The album kicks off with the aforementioned 20 minute long song, which is also its title track. It is split into three parts: Amen, Dancing on Our Own, and Tainted by the Sky - but everything knits together perfectly to create one of the best progressive metal epics of the year. The song opens slowly with Bravi's piano melodies - which slowly get more dramatic over time. It reminds me of a slower and more classically-inspired version of the intro to Magnum's Sacred Hour, and Villa's guitar soon joins in to up the tempo. The focus then shifts, with weaving synth melodies creeping in, before the heaviness is upped in a big way - and arguably the song kicks off proper with Villa's first big guitar riff. The next few minutes are very Dream Theater-influenced, which is always a lazy comparison when it comes to progressive metal - but the riffing very much sits in that camp. Bravi's keyboards take more of a backseat here, although organ stabs and the occasional piano counter-melody back up the chunky riffing. Poppale's bass is often high in the mix, too, and as such there is a strong focus on groove throughout. This aids the band's heavier approach, and the rumbling bass sometimes allows the guitars to deviate whilst Poppale holds the fort. Pastorino is introduced a few minutes in, and he impresses from the off. Sometimes his tone reminds me a little of Tommy Karevik (in Seventh Wonder mode rather than Kamelot mode), but he is more of a high-octane singer as is typical of the Italian scene. His gentler moments have a Karevik-esque edge, though, but in general he pushes his voice further - and the occasional higher-pitched scream adds some visceral excitement to the song's more precise nature. Despite the length of the song, though, there are still plenty of hooks. There is a chorus that debuts early on that showcases some catchy vocal melodies, whilst the guitar playing is often very lyrical. One of the solo sections that opens the second part has a Steve Rothery-goes-metal feel to it, and Bravi's keyboards constantly add a melodic flair - particularly during the piano-backed moments. The Dancing on Our Own section in general is extremely melodic, with a slower pace that allows for a more expressive Pastorino vocal against a piano-driven backing. It does get heavier, though, thanks to a flashy synth solo and the presence of some meatier riffing as the song approaches its closing part - which features some more off-kilter riffing and plenty of double bass drumming. There is also one of the longest instrumental sections here, too, which features lots of back and forth between Villa and Bravi. It focuses on the former, though, and the guitar playing throughout is explosive - yet still packed with melody. Villa certainly seems to value melody throughout his songwriting, and even the lengthy instrumental sections here serve the song. The third section also features some quieter, vocal-led moments - which sees Pastorino left alone with Bravi's piano, teasing a huge closing chorus which really hits hard later - creating one of the album's most anthemic moments.
Whilst Virtual Symmetry is easily the most impressive song here, the remaining seven are certainly no slouches. They never quite live up to the majesty of the opening cut, but that is not really a surprise - and Virtual Symmetry will likely be the band's defining piece going forward. That being said, though, there is still a lot more to enjoy here. My Story Unfolds follows, and instantly ups the heaviness with a chunky opening riff that is dryer than anything heard throughout the previous song. It does not stray into tech metal territory, but there are certainly flashes of that sound throughout Villa's crunchy playing - although this sound does not really last. Bravi's keyboards soon join the fray, and the song gets a little chaotic for a while - with the four musicians all jostling for position in a powerful, and co-ordinated, way. It is one of those moments that can sound a bit messy at first, but multiple listens reveal how all of the parts fit together, and it is great hearing the rhythm grooves headbutting against the lead playing of Villa and Bravi. Much of the rest of the song is fairly straightforward, though, as it generally morphs into quite a vocal-led piece - with some excellent Pastorino vocals. He dominates the song with his commanding vocal performance - whilst the guitars chug away beneath him and the atmospheric keyboards add depth. There are instrumental-led sections, including some excellent synth leads, but generally these are used less throughout this song - as the focus is on the vocal melodies, with the soloing being more contained (in relative terms, anyway!). The Paradise of Lies then reins in some of the more overt heaviness of the previous song, and presents something that feels like a much more condensed version of the album's title track. The song opens with Bravi's piano, and it builds in a similar way to Virtual Symmetry - albeit in a much more expedient way. There are heavy riffs, of course, but they are less grinding than they were during the previous song - and there is a big focus on more cinematic sections here, with Villa's clean guitar melodies adding to a wider tapestry of sounds. There is a similar focus on big vocal hooks, though, and there is a snappy section that features some of my favourite vocal hooks here - which also seems to somewhat mirror one of the song's main guitar riffs. Guest vocals are added here too by Scream Chiummo, who's slightly grittier voice contrasts with Pastorino's during one of the verses - which adds a subtly different edge to that part of the song without taking the spotlight away from the band's frontman.
