Ayreon
01011001

The Ayreon project is not a disorganized mix of big names randomly put together to produce more or less successful catchy tracks like "Avantasia" (which I like, but it has nothing to do with Ayreon). I am writing and justifying my duplicate because I am not satisfied with the previous review that treats 01011001 as if it were just another metal CD without wanting to understand the enormous importance that the concept behind it holds in this case. Reading the lyrics is not only advisable, but absolutely fundamental to truly understand the tracks, their structure, position, and therefore be able to judge the interpretation of the artists involved, whom I will almost never deliberately mention.
Let's start by saying that "01011001" in ASCII binary code means Y, and for those who know Lucassen and his previous works, they know that planet Y is inhabited by the Forever. Immortals, indeed. Superior beings who weave the threads of destiny even of Earth. Earth and Y; respectively disc 2 and disc 1 of this monumental and apocalyptic work by Ayreon, released in stores almost a year ago.

Is an immortal being happy forever? On planet Y, in an undefined time, the existence of the Forever depends too heavily on machines and the loss of passions makes them not only tremendously unhappy but also not hopeful for the future. Electronics and riffs enter our minds to represent a dark, technological, and cold world within which cracks form with grandiose and contrasting choirs because not everyone agrees on what to do. Sure "We are forever," but perhaps we are prisoners of time, and in the dizzying break, we reflect precisely on this. Age Of Shadows because it is no longer acceptable to live in a Comatose state masterfully impersonated by the watery duet Lande/Simmons. Some of the Forever want to return to the past, and some of them are even willing to lose their immense knowledge to return to the old and beloved "Liquid Eternity." It's a painful choice transposed into music with riffs that bleed suffering and sweeter, more reflective moments representing the past/present dichotomy.

Let's leave planet Y for a moment to shine a spotlight on the Earth of now to discover how life filled with routine and dragged on day by day is not too far from that of a remote past on 01011001. A coincidence? We'll see afterwards. Instrumentally, it is simple, with heavy use of electronics, cold and deliberately empty vocals in line with the drastic text accusing our anonymous living (Connect The Dots).

Liquid arpeggio and solo cradle us in the prog rock of Beneath The Waves. A long dive into the past when everything was different, when there were no borders, no walls, and we Forever felt so good. The crescendo, in which the differences with the current situation become clear with masterful choirs, is simply goosebumps-inducing. No!!! We cannot live in regret, and so the immortal beings decide with difficulty (some are enthusiastic, while others sing/shout their doubts) to start over. With a new planet to cultivate. A moment full of hope that deserves a "cheerful" sound (Newborn Race), characteristic of hopeful new projects that regenerate us and make us feel alive. But facts must turn into practice, and the choice to ride a comet for space conquest could be represented no better than by sumptuous drumming, penetrating voices testifying to the danger and importance of the task undertaken?

Another terrestrial parenthesis. Internet. Today's Earth lives on illusions; meetings on the web where one believes to love a person they do not know. The total absence of electronics, replaced by arpeggio and violin, creates an all too believable atmosphere of a vacuous grey love (Web Of Lies).

The spotlight permanently shifts from us, on Earth, because the Forever, in order to start again, must clean the chosen planet where their seed will bloom, and so, while in The Fifth Extinction pounding metal with very heavy riffs rains down, a comet crashes and raises a dust so thick that it allows a new era and the simultaneous end for reptiles. 65,000,000,000 years ago. Dust settles, melodies make their way with Kursch’s voice, and human life begins. We must "fill them up!!!" And so the psychedelic Waking Dream with its continuous groove—a constant nourishment for humanity made of colors, emotions, sensations, and knowledge generously provided by the Forever. We feed on it greedily and grow rapidly.

Another contemporary parenthesis. A man in current days is sick (Lucassen) in a hospital and has the ability to see the future that awaits humanity; disastrous and hopeless. An important warning that should be avidly heeded, but everything that is true appears amusing to people: a little song, an almost cheerful march because it is not taken seriously (*).

The evolution of man for the Forever is too slow, so there is a need to give a push for an Unnatural Selection masterfully rendered by a decisive and powerful piece in which the immortals discuss, amidst bass lines and riffs, the possibility of making the same mistake of the past and condemning humanity to a future without passion. A lifeline is thrown with River Of Time: visions of future horror directed to the inhabitants of Earth, alas not heeded (*), evoked by symphonic and dancing metal. A full-flowing river in our minds leaving no trace. The end is now near, and the dark sounds of Sixth Extinction make us understand that there is only time to celebrate the defeat of the Forever and their failure with humanity’s extinction. When? In 2085. 12 memorable minutes of touching class with continuous changes of rhythm to represent regrets. The imminent end is given to us by Jorn Lande with a simple "Stop The Machine, Prepare To Die" which signals the great instrumental and vocal finale, and I must say it is a great way to die.

I wanted to give so much space to the story, and to how the music is intertwined with it, because I don't believe the right key to understanding a CD like this is to list the myriad guests and praise their performances or catalog individual hits by genre. "01011001" is a very heavy album (to be listened to many times before making a judgment), not for the mere gratification of its creator, but because the story being told is complex and should definitely be read and listened to as a continuum. The music, as rarely happens, changes according to the text. Sure, it is not an album for everyone, but those with patient ears will be able to appreciate its structure and great music in symbiosis with the apocalyptic and reflective narrative well rendered by the guests.