A-Z's 'A2Z²' - Album Review

Whilst the US progressive metal act Fates Warning have never officially split up, it seems to be received wisdom that they are essentially done. Following the release of the band's last album Long Day Good Night (which I reviewed here) in 2020, Fates Warning have been quiet. They have not toured since the pandemic, meaning that nothing from Long Day Good Night has ever been played live, and it was hinted at in some interviews around the time of the album's release that it could well be the band's last - and so far that seems to have been true. I think I recall frontman Ray Alder essentially confirming that the band was done, at least as a live act, sometime after Long Day Good Night's release. This was sad news, but all things have to come to an end at some point - and Fates Warning never really received the fame they deserved compared to many of their peers. The band seemed destined to play small clubs forever, despite some early success, and this must become tiring after a while despite Fates Warning generally being well received and respected in the prog metal world. I can understand why Alder and founding guitarist Jim Matheos quietly put the band to bed - but I think that it is fair to say that neither have been quiet in terms of new music over the past few years. Matheos has been busy with his melodic hard rock project Kings of Mercia, with FM's Steve Overland, which have released two enjoyable albums - and he even teamed up with Alder last year for an atmospheric and sparse album under the name North Sea Echoes (which I have not heard). Alder, on the other hand, has released two solo albums (although the first one came out in 2019, before Fates Warning's last album) and has joined forces with former Fates Warning drummer Mark Zonder in the supergroup A-Z. Zonder was the drummer of Fates Warning from 1988 to 2005 - so contributed to some of the band's best albums including the lush, commercial Parallels from 1991 and the dense, conceptual A Pleasant Shade of Gray from 1997. Zonder has also played in heavier bands such as Warlord and Spirits of Fire - so he is well-known in the metal world and commands plenty of respect. A-Z's self titled debut album (which I reviewed here) was released in 2022 and it was one that I enjoyed quite a bit at the time - but have not returned to much of late. It was unclear at the time whether or not the album would be a one-off or whether A-Z would morph into a more long-term project. The band have not played live since the album came out, which is typical of all of these post-Fates Warning projects, but clearly it was felt that there was chemistry following the first album - as three years on A-Z are back with their second album A2Z². Sound-wise, this latest album is similar to the first one - insofar as it is a song-based, melodic progressive metal album that is not especially intricate with some classic hard rock overtones. There are shades of the more overtly melodic end of Fates Warning's early 1990s songwriting - with similarities to Alder's two solo albums also present. This latest album is certainly more of the same, but the songwriting remains strong - and I have been enjoying its 10 songs over the past month or so.

Returning from the first album to join Alder and Zonder is bassist Philip Bynoe - but the rest of the band this time are new, with A-Z expanding to a six-piece. Replacing guitarist Joop Wolters are Simone Mularoni (DGM; Empyrios; Lalu) and Nick van Dyk (Redemption; Fool's Game), meaning that this album sees Alder and van Dyk reunited following the many years they spent together in Redemption, and replacing Vivien Lalu on keyboards is veteran musician Jimmy Waldo (New England; Alcatrazz; Blackthorne; Graham Bonnet Band; Warlord). As with the last album, A2Z² is a collaborative effort from a songwriting perspective - but the line-up changes have not significantly altered the band's core sound. Alder and Zonder drive the project, though, so those mid-period Fates Warning comparisons are inevitable - and the opening track Fire Away sets the band's stall out from the off. A cinematic guitar chord progression, behind which Zonder introduces himself with some big drum fills, opens the mid-paced track - and from the off the band's focus on melody is apparent from the off. Alder, who has aged more gracefully than some of his peers, really delivers on the vocal front throughout. His warm and melodic delivery suits the song's mid-paced and wide scope - whilst the two guitarists allow for proper rhythm and lead definition. Subtle guitar leads are present throughout much of the song - with the chorus in particular growing in stature when you notice the guitar melodies behind Alder's vocals. A slightly crunchier bridge section later showcases a bit of a heavier approach, with big power chords and Zonder's punchy drumming, whilst a shredded guitar solo injects some prog metal flamboyance. I get the impression that much of the lead work here is from Mularoni, and his soloing is fast-paced but tasteful. Running in Place segues in from the ending of the previous song, but the band pick up the pace somewhat here initially - with a more pronounced guitar riff and some double bass drumming from Zonder. Despite this heaviness, which resurfaces throughout the song, the track feels a bit more dynamic overall. The verses are generally more slow-burning, with percussive drumming, guitar and bass melodies playing off each other, and subtle keyboards, whilst the pre-chorus and chorus are more akin to the song's opening moments - with heavier drumming and a more intense vocal performance. A short guitar solo is included early on, too, whilst a bridge section later on diverts into AOR territory with subtle vocal harmonies and more of a keyboard presence. A second (and third) guitar solo later feels more stretched out and cinematic - and the song overall is a good example of the band pushing themselves somewhat. Nothing Is Over also opens with some big guitar moments, but this time a hooky refrain draws the listener in from the off - with some of Zonder's drum fills recalling the 1980s. This track feels tougher overall, and there are some strong 1980s prog metal vibes throughout - with plenty of knotty little guitar melodies during the instrumental moments and the occasional burst of Hammond organ. A smooth chorus adds plenty of melodies, bringing out the best of Alder, whereas the verses are much punchier thanks to some hard-hitting drumming and the organ's pulse. There certainly strong Fates Warning vibes here, but the chorus also leads into some of those AOR vibes from the last song - with another big guitar solo for good measure.

