MUSIC REVIEW: Fates Warning - Disconnected

"Masterfully executed progressive metal; tasteful, stylish, and different."

Fates Warning's music has to be put in the progressive metal category, but it's a refreshing brand of such music. In a genre brimming with bands attempting to emulate Dream Theater's bold and bombastic style, Fates Warning's more subdued but no less engrossing brand of progressive music is decidedly engaging. Completely original and superbly composed and performed, Fates Warning is rivaled by few of its prog-metal peers, whether it be in terms of sheer quality or originality.

As with A Pleasant Shade of Gray (Disconnected's predecessor), Fates Warning's latest release is an atmospheric and cerebral album. Synthesized sound textures support the fine guitars of Jim Matheos, who proves that you don't have to show off to make good progressive metal (in fact, only really contains one solo). Disconnected's sound is subtle and textured, but still retains the feel of metal. The ardent metal cut "One" is a bold, crunchy track. Leading up to the epics are "So" and "Pieces of Me," which really aren't that strong. "So" is exhausting, too long, and hooked around the worst chorus the band ever did. "Pieces of Me" is better, but still weak. Filler? I hate using that word, but... yeah, that's what it seems like.

That said, however, the weakest tracks lead up to the strongest tracks, which are two of the best progmetal epics out there. "Something From Nothing" spends a lot of time with the intro building up to the real "meat" of the song. Keyboardist Kevin Moore's electronica influence is integrated nicely here, setting down suspenseful sonics before Matheos enters with the main riff. It uses every second of its 10 minute length to take the listener through a variety of moods and textures.

"Still Remains" is the second epic, this one coming in at 16-minutes or so. This one takes less time rushing into the intense keyboard and guitar interplay that sets the foundation for the majority of the song than "Something from Nothing." This song really highlights Mark Zonder's mastery of the drums, with his dizzying cymbal work. Instead of concluding the song with a heavy climax, the song slows, with vibrant and beautiful guitar melodies and stirring vocal from Ray Alder. Awesome stuff. (The album's 'solo' is here.)

Concluding the disc is an atmospheric work of electronica rhythms, pianos, voice samples (Moore's influence, again), and a siren-like guitar effect (the one you hear at the beginning of the album).

Repeated listens reveal intricacies previously unheard, such as moody keyboards, elaborate syncopations, unusual time signatures, and more. Disconnected established Fates Warning as one of the most inventive progressive metal bands in the business.