Fates Warning released Theories Of Flight to the world last year, and as Chris said in his review, “After a number of years in the wilderness of creativity, Theories sees them return to their best.“The band has already performed “their best” new material for the crowds in Europe, and now they’ve finally announced the first leg of dates here in the States! Continue reading
Despite their influence and their position in the roots of true, progressive metal as one of the prime creators, Fates Warning have arguably moved into more cult territories nowadays, especially compared to other progressive metal behemoths like Dream Theater who have become one of metal’s biggest entities. Perhaps in part due to the nature of FW’s releases in the last few years, which have proven inconsistent and certainly not to the quality of their early releases. Thankfully their latest album Theories Of Flight (InsideOut) sees them on the right track with their strongest album in recent years.
FW’s take on progressive metal of course takes on both anthemic and memorable hooks and passages with more complex and technical elements; and whereas before at times they may falter on one side or the other, on Theories… they manage to set the balance perfectly. Take the album opener “From The Rooftops” which starts unassuming before it opens up around the 2 minute mark; revealing a huge chorus and some sheer technicality. Even the 10 minute plus songs like “The Light And Shade Of Things”; despite their ever-changing nature, have instantly memorable and easily digestible passages throughout to grab you.
Fates Warning may sometimes feel like the forgotten fathers of progressive metal, especially when you consider just how far some of their peers have transcended, and in all fairness such peers have offered such timeless classics and works that Theories still doesn’t quite live up to. However what it does show is that FW are still a very worthwhile and creative force that are once again worthy of attention, and that after a number of years in the wilderness of creativity, Theories sees them return to their best.
7.0/10
CHRIS TIPPELL
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Elephants in the room exposed, monkeys off their backs with legal issues cast aside and now sole owners of the rights to the name and catalogue of Queensrÿche, the band who produced the greatest album to originate from Seattle can now leave their manure-filled zoo of shite behind. With Todd La Torre firmly ensconced in their ranks, and contributing fully to the writing of the bands fifteenth album, Condition Hüman (Century Media), the opportunity is there for the real Queensrÿche to stand back up.
Having promised a return to their more progressive metal-tinged leanings, an introductory dual guitar lick references their early traditional metal outputs before we embark on album that displays every element of trademark Queensrÿche that you could wish for. Condition Hüman is a mature album, at times reminiscent of Parallels (Metal Blade) from former tour buddies Fates Warning, happy to reference the foibles and distinctive nodes of yesteryear while still firmly holding its place in where the band is now. There are the expected gallops, ‘All There Was’ and ‘Guardian’ could be out-takes from the Operation Mindcrime (EMI) sessions, but in the main, here lies a series of intelligent rock/metal songs proudly reflecting a band that is once again able to produce the music that people expect from them and are more than happy to oblige.
That’s not to say this is an album without heaviness – ‘Hourglass’ builds from a dark, stabbed beginning to a spiralling (reference intended) epic, while ‘Eye9’ could be the rÿche polish applied to a long-lost jam session for the new Tool album – but it’s used sparingly, intelligently, with progressive and cerebral rock the order of the day. La Torre is the ideal frontman, sounding effortlessly like the ousted Geoff Tate, with hints of Michael Kiske, a flawless voice that is indisputably Queensrÿche, adopting some of the idiosyncrasies of his predecessor for that added touch.
Condition Hüman fits seamlessly into the Queensrÿche canon, a natural evolution from, and improvement on, its’ self-titled predecessor, almost as if their discography actually runs Empire (EMI) to Queensrÿche to Condition Hüman and the intervening twenty-three years be damned. Ignore side-show circuses, ignore the flaccid projects of “formerly of…” members, and ignore the memory of experiments and failures; Condition Hüman is a confident and telling step forward in restoring the legacy of a once great band.
The Queen of the Rÿche has seen off the usurper, and now proudly surveys her domain once more.
