Fates Warning
Disconnected

Only 7 songs... of which "Disconnected Pt. 1" and "Disconnected Pt. 2" open and close this new release by Fates Warning.

"Disconnected" (2000) contains some of the longest and most complex songs that Jim Matheos (historic mind of the group) has ever conceived. As always, his compositions are intelligent and the band behind him proves equally competent. Once again, vocalist Ray Alder proves to be a key element in the band's genius sound, this time even writing the lyrics for three songs on this album.

It is very difficult to describe individually the songs present on this 'Disconnected', just as it was impossible to make a single analysis of the tracks on their previous work... the much-praised "A Pleasant Shade Of Gray" (1997). The songs seem to be one with the lyrics, the heavy parts, and instruments charged with deep emotion. The solid rhythm section of the band, rendered such by the God of drummers Mark Zonder and the equally monstrous Joey Vera, invests different levels of credibility in the musical journey undertaken by Matheos... and thus the trio successfully creates a stunning musical tapestry able to surround and support Alder's magnificent voice. The ingenious syncopated breaks imposed by Zonder on the tracks of this 'Disconnected' are once again a wonderful and intricate work of cymbals and drums that gradually grow thanks to the pulsating bass lines played by Vera. In this new album, Matheos seems very inclined to experimentation as if he were a new Robert Fripp... and manages to add numerous background riffs to his classic songwriting, seasoned with his usual touching and ingenious clean arpeggios. Even this time, he doesn't play any long solos, but his riffing is dense with delightful flavors and perfectly balanced with the other instruments. Once again, Kevin Moore is responsible for the keyboards (and yes... also the piano and synths) and his genius touch gradually grows within the album, giving it heart-wrenching chiaroscuro tones.

"One" is introduced with fairly accessible riffing and chorus compared to the Warning standard... but don't worry, it's just a flash in the pan; after a few minutes, the song structures transform into something truly complex and not easy to interpret. Everything becomes very intricate, yet despite this, one gets absorbed and passionate at the same time. One of the most brilliant moments of the whole album, in my opinion, is the transition from "So" to the melancholic "Pieces Of Me"... where Zonder gifts us with another of his ingenious introductions, providing us with a fierce and fast drumming, and Alder manages to superbly distribute his voice within not well-defined sonic contours. Moore's genius on the keyboards particularly explodes in the two longest tracks on the album... "Something From Nothing" and "Still Remains". These two songs are by far longer than the rest of the entire album and are probably also the two most complex yet simultaneously ingenious. But I was talking about Moore... well, the former Dream Theater keyboardist paints the chromatic palette of both songs with delicate and skillful touches of his instrument. The spectral bass intro of "Something From Nothing" merges with Moore's introspective nature during the experimental chaos that this pairing generates... we are faced with a musical intensity rarely found elsewhere.

There is an impressive and sweet (in a good way) group action among the band members, as the immense sound wall takes shape... until it explodes in a chaotic musical array around the third minute of the song. Alder not only does justice to this magnificent gem, but he reaches his highest interpretative peak between minutes 5:20 and 6:20. This is the interpretative peak reached by Alder alongside "Part VI" and "Part VIII" of 'A Pleasant Shade Of Gray'. Moore plays a recurring piano figure that constantly appears and disappears within the track. Talking instead about the lengthy (16 minutes) "Still Remains", is a hard if not impossible task for me... I can only tell you that when you finish listening to it, you will be shocked and speechless.

The album closes with the second instrumental track of the album, "Disconnected Pt. 2", where Kevin Moore once again manages to demonstrate (perhaps to some of his former colleagues) that playing a repeated and intense note (see also Matheos in the intro and closing of "Part XII" of A Pleasant Shade Of Gray) is surely a source of greater emotions than playing them repeatedly. The rest of the track flows with some distant voices and some background palettes, but it is precisely Mr. Moore who takes center stage in this track. Stunning. [For those who want to delve into these elements, I recommend Moore's solo project, Chroma Key, the first O.S.I., but also "Signify" by Porcupine Tree. ]

I admit it, 'Disconnected' is a challenging and difficult album to understand... it will probably discourage you at first listens (especially for the less experienced in the matter); but it turns out to be dangerously perfect and also contains millions of variations and nuances on the theme. Elements that most prog-metal bands can only dream of.