AGE OF IMPACT

The problem with big collaborations of this nature is that there is usually lacking a clear arrangement or specific direction of the project. This couldn't be truer here. The rhythm section generally keeps things going for as many soloists to get in on the action as possible in between the singing, which makes this project seem more like a way to show off to musicians than really connect with anybody else. The division of the tracks is rather sloppy also.

"Fate Speaks" The brief classical guitar introduction has little to do with the massive sonic explosion that follows it. Clear lead guitar cuts through the thick mix of instruments. For the most part the lead guitar throughout is typical of the showiness associated with progressive metal (in other words, constant shredding), and the vocal melody is not that enjoyable, but the bass playing and drum work make up for an awful lot. The keyboard work is also a consolation in the generally uninteresting composition.

"Fading Fast" A haunting opening, some pleasant classical guitar, strange keyboards, and electronic percussion makes up the weird and eclectic opening of this track. After a brief guitar solo, there's the singing of some trite lyrics over bland synthesizer pads and that same electronic percussion. If I'm not mistaken, the guitar bit just five-and-a-half minutes in sounds a lot like one of the main themes from Dream Theater's Metropolis Part II: Scenes from a Memory. The last few minutes contain some interesting keyboards and guitars.

"No Returning" The previous track goes right into this one, and soon enough, an acoustic guitar takes over. The keyboard sections are closer to symphonic acoustic rock than anywhere else, and are probably the highlights of the album.

"Time Enough" The vocals here are snotty-sounding, and there's some spoken word that's hardly discernible. The speedy guitars over the slow rhythm sounds impressive, but really isn't. The trombone is out of place, but really welcome given this track. The bass flourishes are exceptional. The trouble with this one is the vocals- they're just bad, especially over a stark keyboard.

"Last Call" The last track suddenly becomes a heavy metal song, but the vocalist this time seems to be pushed down in the mix. For the most part, it's a fairly basic structure that doesn't offer anything particularly new. By this point, the shredding lead guitar grows weary over such a repetitive background, This piece is little more than a long solo that wears out its welcome.