Of the sundry micro-fragmented genres and sub-genres across the Metal spectrum, the "Symphonic" tag strikes me as perhaps the most esoteric or elusive. In large part, that owes to it being an adjective, a descriptor, rather than a single master genre. At its core, the word suggests grand orchestral arrangements, evoking (of course) a symphony. In practice, it kinda tends to mean "this is gonna have a lot of synths". Insofar as it's a descriptor, not a category, it finds itself applied throughout the Metal diaspora, from Black to Doom to Gothic, with varying degrees of aplomb. At its best, the symphonic elements should bring an indispensable element to the music, rather than serve as window-dressing or frippery, and the music itself shouldn't rely on the orchestrations to be the primary source of interest-the songs ought to be independently strong. It also needs to be Metal, of course. Let's see how "Southern Cross" by Minsk, Belarus sextet IVORY fares against these rigorous standards.

First the positives. Dmitry Chernyshevski is a spectacular keyboard player. Though "Southern Cross" is not without its reliance on certain stock trebly synth patches in constructing its atmospherics, when Chernyshevski opens up with a solo, as on the song "Ulysses", it's reminiscent of golden-era Rick Wakeman. Speaking of atmosphere, this album has it in spades, with a big rich sound, spread far into every possible corner-choral-sounding pads underlie delicatel and beautifully recorded acoustic guitar passages, cool sequencer-styled rhythmic patterns wash across transitions; "Southern Cross" is artfully assembled. Though not the most dynamically varied album you'll ever hear, it won't fatigue you from brick-walled loudness. There are great stacks of harmony on the choruses. The subject-matter is quite compelling, inspired by Robert Scott's "Terra Nova" expedition to the South Pole.

Okay, but see, now we get to the not-so-good. Beyond the quality of the keys and the appropriately glossy production, nothing else about this album is particularly exceptional. The guitars are good-even very good when the guys are twinning-but nothing ever rises to that "wow" level. Like, Kamelot's Thomas Youngblood: when he rips a lead, you turn your head, he's got juice. Or, say, Rhapsody Of Fire: even though that band can lose their way into some of the excesses of the Symphonic realm, the guitar interplay is obviously and specifically rooted in classical principles. Neither guitarist in IVORY distinguishes himself in any substantive way, though they're clearly both quite skilled and ultimately do get close to heroics on the song "Southern Cross". Again, the acoustic work is lovely, but this is Heavy Metal, after all-shred, blow our minds! That's something this album repeatedly refuses to do. All the songs hew to medium tempos and slower, but never enough so that you could even call them Doom. They run the narrow gamut from tepid Power Metal to maudlin balladeering, pulling every punch along the way. It comes as little surprise when one learns that they've only comparatively recently been considering themselves "Metal" of any kind-it sounds from their bio as though they originated as a slightly Proggy AOR outfit before choosing the path of Symphonic Metal. 'Twould seem they brought their safe, unremarkable songwriting with them.

Which brings me to the vocals. Sergei Butovsky croons in a perfectly acceptable musical-theater baritone, but like so much of what IVORY does, he doesn't distinguish himself. When playing it perfectly straight, as on the title track, you can imagine enjoying a full album of him (an album with different songs, perhaps...) but elsewhere, he reaches for impact and drama with layers of forced affectation that just get irritating. There's a po-faced earnestness to his delivery that rarely dares wander into legitimate emotion-when he wants to sell that, he resorts to that throat-gargle bar singers think sounds soulful. It doesn't. It's not an accent thing, either (as I've seen others write), because I listened to the Russian language version that comes as part of the digi-pak and it's all still there.

If you're a diehard fan of all things Symphonic, "Southern Cross" may hold treasures only a true seeker can find. For me, I just come away lukewarm at best. There's nothing out-and-out wrong with what IVORY have done with "Southern Cross" but there's not a lot outstanding either. Impress me with dazzling musicianship, move me with unbridled emotion, take me on a rhythmic ride worthy of the tag "Symphonic"–instead, what we got was watered-down STRATOVARIUS with less impressive chops.