Whilst it has never expressly been stated, it seems to be accepted knowledge that the American progressive metal act Fates Warning are no more. They have not played live since early 2019, and following the release of 2020's excellent and moody Long Day Good Night (which I reviewed here) there has been very little news from the Fates Warning camp. I remember some of the band members saying in interviews around the time of Long Day Good Night's release that it could end up being the final Fates Warning album - so it would not surprise me at all if the band had indeed quietly called it a day. It would be a shame if they had, though, as their last few albums have been excellent - but I got the impression from reading various things online that the relationships between some of the band members had become somewhat strained. Something which also points towards the band being over, at least for the time being, is the fact that both of the current line-up's main creative forces have recently released albums with newly-formed projects. I will cover guitarist Jim Matheos' new melodic rock project with FM's Steve Overland, Kings of Mercia, in due course, but today I will be shining a light on A-Z - and their self-titled debut album. A-Z is fronted by Ray Alder (Fates Warning; Engine; Redemption), who has been Fates Warning's frontman since 1987, and it sees him re-uniting with drummer Mark Zonder (Warlord; Fates Warning; Dramatica; Spirits of Fire) - who played with Fates Warning between 1988 and 2005, contributing to six of the band's studio albums. As such, A-Z is the first studio album that Alder and Zonder have appeared on together since Fates Warning's 2004 release FWX - and their new band is called A-Z after their surnames, as they have been the main driving forces behind the project. That being said, though, A-Z is more than just a reunion of two Fates Warning alumni - and the group has a true 'band' feel. Joining Alder and Zonder here is guitarist Joop Wolters (Arabesque; Lalu; Shadrane), bassist Philip Bynoe (Ring of Fire; Warlord; Byron Nemeth Group), and keyboardist Vivien Lalu (Shadrane; Lalu; Hubi Meisel) - all of whom make significant contributions to A-Z. All of the songs here are credited to the whole band, which means that the album has clearly been a very collaborative effort between the five musicians. A-Z is a progressive metal album, but it is very song-based and melodic. None of the songs are especially long, nor is much time dedicated to lots of extended soloing. Given the five musicians involved, though, there is an intricacy and a class to the material here - and there are certainly shades of the more melodic and upbeat end of Fates Warning's catalogue. A-Z is less moody than Fates Warning, though, and shares some DNA with Alder's 2019 solo album What the Water Wants (which I also reviewed here) thanks to its song-based arrangements and focus throughout on Alder's dynamic vocal delivery.
The album starts off in a fairly strident manner, with the brash opening guitar riff of Trial by Fire - which soon takes on a more progressive bent thanks to the intricate drum groove of Zonder. In fact, this opening riff, and how it transforms from a driving hard rock feel to something more akin to melodic progressive metal without shifting significantly, perfectly sums up the overall approach of the album. There is a subtlety to the material here, but there are also plenty of hooks. Trial by Fire boasts an anthemic chorus, which has an AOR edge thanks to Lalu's keyboards and Alder's poppy vocal hooks, which helps to elevate the song to the next level. The verses are heavier, based around that opening riff, whilst the melodic choruses provide the first big hook of the album. A shredded Wolters solo adds some metal grit to the track, and the Dutch musician showcases his ability throughout the relatively lengthy instrumental section - whilst the slower bridge that follows shines a light on Bynoe's fluid bass playing. Given the diversity throughout the piece, it is amazing that it still feels so concise - but as such Trial by Fire is a great overall introduction to the album as a whole. The Far Side of the Horizon ups the heaviness somewhat, at least early on, and opens with a barrelling Wolters riff - which is backed by some percussive drum grooves and the odd Lalu keyboard stab. This creates a rhythmic vibe from the off, which is retained when the verse starts - although the heaviness drops away somewhat. The percussion throughout the verses allows the vibes from the beginning to remain, whilst the bass playing of Bynoe takes on much of the melodic drive - with the guitars and keyboards adding colour. Alder uses this groovy base as a bed for his warm vocal performance, showcasing the smoky tones that he has become well-known for over the years. The chorus ups the heaviness somewhat, with the guitars taking on more of a presence again, but it retains an atmospheric nature thanks to the halo of keyboards and Alder's approach to layering the backing vocals. This atmospheric approach is then continued later on with a brisk synth solo from Lalu - which then morphs into another rhythmic section led by the bass. The Machine Gunner then ups the pace, with a busy, yet melodic, opening guitar riff that then gives way to a keyboard-backed verse. A video was made for the song, and it was the first taste of the project that the public were treated to a few months ago. It is a very melodic track, but in truth much of the album is - so the song is a good representation for everything else here, whilst injecting a bit more energy into the formula. Wolters' guitar playing throughout is knotty, yet very easy on the ear, whilst the keyboard playing takes on more of a prominent role thanks to some roaring organ that backs up the verses. There is a bit more instrumental showboating here, too, with Lalu and Wolters instigating a lead trade-off early on - during which they both shred - before Wolters lays down a slightly longer guitar solo later on. A hooky chorus, which maintains the faster pace of the overall song, provides some hooks, too, meaning that the track overall is one that includes a lot in a short space of time.