8.0/10
STEVE TOVEY
Fates Warning. Photo Credit: Stephanie Cabral
Progressive metal veterans Fates Warning have confirmed a US tour run in October 2015. The band released their eleventh album and their Insideout Music debut Darkness in a Different Light.
Oct 09: Webster Theater – Hartford, CT
Oct 10: Palladium – Worcester, MA,
Oct 11: The Chance – Poughkeepsie, NY
Oct 23: Trees – Dallas, TX
Oct 24: Scout Bar – Houston, TX
Oct 25: 210 Kapone’s Live – San Antonio, TX
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Motor Sister
Motor Sister, a new rock collaboration featuring Anthrax guitarist Scott Ian, his wife Pearl Aday (daughter of actor/musician Meat Loaf), drummer John Tempesta (The Cult, ex-Exodus, White Zombie, Helmet, etc) and bassist Joey Vera (Armored Saint, Fates Warning), and Jim Wilson (Mother Superior) have booked a few upcoming live dates:
Feb 12: Saint Vitus – Brooklyn, NY
Mar 11: Whisky A Go Go – West Hollywood, CA
Mar 12: DNA Lounge – San Francisco, CA
Fates Warning will celebrate the 30th anniversary of their Awaken The Guardian album with an exclusive headlining live appearance at the 2016 edition of the Keep It True Festival, set to take place in April 2016 in Lauda-Konigshofen, Germany.
The lineup from that album – John Arch (vocals), Jim Matheos (guitar), Frank Aresti (guitar), Joe DiBiase (bass) and Steve Zimmerman (drums) — will play the complete LP, as well as other songs from the Arch era of FATES WARNING. This will be an exclusive European show and the first time FATES WARNING will perform an old-school set with Arch on vocals.
There’s a lot to be said for taking the proverbial bull by the horns, as British quartet Kaine have done by self-releasing their debut The Waystone after being dissatisfied with the types of deal they were being offered. While it is easy to say they are being naïve, it shows a passion and a belief in their product that would serve more established bands well to tap into. However, are the labels, who are struggling to cover their own costs let alone spunk biscuits over bands that aren’t a guarantee, right to hold back and hedge their bets on Kaine?
Opener ‘Iron Lady’ suggests the band are right to have that self-belief; a raucous slice of NWOBHM magic that could well be a stalking partner of ‘Prowler’. But even on such a strong opener, flaws are exposed as Rage Sadler‘s vocals are simply not strong enough to lead a professional band. While weaker vocals were endearing 30 years ago, the Manilla Road approach no longer flies and having such a key part of a band not up to the standard required seriously undermines the talent and technique on display in all other areas. Sadler and guitaring counter-part Anthony Murch can clearly play, while Dan Mailer’s only bass-flaw is his inability to know when less is more, all over (or under) most tracks like the most contagious of rashes with his Steve Harris runs and fills.
The rest of the album showcases a post-Brave New World (EMI) Iron Maiden meets Rush bent, with Kaine also working in a concoction of traditional British metal and prog, with some pleasing sections calling to mind Fates Warning.
However, here is the crux, sometimes the labels don’t come a-calling because a band isn’t good enough, or just isn’t ready yet. ‘Iron Lady’ shows that the potential genuinely is there, and there really could be an impressive album further down the line, but too often the song-writing, despite several of the parts being impressive, is woolly or meandering, with choruses falling flat compared to their peers. The band needs to work on either being snappier, making parts more memorable and each song more distinctive, or on studying and understanding the more progressive elements they showcase, and how to use them to their advantage, to make them a valid USP in a way that sets them apart.
5.0/10
STEVE TOVEY
At the dawn of progressive metal Hartford, Connecticut’s Fates Warning were among the first guard. Along with Dream Theater and Queensrÿche they forged ahead with a new style of progressive music that made superstars out of John Petrucci and Geoff Tate. But when it came to back-slapping and, importantly, record sales, Fates Warning were often left wanting. Eleven albums in and on the basis of latest work Darkness In A Different Light (Inside Out Music) it is perhaps evidence of why they have been left behind.Continue reading