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CEG & T Presents

Symphony X with Primal Fear and Firewind plus DJ Alex Kayne

Events

May 15 Sat
Symphony X with Primal Fear and Firewind plus DJ Alex Kayne8:00 PM
3232 Railroad Avenue, Wantagh, NY

This show is Strictly 18+ with ID. Anyone who is under the age of 18, will not be allowed in.

General Admission: $30
Standing Room Only

VIP Table for 4: $55/pp
VIP Raised Viewing Area, Table Seating with 4 Seats with waitress service

VIP Viewing Area: $39
VIP Raised Viewing Area, Standing Room, with 50 foot brand new bar! 

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!

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DJ Alex Kayne

Born and raised in Brooklyn, New York DJ Alex Kayne started out as a teenage mobile DJ spinning dance music in the mid 70's. His club DJ career began when he beat a multitude of other DJs, winning a borough-wide turntablist "Battle of the DJs" mixing contest at the Night Gallery Discothèque in Brooklyn. Word on the street about the winner of this battle spread quickly and Kayne began getting a lot of work, DJ-ing in several local clubs. Over the years, he has worked at various venues large and small in and around the New York City area. He is widely considered to be New York City's first ever heavy metal club/venue DJ. A name that is synonymous with L'Amour, Alex Kayne first came to the as then unknown but future world famous Heavy Metal Venue L'Amour in 1979. His DJ residency there started in 1980 and ran continuously until 1985. Subsequently he worked at L'Amour East in Queens, and at L'Amour on and off until the Brooklyn venue closed in 2004 and was the only DJ at L'Amour's Staten Island spinoff club from 2006 to 2009. During his early tenure as L'Amour's original metal and most popular, influential DJ, his raspy, booming voice and more importantly his unique brand of hard rock and heavy metal spinning style gave the venue its unrivaled personality, directly contributing to the venue's worldwide fame while elevating the club’s prestige among the burgeoning metal sector. He is widely credited as the first club DJ in New York to spin Metallica, Accept, Biohazard, Y&T, The Rods, TNT, Queensryche, Anthrax, Raven, Anvil, Megadeth, Manowar, White Lion, Helix, Talas, Motorhead, Girlschool, Metal Church, Tygers of Pan Tang, and Slayer among many others, breaking and expanding their notoriety on the east coast. Kayne is considered an influence by many younger local rock/metal DJs, and is an early New York VJ influence, one of the first to meld horror films with heavy metal music on the big video screen at L'Amour. With a career spanning 40 years, including live performances stretching across 110 venues, spinning on the same bill supporting bands like Metallica, Megadeth, Slayer, Anthrax, Iron Maiden, Rob Halford, Anvil, Raven, Twisted Sister, Biohazard, Type O Negative, Lacuna Coil, Kiss, Ace Frehley, Exodus, Kix, Queensryche, Warrant, Bullet Boys, Overkill, Ratt, Warrior Soul, King's X, Winery Dogs, Winger, Stryper, Life of Agony, Manowar, White Lion, Motorhead, and hundreds more, DJ Alex Kayne continues working the U.S. Eastern Seaboard club and concert venue scene, where he is highly regarded and respected among rock and heavy metal DJs. Kayne continues to keep the spirit of L'Amour alive and keeps the metal fires burning, spinning metal to the masses, breaking new bands as well as honoring rock and metal's old guard. Recent live appearances include The Jones Beach Ampitheatre, The Stone Pony, The Gramercy Theatre, Stage 48, B.B. King's Blues Club, Sony Hall, Irving Plaza, and Terminal 5. DJ Alex Kayne is a music connoisseur on a continuing mission to keep L'Amour and Heavy Metal alive and kickin', and to bring back respect and recognition to an endangered species - the Rock/Metal Club DJ.
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