@Kenneth...I certainly wasn't calling you or anyone out. I also think there is a difference between being a prog-snob and being discerning and critical. There is a way to be appreciatively critical that some people on this forum would do well to learn.
Also, too lazy to read who said it, but someone said it is a fact that V/Odyssey are better than UW, and that anyone who thought otherwise had come into SX only recently. Well, myself and my cousin independently and without any consultation with each other came to the conclusion that we liked UW better than either (albeit by a small margin). Not only are we both extremely long time fans of SX, but my favorite album pre-UW was Odyssey, with V in second (though the difference was so close that I'd have said V was my favorite many days), and my cousins favorite album by far was V pre-UW. Also, my LEAST favorite album is Iconoclast (but I still love it). Not everyone conforms to the same understanding of music, let alone music quality, as the people on this board. In particular, it doesn't matter how much better "quality" an album has over another if the actual content isn't as interesting. Besides, I believe it is dangerous and unhealthy to objectively call music better or worse than other music when we are dealing with this level of skill and talent. It's art, people!
I am going to offer my criticisms of the album song by song now, after listening approximately 3 million times all the way through...
Overture: The ascending choir run at 1:46ish still sounds weird to me. Almost slightly off time. I think it needed some tenor brass running along with it. It's really cool, though. Rest of the song is sweet.
Nevermore: The final chorus probably needs a vocal high note somewhere. It's hard for me to pinpoint exactly where, which is a good thing. Also, the modulated section at the very end after the last chorus needs more vocal riffing. Not much, just a little bit more spice. The "Nevermores" should be a little more drawn out and more varied. The choir support is so awesome in this section that it ought to be turned up in the mix more. Speaking of which, there should have been a choir doubling Pinella's chords in the choruses as well (and those chords should have been slightly louder as well). Love everything else.
Underworld: I have exactly one complain about this song: it needed an organ somewhere. Not sure where. Maybe a separate section. But come on, it's the Underworld we are talking about here. I'm thinking Pirates of the Caribbean Davey Jones style organ. Again though, the fact that I can't pinpoint where is a good thing.
Without You: When the choirs come in at 3:50ish, they sound too faded in at each ascension. It messes with the timing in my head. When Russell comes in at this section, his little riffs don't have quite enough pizzazz and detail. And again, as per SX usual, the final chorus isn't varied enough from the others. Although I do like the "Ohhh-ohhh" he adds.
Kiss of Fire: This song is just too good, and I wouldn't change a thing, except that when Russell comes in talking about his serious anger, the keyboard chords are so awesome that they need to be louder throughout both that section and the solo section. Luckily my EQ settings sort of take care of that.
Charon: Again, vary the final chorus more! Although the variance in the final chorus that is present here is pretty cool. One last thing I can't help but note is that the choirs and strings during the chorus aren't quite loud enough.
To Hell and Back: Keyboard part during the first half's prechorus is too soft. Awesome keyboard lead during first half's chorus is criminally too soft as well. Change between halves of the song is a little too abrupt. Needed a little hook. However, I got used to it pretty fast and it's no big deal. That's about it.
In My Darkest Hour: I absolutely love this song, but I'd be even more impacted by it if...you guessed it...the final chorus was amped up more from the others! All Russ really does is add in a little gospel lick (which is cool), but there definitely should have been at least a climactic high note in addition. I also think the strings during the chorus could have been made just a hair louder.
Run with the Devil: Oh boy. Well, this song continues to grow on me, but it has serious flaws. Pre-chorus bothers me because it just isn't interesting. The section starting at 3:02 is the best part of the song, and it isn't developed nearly enough. There should be a second "verse" to it, at the very least, and the key lead during it should be turned up. The pre-solo riff sounds too much like a riff from Bastards of the Machine. During the solo, I hate the blatant copy of licks from the Nevermore solo introduction. Last chorus isn't varied enough (or at all) from the others. Finally, and most problematically, the song thematically just doesn't fit in with the tone or the rest of the album.
Swan Song: One complaint only. During the final chorus, which is WAY more interesting than the other choruses in the song (finally!), I think it would have been better if, starting at 6:39, Russell had sung those parts with the usual timing instead of going into a passionate "speech" mode. Not that I don't like it, but it would have been better the other way I think.
Legend: One complaint only. Why does Russell not go UP at 5:59!? That is so obvious to me, and there must be a reason he didn't. I think it's because at 6:05, the chord change is different and doesn't really allow for it, and it may have sounded weird to put the high note penultimate to the last full vocal phrase rather than during it. But...why not just switch chord changes then??? It would have been worth it, I think.
