PERFECT SYMMETRY

Sincerity, intelligence, creativity and hard work create a superb blend that results in such masterpieces. That time Fates Warning finally completed their classic line-up, consisting of Jim Matheos and Frank Aresti on guitars, Ray Alder on vocals, Joe DiBiase on bass and of course the new comer and real drum-wizard - Mark Zonder. This bunch of highly talented musicians composed and recorded the album which is a very important part of world's heavy and/or progressive music and which I consider the first pure Prog Metal record. It's hard to convey emotions that I experience while I'm listen to this album. All that that sincerity I've meant deeply touches and penetrates my soul along with unique and haunting atmosphere, so that this music completely fits my inner world and my musical ideals and opinions. Perfect Symmetry is a brilliant example of how heavy and punchy music based on riffs interlaces with atmosphere, melodies and emotional load. Moreover, some kind of cold atmosphere dominates the most album. Therefore, the music on this record just splendid and it's totally devoid of pomp, pretence and instrumental self-admiration being rather complicated and catchy simultaneously. Technical and compositional abilities of band members are obvious, however the musicians don't exaggerate at all playing all the parts coherently in appropriate places and not striking the listener with endless fast passages like some prog bands which are tend to do it occasionally. In addition not only the music is excellent, it's about lyrics too. They are quite intelligent, sincere and touch upon the most acute problems of human world - internal personal issues (like reality perception, self-awareness and so on). In other words, they are directed to incite listener to think. Production is also excellent with all instruments being heard distinctively and cohesively at the same time. And the rhythm section isn't suppressed at all, which can't but make glad such a bass-and-drums fancy as me.

