Fates Warning
Parallels

"Parallels" (1991), in my opinion, is the best starting point for listening to Fates Warning, especially for those who have never heard of them. Although I really love the period with John Arch on vocals, I believe that Parallels perfectly marks the transition between their old way of composing music and the new prog phase dense with atmospheric experimentation.

This work sees guitarist Jim Matheos for the first time focusing his attention and energies on more concise tracks and better-developed melodies without impoverishing their structure; on the contrary. Unlike the band's previous works, here it is Matheos who entirely writes all the songs that make up the album; the difference is noticeable... finally, they appear better defined and less approximate.

Singer Ray Alder is finally at ease with the rest of the group and shows remarkable confidence in laying his splendid voice between Matheos's arpeggios and Mark Zonder's syncopated drumming. Finally, Alder stops trying to be a clone of Arch to try to please that uncompromising group of Warning fans who are still in love with the previous singer; finally, he brings out his true personality by trying to walk paths more suitable for him. Earlier, I mentioned Zonder; well, he is a relatively young member of Warning... in fact, this is his second album after "Perfect Symmetry" in 1989. He too in this new Warning album is more free to let his class shine behind the drums; and class is treasure... praise to Zonder and his great skill in odd rhythms and the creation of truly delightful patterns. Joining the recording of 'Parallels' are also second guitarist Frank Aresti and bassist John DiBiase, however, their impact on the album is less strong compared to previous works... this is probably due to their departure from the album's songwriting phase.

'Parallels' also marks the marriage between the band and the award-winning producer Terry Brown, who greatly impressed with his work with Rush. Finally, an album by Fates Warning that is complete in every aspect, this time also from a production standpoint. The mixing is one of the best ever done in 1991, allowing the album to sound very fresh and innovative. Matheos's arrangements grow in complexity and articulation, and Alder's voice is certainly more refined and better defined. This explains why the Warning so warmly wanted Brown as their producer for this album... and such a choice has undoubtedly brought the hoped-for results. The songwriting is very melodic, but neither trivial nor commercial... in fact, there are no lack of parts with decidedly heavy guitar riffs, as well as parts marked by Zonder's floating times and tasty polyrhythm. Jim Matheos and Frank Aresti have the merit of playing my favorite guitar solo in the album's opener "Leave The Past Behind." It is a melodic solo that slowly builds under a musical carpet marked by a dark acoustic guitar, transforming into a melodic metal assault with fluid arpeggios. DiBiase's bass perfectly merges with Zonder's drums, completing the song's structure.

The second track, "Life In Still Water," is exceptional right from its intro thanks to some splendid riffs and Zonder's exceptional drumming. Zonder, in particular, has the merit of being able to add wonderful fills in syncopated rhythms while Alder graces the song with a strong and impactful voice. Noteworthy is the appearance of future Dream Theater singer, James LaBrie, who here handles backing vocals, singing the verses with contrasting tones but at the same time demonstrating a remarkable ability to phrase with Alder.

Although I don't consider it so, 'Parallels' is considered the most commercial album of the Warning; however, it is curious to note how such works usually do not stand the test of time and, with the passing of years, fall into oblivion. Well, 'Parallels' escapes all that... and for me, it is always a great joy when I happen to read the Warning concert setlists and notice that the band still continues to play a large part of the pieces from this work. Another reason for great joy comes from the tracklist of "Live in Athens" (2005 DVD), which contains 3 pieces from this Parallels ("Life In Still Water," "The Eleventh Hour" and "Point Of View"). If only all albums labeled as "commercial" by critics were so eternal...

Continuing in my review, I cannot help but point out "Eye To Eye" and indeed " Point Of View," ... both characterized by very catchy melodies, just as Alder's singing is very catchy. However, I repeat, they are far from being just any commercial hit, as evidenced by the double guitar solo from the award-winning Matheos / Aresti team, which surely keeps them light years away from being considered commercial hits of 1991 or any other year. "We Only Say Goodbye" is a power ballad that has the merit of touching our hearts and is still very much in demand live. The album obviously has its progressive moments... take the epic "The Eleventh Hour" for example. It is the central piece of 'Parallels'; a very peaceful beginning with a sweet and effect-laden acoustic guitar accompanied by deep vocal lines erupts midway through the song in a "prog-metal assault" with dynamic parts and odd rhythms. The melodic riff introduced at the beginning leads to a tremendous example of guitar virtuosity. It is undoubtedly another staple of Fates Warning's live performances (and entire discography).

All bands playing melodic metal with sprinkles of prog (and vice versa) should know this album and love it deeply. It's from here that everything started. It's from here that people could no longer ignore the fact that an album could be progressive, melodic, and metal at the same time. As I wrote above, 'Parallels' is an excellent album for those who want to start getting acquainted with Fates Warning... it certainly does not represent the whole versatility of the band and what it achieved previously; but it's undoubtedly better to start here than with "Disconnected" (2000) or "The Spectre Within" (1985), which are undoubtedly more complex albums and seem at least daunting, if not meaningless, upon first listen. Another recommendation, if you liked this 'Parallels' you will definitely like "Inside Out" (1994) as well; if instead, you're looking for something heavier, all you need to do is scroll back through the Warning's discography and listen to 'Perfect Symmetry'... it will undoubtedly give you the opportunity to appreciate the band's growth and metamorphosis. After that, you can focus on their productions from the early '80s, and finally arrive at the two supreme (and daunting) masterpieces: "A Pleasant Shade Of Gray" (1997) and "Disconnected".