Reviews list for Fates Warning - Night on Bröcken (1984)

Back in the early 80's when the metal world was going crazy for the rise of thrash metal and the NWOBHM (New Wave of British Heavy Metal), a new, Connecticut-based band quietly unleashed this gem upon the world, to little or no mainstream recognition; Fates Warning were laying down the blueprint for what would become progressive metal.

Sounding almost identical to early Iron Maiden, 'Night on Bröcken' takes most of its influence from the NWOBHM, with melodic, galloping guitar riffs, choc-full of harmonies and duel-guitar leads. Vocalist John Arch even sounds like Maiden's Bruce Dickinson at times. But with some interesting song arrangements and a few odd time-signatures thrown in, Fates Warning were laying down the foundations that bands like Dream Theater and Queensrÿche would build upon to make prog metal what it is today.

Fates Warning would certainly go on to release better albums than this, but this is a good, solid debut, with some memorable songs and some catchy hooks. Sadly, this record hasn't really stood the test of time, as it's mostly forgotten about today. But if you like NWOBHM or you're interested to hear the roots of progressive metal, then it's worth keeping an eye out for.

Fates Warning’s debut album is charming and fun to listen to - it is the sound of a band wearing their influences on their sleeves, yet to find their own sound, but definitely headed in the right direction. The playing is solid, the songs reasonably constructed, and the production isn’t terrible, but it is far from original and is really only a hint at what they would achieve on their subsequent albums. Absent are the progressive guitar flourishes and time signatures, the more idiosyncratic vocal acrobatics from John Arch, and the more introspective lyrical themes and allusions.

That being said, there are some dusty metal gems to be dug up here. The opener “Buried Alive” sounds like it could have been an out-take from Judas Priest’s “Screaming For Vengeance” sessions - all racing British metal riffs and soaring vocals. The album continues with a barrage of influences that are unmistakable: their fellow Americans Queensryche (“The Calling”), whose debut EP had been released the previous year and whose sound was a new fusion of NWOBHM and American melodic metal; Judas Priest again (“Kiss Of Death”, “Misfit”); and of course Iron Maiden (“Night On Brocken”, “Soldier Boy”) aided by John Arch’s similar voice soaring ever higher than Bruce’s. “Damnation” is an engaging epic towards the end of the record, again showing where the band would head when they began to unfold their musical wings on their next record.

All in all, this is a fun record, but not an essential listen. It’s certainly not where I’d start listening to Fates, but it is an enjoyable listen for fans of early Queensryche, and of interest to fans as a snapshot of the band in their formative years, offloading their less original material and on the cusp of creating something more.