Fates Warning
Parallels

The news of the release of its special edition becomes a good opportunity to review this classic by Fates Warning, dated 1991.

While I’m not head over heels for Fates Warning, I consider this one of the albums I like the most, especially concerning the melodies offered. After the distinctly heavy start of the first 3-4 albums, "Perfect Symmetry" marked a shift towards a less powerful sound but also more refined and technically challenging, thus moving towards a slightly more progressive inflection. "Parallels" brings FW to even more melodic sounds, less classically heavy and always with some progressive hints. Thus continues the evolution of the band, which will lead them further (in 1997, with "A Pleasant Shade Of Grey") to the definitive prog turn. The melodic openings, well punctuated by Ray Alder's voice (third album with the band), work like never before, but the guitar work is no less in this regard.

That more classic metal approach of the early records seems now abandoned in favor of a decidedly more melodic metal, with also, why not, some slight hint deriving from AOR. Some have indicated the album as a sort of "commercial release" by the band; in fact, the songs don't require much auditory effort to be appreciated and are quite catchy and, in a sense, radio-friendly, but there is no lack of attention and care for the melodies, which never fall into banality, not even in the simplest of tracks. And yet the timid progressive influences in several tracks (and a bit throughout the full-length) demonstrate that the band wants to be somehow sophisticated in what it offers.

The start with "Leave The Past Behind" is a clear signal of what FW has to offer: powerful melodic openings and delicate guitar arpeggios make it a sunny and reflective track. "Life In Still Water" is decidedly easier, with sharp guitar riffs always accompanied by consistently excellent vocal lines and a consistently prominent melodic setting. Noteworthy is the presence in the chorus of backing vocals by the then-unknown James LaBrie, vocalist of Dream Theater. "Eye To Eye" in my opinion benefits from truly excellent melodic power that seems really inherited from 80's AOR. A powerful chorus track, more delicate in the verses but pretty strictly follows the song form, overall a potential radio hit. "The Eleventh Hour" is instead a track with more distinctly progressive connotations: it indeed has a very reflective initial pace with extremely delicate guitars and a thin and dreamy voice, but then the track becomes heavier without obstructing the melodic setting, eventually becoming more delicate again towards the end. "Point Of View" is instead more immediate and direct but always very lively. "We Only Say Goodbye" is a not difficult but nonetheless sophisticated track in terms of melodies, very atmospheric, refined; the delicate guitar parts in the verses play a decisive role for this purpose. "Don't Follow Me" I underestimated a lot at first listens but then I let myself be struck by its lively rhythm and sunny melody. "The Road Goes On Forever" is instead a ballad with sad and melancholic tones characterized by light and sensitive guitar arpeggios; an ideal track to close the album with something more reflective.

I repeat, I’m not madly in love with FW but overall this is one of their best albums, one of the most melodically well-structured works in their discography. I give 5 stars only to "A Pleasant Shade Of Grey," technically unsurpassable and beautiful also on an artistic level, but this album captivated me enough and is indeed a crucial album for the stylistic evolution of the group.