Reviews list for Fates Warning - Parallels (1991)

The 1991 sixth full-length from Connecticut progressive metallers Fates Warning would represent not only my introduction to the band but would also be the only one of their releases I'd dish out my hard-earned cash for with my purchase of the CD coming very shortly after its release & off the back of my experiences with the magnificent "Point of View" single which was being consistently flogged on late-night metal radio programming at the time. "Parallels" would also be the last Fates Warning album I'd ever bother to check out which is a little strange when you consider that I still regard it as being the best of the four records I'm familiar with from them. Still... better late than never I guess as I fully intend to get there eventually. It's been a little while since I revisited "Parallels" though so it's well past time that I got a well-informed rating up on the Academy for it. Let's see how I went.

Fates Warning's first three albums from 1984-86 were all heavily weighted towards a US power metal sound with the last two (1985's "The Spectre Within" & 1986's "Awaken The Guardian") also sitting amongst the most complex & ambitious examples of metal music released to the time. Their debut "Night on Bröcken" was merely a chance to break the ice & saw the band simply emulating their NWOBHM idols Iron Maiden but things got significantly more creative after that with their two 1980's classics taking a much more technically challenging road & achieving suitable notoriety as a result. I didn't mind "Night on Bröcken" & "Awaken The Guardian" but it was "The Spectre Within" that I found the most appeal in &, of the three, it's still the one that I go back to when I feel the inclination for 80's Fates Warning. Despite possessing clear prog credentials though, "Parallels" is a very different record from that trio of early works & it makes me wonder what I might have missed out on with the two albums in between "Awaken The Guardian" & "Parallels". The 1991 Fates Warning model is a much cleaner & more sophisticated one to the band's more aggressive roots, utilizing strong prog rock influences for a moodier result that leans hard on social issues for inspiration. Rush was no doubt a huge source of influence at the time with three or four of the songs feeling more like rock than they do metal. The more metallic inclusions see the instrumentalists flexing their rhythmic muscles through structurally complex time signatures & less riff-oriented textures which makes for a highly intellectual sound that I would imagine wouldn't appeal to some metalheads. For me though, it showcases a new level of maturity & creativity for Fates Warning over their early works & it worked a treat for me as a teenager.

The tracklisting begins in stellar fashion with the technicalities of opener "Leave the Past Behind" being balanced by some brilliant hooks & vocalist Ray Alder proving himself to be infinitely more capable than divisive original front man John Arch. In fact, Alder is so wonderful on this record that I have to question why he's not spoken of more often when discussing the great metal singers of all time, such is his range & control. But the opener would not be the only highlight to be included on "Parallels" with the two real classics being the previously mentioned progressive metal anthem "Point of View" & the splendidly atmospheric prog rock closer "The Road Goes on Forever", both of which would go on to become some of my very favourite tracks of the early 1990's. The rest of the tracklisting sees the quality levels varying a little with the fairly insignificant prog rock of "We Only Say Goodbye" being the only clear failure. Songs like "Life in Still Water", "The Eleventh Hour" & "Don't Follow Me" are all high-quality examples of their type while the hard rocking riffs of "Eye To Eye" are merely pleasant without taking the same grip on the listener's emotions that the better tracks so emphatically achieve.

While "Parallels" may be a little less metal than Fates Warning's 80's classics, there can be no doubt that it's still an inherently progressive release & it shouldn't alienate fans of the other two US prog metal heavyweights in Queensryche & Dream Theater in any way as there are easily enough points of comparison to satisfy the fan bases of all three classic bands. Alder's contribution puts him right up with Geoff Tate & James LaBrie in my opinion (perhaps even surpassing the latter) & I can't help but think that I may have missed a trick by not fully exploring the rest of the band's Alder-fronted back catalogue at some point. Perhaps I've just been a little fearful of what Fates Warning might become following the hints at more of a rocky direction on this record but I've certainly found my interest peaked by this revisit which has only firmed up my opinions on what was already my favourite Fates Warning release to begin with. 

1991's 'Parallels', which was my introduction to Fates Warning, is a continuation of where the band had been going with previous album 'Perfect Symmetry'. The power metal influences of their early days were long gone, replaced by a more technical and methodical approach, and with more emphasis on melody than speed.

I was fairly new to progressive metal when I came across Fates Warning, a band who were influential in the genres early days. Being a fan of bands like Dream Theater and Symphony X, I assumed the key element was technical virtuosity (and a keyboard player!). So it was a change of pace when I first stumbled across this album.

While the musical acrobatics won't impress as much as the aforementioned groups, it's the bands commitment to strong songwriting that carries them. In particular, Jim Matheos and Frank Aresti's guitar playing is impressive, especially when using distorted and clean sounds simultaneously. 'Eye to Eye'. 'Point of View', 'Life in Still Water' and 'The Eleventh Hour' are all examples of this bands solid chemistry, with plenty of tasty guitar riffs, interesting harmonies and powerful vocals all on display.

'Parallels' is a great album, and a good starting point for newcomers to the band. Heavy enough to appeal to metal fans, melodic enough to appeal to rock fans, and ambitious enough to interest prog fans, it's an easily accessible album that can be enjoyed by everyone.

Blows my mind that Ray Alder isn’t considered one of the canon greats of metal vocalists. The music here is technical and complex Prog Metal, but the vocals are total AOR a la Queensryche. Ray’s range is very impressive, he can hit incredibly high registers without getting pitchy or strained, and carry a passionate weight all the while. The way he harmonizes with himself are flawless, and again making comparisons to Queensryche, the choruses on this thing are catchier than the vast majority of Pop music. The lyrics aren’t shallow by a longshot, but pretty clearly revolve around feelings of lost human connection, letting go, and moving on. Or in Pop terms, breakup songs.

Probably an odd way to praise a Prog Metal album by immediately comparing it to Pop music and focusing on the vocals, but whatever. The songwriting is quite similar to the prior Perfect Symmetry, but it’s a bit simpler in structure and with better production. There was an obvious emphasis on melody and catchiness when writing this one. Fates Warning certainly tread the softer side of the genre, but unlike Queensryche, the musicianship is very technical indeed, and simple choruses where the vocals can shine often give way to incredibly intricate verses and instrumental segments. Though most of the album is the simple Rock ensemble of instruments, layering and production effects ensure a depth to the sound that reveals more with each listen.

While every song here is fantastic, I will admit the ending tracks are weaker, except for “We Only Say Goodbye” which is a Pop Prog masterpiece. Probably my favorite song by the band by this point, the lyricism and emotion in Alder’s voice play over simple yet evocative guitar lines that pull every heart string. Such a beautifully passionate song that is sad yet strong. Like much of this album, really. Despite how catchy and melodic it is, “Parallels” is a truly somber package, best enjoyed when you are reeling from loss but still want to sing along to some good music.