the same path over and over again.

If you’re a fan of the early Stratovarius and Angra albums in particular and the early European progressive power metal sound in general, you have to check out Symfonia if for no other reason than to hear Andre Matos and Timo Tolkki on the same album. As long as you’re not expecting anything new, you’ll probably be satisfied with In Paradisum. Still, you can’t help but wonder what this band could do if they really challenged themselves.