Rise Again slows things down, and opens with a percussion loop - which Lalu soon adds his piano to. The song has the feeling of a ballad throughout, and it never really ups the pace or heaviness significantly - although it does grow in stature as it progresses. There is a little of Fates Warning's moodiness here, but the focus on Lalu's piano sets the two bands apart. The piano forms the melodic basis for the song, which Alder sings atop throughout, but Wolters' guitar adds textures and the occasional bluesy lead throughout - whilst Bynoe and Zonder lock together nicely to replace the early loops. After three riffier songs, the more low key Rise Again is welcome. The whole album showcases Alder's vocal talents, but this one gives him plenty of room to breathe - but there is still plenty going on melodically thanks to the overall interplay between the guitars and the piano, which add subtly to the song's overall emotional tug. Window Panes then gets back to the album's core, heavier sound and opens with a hard-hitting guitar riff that is one of the most in-your-face moments on the album. As is typical of the album, though, the song does not remain in this full-blown riffy territory for too long. There is still an atmospheric edge to the track, as the first half of the verses show. The big riff does return for the verses' second half, though, but by this point it is part of the overall arrangement rather than the dominant factor. It still gives the verses some weight, though, and there is a heaviness throughout - which is accentuated by the punchy drumming of Zonder. As Zonder produced the album, it is unsurprising that the drums throughout sound great. The drum tones are full of attack, and every beat is clearly heard. This adds to the album's overall rhythmic sound - and even the song's more atmospheric and melodic chorus benefits from Zonder's busy drumming. Speaking of busy drumming, Run Away opens with a mini drum solo from Zonder, further showcasing his talents, before another big riff kicks in and a faster-paced instrumental section follows. As is to be expected by this point, though, the song is not characterised by this heaviness, and the verses once again go for a more low key approach with prominent synths and bass playing. Despite this, though, there is a big focus on hooks throughout. Alder's vocal melodies are catchy, and the guitar playing throughout has a snappiness to it - even during those moments which are more atmospheric. The AOR edge from the album's opening song also return during the chorus, and it is one of the catchiest moments here as a result - showcasing Alder's more anthemic side. Stranded is immediately less heavy. It grows as it moves forward, though, so does not really feel like a ballad - but the atmospheric side of the band is once again showcased in a big way. The choruses feel weightier, with more of a guitar presence, but the verses are more interesting - as they highlight Bynoe's playing significantly. Given the rhythmic nature of the album, there is a strong bass presence throughout, but he is really pushed to the fore here - with some sliding melodies during the verses that compliment the shimmering keyboards and Alder's emotional vocal display. It is not the hookiest of tracks, but it excels at creating a mood - and there are certainly shades of Fates Warning here. Wolters' guitar solo adds to the song's emotional weight, too, with his bluesy playing cutting through the mix perfectly.
At the Waters Edge pushes the rhythmic side of the band's sound to the max, opening with some groovy keyboard and guitar melodies - which are almost danceable thanks to their overall rhythm. The song does not really proceed in this manner, but it does return to it periodically - to allow an upbeat vibe to emerge from the overall gloom of the rest of the track. Mood-wise, then, this might be one of the album's most varied pieces. It mixes those opening grooves with low key, atmospheric sections - during which Alder lays down arguably his best vocals of the album - and there are also heavier, driving metal sections, too, which include plenty of double bass drumming from Zonder. The song constantly moves back and forth between these vibes, too, and never stays with one for too long. Everything still flows nicely, though, and as such the track is one of the album's most interesting. It was one that stood out to me from my first listen to the album, and it has remained a favourite since. It showcases the band's progressive approach to arrangements in a big way - highlighting the talent of all involved. Borrowed Time is a bit more typical in sound, and returns to the riffier approach that characterised the album's opening handful of songs. It is a track that is consistently heavier throughout, and there is little of the atmospheric vibes that permeate the album. Wolters guitar playing is pushed to the fore, then, and his riffing throughout is upbeat and varied. There are plenty of heavy moments throughout the album, but Borrowed Time is probably the most consistently heavy song here. There are still plenty of hooks here too, though, and the chorus is another with a bit of an AOR feel thanks to some soaring vocal lines and a strong keyboard presence. Unsurprisingly, given the song's riffy nature, Wolters also gets to show off with a fast-paced and shredded guitar solo - although the solo is still very easy on the ear to remain in-keeping with the album's overall song-based and melodic nature. The album then comes to a close with Sometimes, which drops the previous song's reliance on riffs and returns to more of an atmospheric vibe. It opens slowly, with some pulsing Bynoe bass, but it does slowly grow in stature as it progresses. Despite this, though, the song retains a somewhat low key feel as it moves along. This is typical of the album, though, and as such the core sound here is reprised as things come to a close. Occasional bursts of heavy riffing add weight, but these are generally quite short-lived - with the song generally quickly returning to its more atmospheric sound to allow Alder's voice to shine. An emotional Wolters guitar solo is a highlight, though, and it allows him one last chance to shine before the album comes to a slow-burning and atmospheric close. Sometimes is a great representation of the album as a whole, too. Some might have expected something a bit heavier from these musicians, but I like the more low key and song-based approached taken here. There is a lot to like here and, despite the hooks throughout, it is an album that rewards repeated listens. Whether A-Z is intended to to be a one-off collaboration or a more long-term project remains to be seen, but for me this is a band with legs - and I would like to see more from these five going forward if their busy schedules allow for such.
The album was released on 12th August 2022 via Metal Blade Records. Below is the band's promotional video for The Machine Gunner.
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