But it's enough describing in general, so let's move on to the compositions. 1). The very first composition is called A Part Of A Machine. It starts with sounds of moving parts of great machine with guitar riff accompanied by drums on backgrounds. Than the band fully join with riff in 7/8. Outstanding drumming skills of Mark Zonder strike the ear immediately. The song features a signature harmonized solo in the beginning (the same in the end) and then proceeds with several tempo, time signature and tonality changes which emphasizes progress in songwriting of Jim Matheos and Frank Aresti. Joe DiBiase delivers absolutely stunning bass line in 2nd verse. Concerning the vocals - Ray Alder at his best absolutely with all that screams and emotional mellow singing. The song bears very dark mood and in some parts is even aggressive. The lyrics deal with the problem of being blended with mediocre and dull ruck, and being too weak and shallow to think and see the truth. Perfect onset. 2). The second song is the album's single and a kind of radio hit, if it can be said. Another beautiful creation of Jim Matheos. Through the different eyes is not very long and complex in structure and music (however chorus in 3, 3, 3 and unexpectedly 4 - very creative), but utterly melodic and possess very catchy chorus. It is lighter than the rest of the album with some melancholic and a bit soothing mood and marks the band's transition to their future style expanded on Parallels. Mark Zonder and Joe DiBiase create interesting polyrhythm in verses. Also song features rather memorable solos, the first one by Jim Matheos and especially the one by Frank Aresti with all his tapping and legato stuff. Again very sincere vocal delivery by Ray Alder with some intricate melodies on verses and touching yet quite complicated lyrics by Jim Matheos. To my mind lyrics concern the issue of memories of something light and true buried in the past. People again in grow, start to think in different ways and try to find things (relations, feelings etc.) they have lost, but It's impossible to go back. Clearly a highlight of the album. 3). Third one is Static Acts. Lead by taut yet dynamic dual harmony on guitar again in 7/8. The most memorable harmonized part on the album. Mr. Zonder again shines implementing double strokes and syncopes. Frank Aresti performs a very beautiful and technical solo laid upon Jim Matheos flying clean sound. The song is notable for it's heartrending and strained atmosphere and seems to be the most aggressive on the album. Ray Alder emits awe-inspiring yells and punch up the choruses which go in contrast with his gloomy flows on verses. The song is about faceless crowd which suppress any display of individuality and diversity. 4). A World Apart is the album's fourth composition unfairly unheeded. To me it's mood is the darkest and most sombre on the whole album which partly courtesy of Jim Matheos utilizing the tritone in heading arpegio in 9/8. It can sound funny, but first of all I remember it's unusual and absolutely incredible drum patterns. So it's probably the best display of Mark Zonder's abilities and skills among the other songs. In vocals there are over and over tons of sincerity and melody by Mr.Alder. In other words all musical components are out of discussion. Lyrics are turning around people's approach to the world they live. Leaving for today and caring for futile and frivolous things leads to domination of "malignant minds" and downfall of the world. 5). The fifth piece of the album At Fates Hands deserves to be named masterpiece by right. It's introductory part bears nearly classical music feel. Very calm, unhurried and a bit intricate melody is produced by fascinating interweaving of violin, piano and two guitars and creates somnolent soundscapes of hope and something bright. Kevin Moore's contribution is absolutely an integral part of this song as Faith Fraeoli's one with violin. Without these musicians it would be impossible to transmit completely that emotional load that resides in beautiful passages of At Fates Hands. After quasiclassical beginning, the song flows into more melancholic mood which is deepened with Ray Alder's musical narration. The sense load of lyrics consists in feeling of inevitability of fate and vain efforts of resisting it (and once lyrics mention the blindness of ruck). This part goes through a couple of tonality changes and then tempo changes and enters gloomy arpeggio of Jim Matheos. And then begins the musical insanity. Tons of riffs and melodies with lashings of time signature changes and several changes of tonality is accompanied by incredulous drumming, punchy keyboards and clever bass lines. There you have it all including harmonic dual leads and riffs and even harmonized solo on guitar and synthesizer. This part as though shows turbulent flows of fate (or destiny if you like) which direct our lives as it thinks fit. Doubtlessly the highest point of the album. 6). The song number six is called The Arena. Although being in general more straightforward metal track with harmonizing guitars it's not deprived of some curious riffs with shifted accents, nice bass lines and signature acoustic guitar of Jim Matheos on the backgrounds. Also the song features one of the highest and most powerful performances by Ray Alder. Lyrics tell us that people are too shallow and easy blinded by superficial aspects of life. They can't control their thoughts properly so they are "led and fooled". 7). Chasing Time is the seventh track with quite haunting atmosphere first and foremost created by calm sound of acoustic guitars. Ray Alder completely succeeds in conveying sadness and melancholy singing so emotionally that I nearly shed a tear. Then a violin creeps into quietly and sadly. It intensifies the emotional flow of the song and after raise in song's tempo and mellow guitar solo based on flageolets which interweaves with heart-stirring bass solo by Joe DiBiase it assumes the leading role and flows accompanied by acoustic harmonized guitars. The lyrics deal with the problem of being deep in vain dreams, especially of a future. It's hard to cope with the reality, but dreams of the future are continued despite the fleeing years of life. 8). The concluding track is epic 8-minute Nothing left To Say which obviously is another irrefutable prog masterpiece on the album. It starts with stunning guitar leads layed upon heavy and complicated riff with shifted accents and changing time signatures. Then the song slows down and transits in melancholic clean-sound passages while Jim Matheos shows all the subtleness of his playing in the slightly overdriven melody. Bass and drums manage to play quite sophisticated yet rhythmically congruous lines. I even can say that Mark Zonder really helps to create the atmosphere of the song. Ray Alder is absolutely sincere and dynamical as always. Vocal performance in the more intense and fast middle part reach the climax with Ray's high-pitched screams. Musically the main riff in the middle section resembles Iron Maiden style but with more different guitar parts, with additional quarters and darker mood. After a couple of verses and breaks Jim Matheos and Frank Aresti combine their efforts into wonderful harmonized solo - one of the best twin harmonic leads I've ever heard (really!). At the end the song slows down and melancholic mood returns and Ray Alder gives a final touch almost whispering final words. About lyrics: this time Jim Matheos slightly another theme, however with similar overall mood. To my opinion they are about trying to find one's own way through life, losing the true reason for all the actions and efforts and final disillusioning with the achieved goals 'cause they turn out to be superficial.

And in conclusion there's nothing left to say for me but praise and recommend this record again and again.

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