A Wordless Prison reins in much of the mid-paced rock vibe which has dominated the album up to this point, at least first, instead opening with subtle percussion and swirling synths. Once Alder starts to sing, Waldo adds some ringing piano whilst the guitarists come in with some clean melodies. As is typical of Alder's work, though, the atmospheric song has a dense feeling. There is nothing light and airy here, with the song feeling weighed down by its atmosphere - which is fitting given that the piece does not end up being a ballad. It seems at first like it could be - but it is not long before the band crash in and the track morphs back into the band's core sound, with crunchy riffing and punchy drumming creating a tougher mid-paced rock sound. The verses buzz thanks to this metallic guitar tone, whilst the chorus feels a bit more anthemic thanks to another subtle guitar lead sitting beneath Alder's soaring vocals. He may not have the biggest range these days, but his tone and emotional approach to singing keeps him sounding fresh - and he can switch between a grittier, heavier approach and something more anthemic with ease. This song is the best of both, then, with the atmospheric intro a bonus in showcasing his diverse singing approach. Reaching Out returns more to the core sound of the rest of the album from the off - with a barrelling guitar riff nicely accented by some more prominent keyboards. This is not an especially keyboard-heavy album, particularly given the two guitarists present, but they do shine through occasionally - and the opening part of this song is one of those moments. Some of the riffy moments throughout are embellished nicely by the keyboards, but generally this is a pretty typical A-Z song at this point - with some more shades of AOR during a hooky chorus and guitar playing which is generally memorable despite a lack of typical prog bombast. I would have liked the keyboards to take on a bit more of a prominent role at times - but that has never really been Alder's style, with more of a tapestry approach often taken. The Remedy opens with a bit of a drum barrage, before a hooky little guitar motif takes over - whilst a drum groove and a similarly interesting chord progression backs it. Whilst the track is another mid-paced piece, the grooves from the intro remain throughout. This gives the song a unique rhythm compared to many of the other songs here - with Bynoe shining during the slightly funky and hard-driving verses. A hooky and smoother chorus, with some effects-heavy guitars in the background, are more akin to everything else here, but the mix of these hooks and the pulsing verses makes for a strong combination. I Am Numb picks up the pace somewhat, building on some of the heavier moments of last track to create something which is also somewhat groovy - but also hard rocking. The song is not exactly thrash pace, but compared to much of the album it feels faster - with up-tempo shuffling drumming keeping the song moving whilst snappy prog metal riffs pack the verses full of melody. Alder sings in his slightly gritter manner during much of the song, too, which helps the overall vibe, even if the chorus is as smooth and hooky as ever.

Opening with some piano melodies and strings, This Chaotic Symphony feels quite different to much of the rest of the album. It is certainly a much more atmospheric piece than many of the rockers here - and it channels some strong prog vibes throughout. As was the case with A Wordless Prison, too, the song is not a ballad - but it starts out slowly, building over the first couple of minutes until the band kick in proper. The keyboards and clean guitars set the atmospheric early tone, and the classic Alder vibe is once again intact - with his emotional vocals rising above the slow-burning intro, and filling the rest of the song with grit. There have been cinematic moments on the album up to this point, but this song builds on all of them - and really leans into the prog songwriting talents of those involved. Instrumentally the song is more intricate than is typical, too, with harmony guitar leads, a big guitar solo, and even a synth solo from Waldo allowing for a powerful and fairly lengthy instrumental section - whilst another memorable chorus ties everything together with some more excellent Alder vocals. Opening with some punchy guitar riffing and some Hammond accents, Learning to Fly returns to the album's core sound following the more expansive previous track. Following the prog instrumentation and scope of the last track, Learning to Fly feels a little rudimentary in comparison, but it is still a strong song with hooky melodies - and some of the individual guitar leads here are some of the album's most memorable. Occasional heavier guitar riffs and the aforementioned organ inclusion do help the track to stand out - but generally this another pretty smooth hard rocker, although the guitar solo, which builds on those aforementioned leads, may be one of the album's best thanks to its hooks. The album then comes to a close with Now I Walk Away, which opens with some pulsing synths and gets going once some murky clean guitars join in and Alder starts to sing. That dense semi-ballad approach from the other slower sections on the album returns here, but this song feels more ballad-like than the others. A more band-orientated chorus sees some heaviness and fuller arrangements, but generally this is much more of a slow-burner with atmospheric keyboards and murky guitar melodies. Alder sounds great here and, even more than usual, this song really feels like a vehicle for his voice. His voice is full of character, and the more atmospheric approach lets him pour plenty of emotion into the album as it comes to a close. Another lengthy guitar solo is excellent, too, and it builds on many of the emotions which Alder injects into the piece. It is a solo which gets busier as it moves along, which suits the song's more dynamic approach of slower verses and a heavier chorus - and it is fitting that one last guitar solo is included given that they have generally been highlights of the album. Overall, then, A2Z² is a very enjoyable follow up to the band's debut album - with the line-up changes not having much of an impact on the band building on their established sound. There is very much a template here which is generally stuck too, but the occasional deviations showcase the band members' prog backgrounds nicely - and there is a lot to like here from both a prog metal and a more typical hard rock perspective thanks to some big guitar solos and some melodic choruses.

The album was released on 6th June 2025 via Metal Blade Records. Below is the band's promotional video for Nothing Is Over.