Ayreon
Universal Migrator, Part 1: The Dream Sequencer

THE REVIEW

We are in the twenty-second century. The entire human race has been wiped out by atomic wars in the year 2084. Only one man has survived the catastrophe, the last one standing from a mission focused on colonizing Mars. The air reserves and supplies of food and water are now limited, and the red planet, arid and inhospitable, makes the colonist's agony unbearable. The end is imminent, but there is a way to make it less painful: the "Dream Sequencer," a particular recreational device capable of letting the mind travel through time and space. Refusing death by hunger or thirst, the colonist decides to push beyond the safety limits in the programming of the "Dream Sequencer." The resulting virtual journey is called the "Universal Migrator." The album begins as the colonist is about to embark on this final experiment.

Arjen Lucassen changes face after the success of "Into the Electric Castle" and offers us an album profoundly different from the previous rock opera. This album, paired with the second part of the concept "Flight of the Migrator" (giving life to a single science fiction epic called "Universal Migrator"), is what the composer himself defines as a "a melodic and atmospheric journey through time". Metal influences are set aside in favor of dreamy and futuristic rock atmospheres, in which the protagonist of the story will retrace backward through time the entire history of human evolution. The influence of Pink Floyd is felt from the beginning, permeating the entire album with slow keyboard layers on which the Dutch composer's guitar expresses itself impeccably. This is complemented by Arjen's love for Celtic music and the heavy use of electronic sounds, creating a peculiar sound teetering between past and future.

As with every Ayreon project album, in this "The Dream Sequencer," we also find a long list of "guests," including Damian Wilson (Threshold), Neal Morse (Spock's Beard, Transatlantic), Lana Lane, Floor Jansen (After Forever), Johan Edlund (Tiamat). Tired of the structural complexity of "Into the Electric Castle," Arjen in this case opts for a concept where the singers/characters do not interact with each other but where each track corresponds to an era explored by the colonist through the dream sequencer, described by a single singer at a time. From the child who, amazed, watches the moon landing on television, interpreted by Edward Reekers, to the Mayan priestess, splendidly interpreted by the singer (unknown to me, I apologize) Jacqueline Govaert, to the realization of the first man on earth, namely Neal Morse, this album flows in all its beauty.

In conclusion, we are definitely not facing a work of the caliber of "The Human Equation" or "01001101," however, the musical quality of this album is undeniably high. Those who have already appreciated Ayreon in other works may be disappointed by the formal simplicity of this "The Dream Sequencer," but once such prejudices are overcome, they will find themselves in front of an excellent album.

Rating 4.5