Fates Warning
Disconnected

The Fates Warning confirm their inclination for experimentalism with "Disconnected," an album that combines the powerful metal charge typical of their style with exquisite electronic experimentations that have now become the foundation of their sound.

If the previous "A Pleasant Shade Of Grey" truly highlighted the peak of their expressive potential, this album has more immediate and less pretentious structures but still manages to captivate the listener with rather distinctive melodies. Perhaps it might disappoint a bit in terms of solos and virtuosity, which were well-marked in the previous album, but the album still deserves attention.

It starts with "Disconnected Part. I": 1 minute and 16 seconds of keyboards that close with the phrase "You are... disconnected." And then comes the powerful "One" characterized by strong guitar shreds with fast position changes and rather irregular rhythm, as well as keyboard riffs that break the guitar sound during the verses. "So," on the other hand, thanks to its longer duration, highlights the band's progressive vein with delicate guitar arpeggios alternating with stronger parts and keyboard riffs between each verse. "Pieces Of Me" is another fast and fierce track similar to "One" in speed and tempo but even more industrial: note the electronic sounds that enter during the verses. But the best of the album consists of the last three tracks. First, "Something From Nothing" which is definitely a song with two faces: the first 4 and a half minutes characterized by guitar arpeggios, delicate notes with the keyboard, and powerful electronic experiments as well as strange crackles and sound effects; the remaining minutes are characterized by powerful guitar riffs interrupted by keyboards in the chorus. But the track that deserves the title of category best is "Still Remains" where a certain Kevin Moore appears on keyboards, and it's worth saying that his presence truly adds weight! I'm ready to bet that many, after hearing this song, will be somewhat disappointed by the previous ones; in 16 minutes we can hear everything that perhaps was missing in the previous tracks: very irregular and less schematic song structure, real keyboard and guitar solos, as well as fast and complex note scales of clear Dream Theater style without excluding experimentalism. And we close beautifully with the melodic and refined "Disconnected Part II," which we have already tasted a preview of: 6 minutes that are a showcase for the keyboards, creating touching atmospheres, electronic sounds, and delightful harmonic sequences that, although too repetitive and continuous, are still capable of moving us and stirring emotions.

Who knows what masterpiece it would have been if most of the songs had been like "Still Remains"; maybe the score won't be 5, but let's forget about that and enjoy the album as it is.