PERFECT SYMMETRY

I can think of no other way to start, but mention that here is when the ex-Warlord drummer Mark Zonder joined the band and initialized the prime era (according to many of FW fans) of the band. Mark Zonder had done some of the drum tuning on the band's earlier albums and also Jim Matheos was a big fan of Warlord. The latter was keen to upgrade the drum position, but Zonder wasn't interested in their early material. But when Jim sent him Part of the Machine, he was in. It became also the leading track of the album and Mark introduced himself to the FW fans in the most spectacular way. The song as a whole is one of the best of our beloved music. Then comes the "hit" of the album Through Different Eyes (it was the first single and also a video was shot). Mind you, when we're talking about hits here, there is stuff like drums playing in 4/4 time while the rest of the band in 3/4, wailing solos and the likes. Although it has a special place in my heart since it was one of the first songs I got to know from FW, now I rather avoid it. I have also realised that it's a bit out of the rest, darker context of the album . This is more evident on the two remaining songs of side A where Aresti rolls up his sleeves as a songwriter and they belong to the highlights of the album, especially Static Acts. Side B begins with classical guitars and violin once again in 3/4 time and the drums and Ray Alder join shortly in. When Ray is done with the vocal parts, an extended instrumental section begins with the help of the then Dream Theater keyman Kevin Moore. It's not twiddly and unnecessary solos, but actual song arrangements which keep the listener on their toes all along. After this song come the reasons why I don't award Perfect Symmetry a higher grading. The Arena (primarily) and Chasing Time (to a lesser extent) never managed to get under my skin. Especially the former is totally lukewarm and even the song's fade out sounds to me as they didn't know quite what to do with it, whereas the violin of Faith Fraeoli on the latter adds an interesting touch. Luckily, the album ends exactly in the way it began, namely with a killer prog masterpiece which was also the album's second single. From the stunning solos onwards (OK, Aresti's is even more sublime!) to the last bleak lyrics, Nothing Left to Say is a monument of Prog Metal (although with the addition of Zonder the term 'metal' became a bit restrictive for the band's sound). Fates Warning were on their way to became one of the most iconic prog bands, ever.