Fates Warning's 'Long Day Good Night' - Album Review

When it comes to the progressive metal trailblazers of the 1980s, there are few names more important than Connecticut's Fates Warning. While the band does not enjoy similar statuses of many of their contemporaries, particularly Dream Theater and the recently-rejuvenated Queensrÿche, Fates Warning are nevertheless an extremely important band in the development and continued popularity of the progressive metal genre. Within the scene however, Fates Warning remain a popular and well-loved band. Part of this, in my opinion, is likely down to the band's gradual evolution in sound over the years. Fates Warning are a band who have often shifted their focus slightly to help stay relevant - all while never truly departing from their core sound. While the Fates Warning of 2020 is a very different Fates Warning to the one that released Night on Bröcken back in 1984, which is unsurprising considering that guitarist Jim Matheos is the band's only founding member to remain in place, the band are still a tight, atmospheric, and through-provoking act. It is this ability to keep up with the times that makes Fates Warning such an interesting band to get into too, as listening to their albums from their genesis up until the present day will reveal how they have battled line-up changes and shifting tastes to keep their brand of progressive metal exciting. In my view, the Fates Warning of the 21st Century is both the heaviest and the most atmospheric version of the band to exist. I think that the band's current sound was well and truly established on 2000's punchy Disconnected, despite it existing in a less-prominent way previously, and each album that has followed has sought to further refine it. This refinement came to a real head on 2016's excellent Theories of Flight (which I reviewed here), an album which for me is one of their best works to date. It is certainly my favourite of their recent albums; and it even rivals classics such as 1986's metallic, grandiose Awaken the Guardian and 1991's smoother, more accessible Parallels. Theories of Flight was just the current line-up of Fates Warning doing what they do best - which is atmospheric, heavy progressive metal that still contains a number of strong hooks. Hopes were high for the follow-up as a result, and four years later the band have released the sprawling Long Day Good Night, their thirteenth studio album. It is rumoured to possibly be their final album, and if that is indeed to be the case then Long Day Good Night will certainly be a remarkable final statement. I say remarkable, as I do not think that this will be an album for everyone. It is quite long, and it is easily the darkest and murkiest thing that the band have done since 1997's A Pleasant Shade of Gray. Long Day Good Night shakes off the hookier feel of Theories of Flight and takes a much more oppressive and heavy approach - but it works well. Matheos' riffs and atmospheric guitar textures throughout the album are varied, technical, and melancholic; while long-time frontman Ray Alder turns in another fantastic vocal performance - possibly buoyed by the strong reactions to his excellent debut solo album What the Water Wants (which I reviewed here) from last year. The oppression makes this an album that needs to be heard a number of times to fully appreciate, but those who stick with it are likely to find a lot of engaging and strident progressive metal to enjoy.

In many ways, the album's core sound is best summed up by opener The Destination Onward, a lengthy, murky song that exhibits a slow-burning style - but one that also contains a number of hooks once the song gets going. Fates Warning have rarely been a band to utilise a lot of keyboards in their sound, with Matheos' atmospheric guitar layers performing much of the same function, and the opening moments of this song are a perfect representation of his style. The Destination Onward takes time to open up, but those early moments have a droning, almost post-rock feel that help to establish the mood going forward. The song slowly builds, with Bobby Jarzombek adding some percussion and Joey Vera's rumbling bass notes creating depth, but when Alder starts singing things really start to open up. Alder might not have the range that he once did, but his emotional vocal style really suits the modern Fates Warning perfectly. The way he croons over these opening moments really brings the song to life; while Jarzombek's percussive drum pattern and Matheos' David Gilmour-esque leads all come together serve the whole. These early moments are so hypnotic that it is actually a bit of a shock when the song transitions to its heavier bulk. It is one of the heavier moments in the Fates Warning catalogue for a while, with Jarzombek's acrobatic double bass drumming perfectly complimenting Matheos' barrelling riff. It is a stark contrast to the opening minutes of the song; but the piece as a whole really represents the breadth of sound that this album looks to achieve. The song also manages to include one of the hookiest choruses here - with a melodic smoothness that recalls the best choruses on Theories of Flight, Alder's husky voice conjuring up vocal lines to draw the listener in. The song is one of the album's best moments in my opinion, and a great example of the modern Fates Warning's ability to mix light and shade to great effect. Shuttered World is a much more openly-heavy track, with a great old-school metal riff kicking things off. The more angular sound of albums like Disconnected are represented here, with the band's modern atmospherics providing depth. The verse riff has a groove that would not feel out of place on a Lamb of God album thanks to Jarzombek's drumming; but Alder's smoky vocals and the use of atmospherics ensure that the song still feels at home in the Fates Warning canon. A great guitar solo from touring guitarist Michael Abdow (who contributes a handful of solos throughout the album) about half way through is a moment of chaotic shredding in and among the precise grooves of the rest of the song; with Abdow's style being very different to Matheos' more restrained approach; while another strong chorus showcases some more catchy vocal melodies. Alone We Walk initially drops some of the heaviness, with a subtle metronomic guitar rhythm providing a pulsing backing for Alder's calm vocals, but it is not too long before another big riff kicks in. This riff is possibly the most overtly 'progressive metal' moment on the album, with a snaking riff that plays off against Jarzombek's acrobatic drumming in a very early Dream Theater-esque way. As much as Alder and Matheos shine on this album, for me the standout player could well by Jarzombek. This is his third album with the band, and he really impresses here - his technical and hard-hitting style really bringing the best out of Matheos' riffing. The drum sound used here too sounds huge, with every bass drum kick really ringing out of the speakers with venom.