Come Alive then ups the pace, and the track opens with an up-tempo Villa riff which is backed by some synthy organ from Bravi. As should be expected, though, the song still takes a lot of twists and turns throughout, and this riff does not always represent what comes next. It is generally a more upbeat and heavier track, though, but there are moments that are more atmospheric - such as a brief opening solo section before Pastorino starts singing. The song's chorus is less in-your-face, too, with big piano melodies and an expressive vocal - but much of the rest of the song is certainly busier, with some fluid bass playing giving everything an urgency that would otherwise be missing. Butterfly Effect again opens with some piano melodies, but they are much more short-lived this time - as the song soon moves into a heavier, guitar-led movement with chugging, abrasive riffing and some of the busiest drumming on the album. This barrage of guitars and drums certainly adds an edge to the track, but like many of the pieces here it does not always accurately represent what is to come. This is because much of the song shares more in common with its brief piano intro than this busy instrumental section - as once Pastorino starts to sing the piano is back and, at least initially, this simple mix of voice and piano is all that is heard. Parts of the rest of the song are then on the gentler side, but heavier moments do inject some weight. The chorus is one such moment, with Pastorino's vocals during it feeling almost tortured at times. I am not sure why he went with such a brutal-sounding approach, but it works - calling back to the song's earlier heaviness. Fantasie di Verità, which translates to 'fantasies of truth', then follows, which is very much in the band's typical mould - and feels like a good mix of the couple of songs that followed the epic title track. Parts of the song are sung in Italian (as are a couple of others here), but most of the lyrics are still in English, and the overall sound is what is expected from the band at this point. There is less of a focus on heaviness here, though, and there are quite a few dreamy moments that make great use of keyboards - as well as Villa's clean guitar playing. There are still moments that feature big riffs, but overall the guitars are a bit more texture-driven here - which allows a more atmospheric sound to be forged, despite the occasional burst of double bass drumming and tougher riffing. The keyboards are prominent, too, as a result - and Bravi takes this opportunity to indulge in a few well-placed synth solos.
As the album later closes on a more atmospheric note, Rising, the album's penultimate song, is the band's last chance to really let their hair down. It is immediately heavier from the off, with lots of driving Villa riffing - alternating between faster patterns and more mid-paced, groovy sections. Something that sets the song apart for me, though, is the more symphonic approach to keyboards throughout. The song's opening feels grander than has been typical, and parts of the track have something of an orchestral scope thanks to the keyboard sounds used - whilst other sections are more typical with organ and synth textures. Given this mix of sounds, it is fitting then that the song is also pretty busy. Pastorino crams a lot into the track, and there are lots of compelling vocal sections here that grab hold. He seems to relish the grander backing, too, and he sounds great throughout - whilst Bravi also makes use of the more expansive arrangement for some great piano and synth solos. The album then comes to a close with the more delicate Insomnia. The piano-led track is the shortest song here, and it also acts a bit of an antidote to all of the progressive metal has that come before. Bravi's piano is the dominant instrument here, although soaring strings occasionally add some additional depth. Pastorino sings atop this gentle arrangement in his usual dramatic manner, although there is certainty a bit more of an emotional edge to his delivery here - especially during the verses. The chorus is a bit more theatrical, though, with some added percussion for weight - but the track never explodes as it seems like it might, which allows the album to come to a slow-burning close. For a band I knew nothing about a couple of months ago, Virtual Symmetry have really impressed of late. This self-titled album is certainly one of the prog releases of the year for me, and it is great how the band have managed to balanced hooky songwriting with expansive arrangements. I will certainly need to go back and check out the band's previous releases, as I am sure that there is much more to discover there - and it is great to have a new progressive metal band to follow, and I am already looking forward to seeing what they come up with next.
The album was released on 16th September 2022 via Sensory Records. Below is the band's promotional video for The Paradise of Lies.
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