Ayreon
The Human Equation

Your beloved Splinter is not talking about just any product this time. He's talking about one of the most successful and sophisticated rock operas ever created, produced by one of the most beautiful projects ever put together in music history, the Ayreon project. Arjen Anthony Lucassen has always employed the most talented and prepared individuals, not just any fool picked up off the street, to create these works that elegantly and epically blend metal, progressive, electronic, folk, classical, ethnic, and other genres! In "The Human Equation," the project's sixth album, dated 2004, all these elements are absorbed with even more attention than in previous works. What immediately strikes the ear is a recording quality finally worthy of respect, whereas it wasn't always excellent in previous works. The topics addressed have also decisively changed: no more science fiction or space stories, just a strange accident and the 20-day coma (each track represents a day) the protagonist goes through during which various emotions and visions from his life reappear to him. Once again, the cast is excellent, chiefly the vocalists. James LaBrie of Dream Theater is the protagonist's voice, but Mikael Akerfeldt of Opeth is also notable with his voice that is as warm as it is introspective, not forgetting Devin Townsend and the late Mike Baker. As usual, the harmony among the musicians is unique and cohesive; it's not easy to assimilate musicians who might have something in common but also come from very different bands and create a work where everyone plays with great respect for the others without neglecting their own musical tradition. In fact, it is rarely, if ever, that we hear two instruments from very different cultures playing out of tune...a synthesizer in the background doesn't clash when combined with a violin solo, and in the same way, a flute doesn't sound bad as a background to a distorted guitar! In blending the sounds, it seems that good Lucassen has long pondered the sounds used: "Does that sound fit that moment in the piece or the album? Yes or no?" he must have asked himself many times, so much so that you can't even see a hair out of place!

As happened in "Into The Electric Castle," the work features two very intense CDs that require patience to be listened to, but once heard, they are appreciated wonderfully by the most passionate listeners. The masterpiece songs are mainly found on the first CD, but the second is also full of epicness and perfection! The atmospheric intro "Vigil" is beautiful, with the sound of a car swerving marking the individual's coma. Masterful "Isolation" with that central electronic part very Pink Floyd-like and a truly perfect synth solo, not forgetting the metal rhythms and flute and violin parts. Very introspective "Pain," atmospheric and delicate in the verses, harder in the chorus where, however, the guitars are well supported by the keyboard background and the disconsolate and sad voices of the vocalists; beautiful acoustic guitar-violin-flute part after the halfway point. "Mystery" starts delicately with an acoustic guitar, followed by a great technical work of synthesizers and Hammond organ, the best instrumental part of the whole album! "Voices" is a touching song capable of alternating folk-like acoustic guitar and violin verses with more evidently metal choruses. "Childhood" is more melodic, with more delicate synths and a Jethro Tull-style pan flute in the central part, as well as a nice guitar solo at the end. Lively and cheerful "Hope" supported by a sunny Hammond organ. "School" alternates acoustic verses with stronger but at the same time atmospheric choruses; not bad the central symphonic part. Also stunning is "Playground," with a beautiful violin solo taking the lead. "Memories" plays on alternating acoustic verses supported by a synthesizer and a stronger chorus. The first CD closes superbly with "Love": opened by a mandolin, an acoustic verse and a harder and symphonic chorus with emphasis on female voices.

And immediately there's a need to put the second CD in the player, as you're not satisfied with what you've listened to in this first phase! And here's "Trauma" that combines psychedelic parts in Pink Floyd style, metal parts, symphonic parts, complex guitar patterns. "Sign" is slightly disappointing, in my opinion, the least beautiful piece of the album, an acoustic ballad with a nice flute at the beginning, a beautiful violin solo in the middle, even a harpsichord, I think this piece is close to my re-evaluation. Deliberately more driven "Pride", certainly the hardest track on the album, with a significant nod to the best Dream (with "Caught In A Web" comes to mind) probably due to James LaBrie's very determined voice and here emerges the discussion I made earlier: the flute part we find in the middle of the track might seem out of place to some ears but the intelligence with which it was inserted at the right moment makes it capable of perfectly harmonizing with the track's sound; and the synth track at the end is truly commendable! Let's instead talk about "Betrayal": I also used to underestimate it greatly but now I greatly appreciate its particular atmosphere; that keyboard background gives it a full and epic sound and the beautiful synth solo clearly tells us this is not just any track! And you ask me... what is the strangest song on the album? Surely I would answer "Loser", an unusual folk-metal track! The verse is accompanied by a mandolin, while the chorus includes distorted guitars like never before with a violin overlapping... and then we're truly delighted by a Hammond organ solo of rare beauty! But the best of this second CD for me is "Accident" in which the protagonist, after revisiting past emotions, sees the moment of the accident again. A dreamy, more reflective track, opened by electronic sounds and characterized by delicate guitar arpeggios that in the chorus evolve into a harder riff and after the second chorus a nice guitar solo is followed by an equally commendable synth solo. But in "Realization" you really hear all sorts of things! Only at the end is there singing, while up to halfway through the piece everything is instrumental and is marked by a strong alternation of styles and instruments: always lively rhythm, complex riffs and time changes in full prog-metal style; a nice flute part before perhaps the most particular moment of the whole album: the same melody is played by different instruments in succession: a violin, a flute, an organ, even a bassoon... things never seen before! Here we really think we're on another planet! Only such a versatile musician can have such imagination! More delicate is instead the penultimate "Disclosure" with a certainly light melody and the ability to be pleasantly listened to; the melody of the previous track is also revisited. A masterful closing with "Confrontation" that marks the protagonist's awakening; delicate guitar touches in the verses give way to heavier riffs; also an intelligent choice is the reprise of the electronic riff from "Isolation".

And that's that. The Ayreon project has reached with this album the highest point of the adventure. I think this is certainly a point of reference for the future of prog, but it is unattainable! The Flying Dutchman can try to replicate this masterpiece if he wants: he will surely produce a masterpiece (as he knows how) but I doubt he can do better than this!

Highly recommended is also "Into The Electric Castle," the undisputed masterpiece of 1998 that can be considered second only to this. In 2008, the subsequent "01011001" will be released, certainly a great work, a great show of skill... but this is unattainable, period and stop!