Now Comes the Rain feels like a deliberately more melodic piece, with an opening guitar line that somewhat recalls the sound forged on Parallels nearly 30 years ago. Alder shines on every song here, but songs like this really allow his voice to be pushed to the fore without much else to distract the listener. Matheos' subtle guitar arpeggios fill the verses in a very Marillion-esque way, while Vera's prominent bass provides audible grooves for the vocals to sit in. This is one of the least 'progressive' songs here, but the relative downtime is appreciated after three songs that largely went for the jugular with huge riffs and aggressive drumming. Fates Warning have often written these sort of melodically murky songs before, and this is another strong example of the style - with Alder once again proving why he is one of the best singers in the genre. The Way Home takes the more laid back sound established on the previous song, and really runs with it - especially early on. The early moments of the song essentially pair Alder's gentle vocals with Matheos' sparse, yet melodic, guitar lines. The effect is almost spine-tingling, which shows the great power of Alder's voice, and even when a subtle bass line and percussion join in the impact of the simplicity is not diminished. This drawn out, sparse opening does eventually give way however to a strange and mechanical instrumental section, with Jarzombek's robotic drumming and some off-kilter guitar riffing - which then transitions into a slow-paced, heavy section that somewhat recalls the quieter opening moments, with Alder's soaring vocals to add melody. The song remains heavy for much of the rest of its runtime - although it does slow down a little towards the end with a great Vera bass groove providing a backing for another Abdow solo, which this time is much more controlled with lots of delicate phrasing. Under the Sun, which features Mika Posen on violin and Raphael Weinroth-Browne on cello, is a very atmospheric track that is the closest thing to being a true ballad heard on the album so far. The two string players create a magical opening moments with their instruments, before Matheos' acoustic guitar kicks in to create a warm backing for the first verse. This is a very warm and organic sounding sound, and it is quite different from everything else here. There is a whimsical nature here, something that is not often heard on a Fates Warning album, with Alder's emotional vocal delivery providing a lot of hooks and warmth - while the mix of acoustic guitar rhythms and more Marillion-esque arpeggios create a full-bodied but laid back sound overall. Even Matheos' short guitar solo follows this trend, with jaunty melodies pouring through the speakers as the two string players add depth.

Scars returns to the punch and drive of a song like Shuttered World; a driving riff kicking things off before an effects-heavy guitar lead provides some early catchy melodies. Scars was the first song released online a few months ago before the release of the album, so unsurprisingly it is one of the least complex tracks here. There is a crunching heaviness to the song that certainly draws the listener in, and Alder's vocals are pushed right to the fore to allow his soaring melodies to really shine. The song's chorus is another hook-filled effort, but this time with subtle vocal harmonies that give it something of a Seattle sound. There is a little Alice in Chains on display during the choruses to my ears, but this style works well within the context of the riff-heavy and driving song. It is a song that never really lets up throughout; and it shows that Fates Warning have lost none of their potency or toughness with age - and, in fact, that they may have gained some! Begin Again is another 'single', with an animated video being produced for it, so it is another somewhat simpler piece. The album's core sound is still on display however, and the verse features one of the album's best grooves in my opinion - with Vera's bass loud in the mix to mesh well with Jarzombek's relatively restrained drum pattern. Despite the simpler arrangement here, there are still a few subtle twists and turns to remind any listener that Fates Warning are a progressive metal band. There are lots of little guitar moments that add subtle melodies here and there, but the best moment is perhaps a downbeat acoustic breakdown section that then immediately gives way to a lengthy and explosive guitar solo - with Matheos showing two sides of his playing in a short space of time. For some reason, When Snow Falls features a different rhythm section with George Hideous handling the bass and Gavin Harrison (Porcupine Tree; King Crimson; OSI; The Pineapple Thief) playing the drums. I am not sure why the band's usual rhythm section did not perform on the song, as the downbeat track does not sound so different from the rest of the album that it needed different players - but there is still a lot to enjoy here. Fans of modern day Marillion will recognise a lot of that band's style (I seem to be referencing Marillion a lot here, but to my mind this is the sort of album Marillion would make if they were a metal band), particularly in Matheos' liberal use of arpeggios here and his spacey guitar solo that is packed full of whimsical melody. There is a lot of atmosphere here, and it provides something of a calm before the storm of the album's last few numbers. Liar is much riffier, and the heaviness of tracks like Scars returns somewhat, but fused with the melodic nature of Now Comes the Rain. There are hints of the old Parallels-era sound on display again here, but with this album's more oppressive, heavy sound also on show. As a result, the song is something of a mash-up of styles, but it works well. Alder's voice is pushed the fore, allowing the hooks to shine, but there is still a lot of riffing and tight double bass drumming to ground the song in the album's heaviness. The best part of the song for me however is Matheos' screaming solo, which has a real 1980s stadium metal vibe - which may seem at odds with the song's overall vibe, but for me it works well.

Glass Houses is the album's shortest song, and one of only two cuts here that is under four minutes long, but it makes up for its lack of length by its energy. It is one of the fastest and most relentless pieces here, with riff after riff driving it forward while Jarzombek's drumming is filled with double bass patterns and crash cymbal flurries. There are a lot of heavy moments on this album, but for a true piece of good, old-fashioned metal there are few better examples of it here than Glass Houses. There is very little of the band's atmospheric murk here, with pace and heaviness clearly the aim here. Those who prefer the band to be more complex may find this track a little primal, but it works well in the context of the album to provide a little energy late in the day. The Longest Shadow of the Day, the album's penultimate song, is the progressive centrepiece of the album. It is the longest song here at over 11 minutes in length, and it immediately hits the listener with a progressive and technical instrumental build up with guitar patterns that could have found a home on Pink Floyd's The Wall, snaking Vera basslines, and solos from both Abdow and Matheos. There is very little restraint shown throughout this song, and it really feels like a moment for the whole band to really show off. A new riff or melody is never too far away, but everything knits together perfectly to form a cohesive, if sprawling, whole. Alder is absent for the first half of the song, as the rest of the band really flex their muscles. Those early Pink Floyd-esque moment are great, but the song arguably gets better when the heavier riffs kick in and Abdow and Matheos once again trade solos - which this time are much speedier and more explosive. Following possibly the heaviest section on the album, which features drumming from Jarzombek akin to a blast beat, the song suddenly slows everything down - with Matheos' guitars providing a slow, melancholic melody. Alder then finally joins the fray around six minutes into the song, and his moments provide some emotional weight. The bulk of the song is instrumental, but I really like how the song transitions from the busy, progressive first half into a second half that is much more reflective and melancholic - but the pace does pick up again towards the end to match some gritter vocals, with busy bass playing, and another great guitar solo trade-off. The song is a powerful and progressive tour-de-force, and easily one of the album's overall highlights - and it sits alongside many of the band's best epics of the past. The Last Song is just that, the short track providing a melancholic and reflective closing statement that acts as a great coda following the expansive and lengthy previous song. It is a sparse track, with Alder's vocals largely just sitting against a backdrop of Matheos' layers of atmospheric acoustic guitar. The overall style is a real contrast to the rest of the album as a whole, which tends to be heavy and deep, but this relatively sweet track works well as a closing moment for what is otherwise a long and progressive album. Overall, Long Day Good Night is another great album from the progressive metal four-piece; and it is a collection of songs that is easily their most ambitious for some time. While the album takes a good few listens to fully appreciate, there are still a good number of hooks here to draw the listener in - but I still maintain that this is not an album for everyone. I feel that the album is quite likely to be a divisive release, but I enjoy its depth and relentless heaviness - and those who share my view will find a lot to enjoy and digest here.

The album was released on 6th November 2020 via Metal Blade Records. Below is the band's promotional video for Begin Again.