Customer Reviews

Pleasant Shade of Gray

5 star:		(42)
4 star:		(5)
3 star:		(4)
2 star:		(2)
1 star:		(6)

 

 

Progressive metal...the term has a fair share of connotations. What does it really mean? I believe "progressive" music is that which is original and ambitious, pushing the traditional limits set by genres. It forges its own path of artistic discovery, defying trends and refusing to rest on its laurels. Dream Theater and Tool are both progressive metal bands, but they are musically very different. With A Pleasant Shade of Gray, Fates Warning carves its own little niche in the progressive metal world. As far as progressive metal goes, this is one of the most absorbing, original, and experimental albums in the genre.

Since Awaken the Guardian, Fates Warning has been known as one of the more sophisticated metal bands in the business. Still, their progressive touches were just that -- touches. Never before have they so fully embraced their progressive side. A Pleasant Shade of Gray seems to me to be the culmination of the band's career, combining the best of their melodic awareness, emotion, and creativity with stirring new musical directions. This album sounds little like the band's previous work. If you see the back of the CD case, you may think it's unusual that there is no track listing. That is because A Pleasant Shade of Gray consists entirely of its title track, a 55-minute progressive opus. It is divided into 12 parts so that it is easy navigate, but these tracks have no individual names themselves. It does not to me seem to be a concept album...more of a dream, really. It seems to be a constant stream of thoughts about love, loss, and sadness, brought to an end but the sudden ringing of an alarm clock in the album's final seconds. Jim Matheos' lyrics are usually simple, but very poetic and expressive.

Aside from the complex, textured production, the first thing you'll probably notice is the addition of keyboardist Kevin Moore (ex-Dream Theater). His role is critical on this album, because this song/album relies so heavily on subtlety, mood, and texture. A Pleasant Shade of Gray is almost uniformly slow and heavy, so don't expect an adrenaline rush like Dream Theater's Scenes from a Memory. Only occasionally does it speed up, as on Parts V and XI, and briefly on Part VIII. The album is characterized by despondency and sadness, lucidly reflected in the lyrics and the music. While this is artistically interesting, it does initially make the album feel boring and ponderously slow. There are no hooks to speak of...nothing that leaps out at you. This album requires an intuitive and patient listener. After several listens, a listener will begin to detect repeated themes, such as the shared chorus of Parts V and VII, the repeated piano melody of Part VII and VIII, and many more. These qualities tie the album together and effectively lend credence to its assertion of being "one big song."

A Pleasant Shade of Gray is really a study in subtlety and emotion. While you expect most progressive metal bands to make you dizzy with their technical skills, Fates Warning resigns themselves to using their admirable skill to create beautiful atmosphere and emotion rather than pretense. Mark Zonder's crisp cymbals lend delicious nuance rather than fiery octopus drumming (although he's still a killer musician). Jim Matheos plays only two guitar solos on this disc (Parts VI and IX), but they're both gorgeous. Rather than shred-fests, they are slow and emotionally charged. Vocalist Ray Alder is stunning, singing comfortably inside his range and conveying more emotion than on any previous Fates Warning album! His singing style is similar to Geoff Tate, and he's just as emotionally powerful. Nowhere is this more evident than on Part IX, which would be a simply stunning ballad if taken on its own. In context with the rest of the album, it is so much more powerful. Kevin Moore doesn't play any leads or fancy stuff, but his contribution is stunning. His keyboards are a huge part of what creates the music's icy tone. The piano/acoustic guitar interplay on Part VIII is beautiful beyond words.

I recommend listening to A Pleasant Shade of Gray through a good set of headphones. Otherwise, you might find it just blending into the background. The production is very intricate and full of subtleties that may not be detected unless the music is sent directly into your ears. This way, you can hear the album's wealth of nuance -- the layers of chilling synths, the subtle electronica textures, the quieter chords, the faint hiss of a cymbal, and so on. All these ingredients make me marvel at Jim Matheos' compositional ingenuity.

Those lacking patience and expecting a thrill-a-second musical explosion will be disappointed. Those with an appreciation for creativity and emotional, heavy, and atmospheric progressive music should enjoy this release. Or maybe not. But I know I like it, and it's unfortunate that so many people pass it up.

I'm not reviewing this as a Fates Warning fan because this is my first real exposure to this band, so I'm not sure how it compares to their other work. Someone mentioned this album in a conversation, describing it as a single 55 minute song. Naturally, with my intrinsic ardor for long songs, I ordered this album. To say I was impressed would be a gross understatement.

I must admit this album took some time to hook me. It's not very accessible, being slow and heavy, with a despondent mood. On about the third listen, I was beginning to pick up on the musical ingenuity and the unity of the album. By the fifth listen, I was fully entranced by the dark tone, the melancholy lyrics, and the superb atmosphere created by the musicians. Some listeners might be deterred by its inaccessibility. Cynical -- and unlucky -- listeners will dismiss the album as a slow, boring plod through hackneyed conventions of progressive metal.

But those who give it a chance will be satisfied. The album plays out like a mysterious dreamscape and a constant stream of thoughts, with intermittent themes and recurring lyrical ideas. It pushes the listener into a hazy state of mind and takes to you on a 55 minute journey that runs through the gamut of emotions, thanks to the emotive vocalist Ray Alder and the atmospheric keyboards of Kevin Moore (ex-Dream Theater). The guitars also make quite an impression; gone are conventional solos and long-winded instrumental sections that are staple elements in progmetal, replaced by mellifluous and concise passages that supplement the feelings in the music. The result is a trance-inducing musical excursion that makes you think *and* feel.

An excellent album, one of the few that taps the true spirit of music.

A Pleasant Shade of Gray is a masterful album that brings out the best in progressive metal. It is essentially one long song, broken into 12 parts for ease of navigation. It's not really a concept album, because the lyrics are not really a concept per se, but rather seemingly stream-of-consciousness lyrical diety. This album stunned me. It is nothing like any of Fates Warning's previous works, and it is in my opinion their best. Guitarist Jim Matheos outdoes himself here, not only in his fine riffing and soloing, but in his compositional skills. For one man to write all the music and lyrics in this masterpiece is an achievement unparalled in the genre. Matheos is not the only standout, however. Of course we have the legendary singing and drumming of Ray Alder and Mark Zonder respectively, as well as powerhouse ex-Armored Saint bassist Joey Vera. But the real surprise on this album is the performance of ex-Dream Theater keyboardist Kevin Moore. Listening to Moore's seamless integration into the sound of Fates Warning makes you swear that the band has had a keyboardist all along, when in fact they have only used one (usually Moore) on a few songs here and there. His presence makes up for the loss of second guitarist Frank Aresti who left the band in 1996 after 10 years of service. Conclusion: Jim Matheos is a genius and this album is a must-own.

The band. The album. The song. This cd has it all. This is, in my mind, clearly the most perfect piece of music ever created. From the wonderfully unsettling first chord, this masterpiece descends through all depths of human emotion. Jim Matheos (guitarist, lyricist, songwriter) writes deep, thought provoking lyrics the likes of which are to be found nowhere else. The vocals are perfect. Ray Alder delivers a spectacular performance. While very skilled, trained, and able, Ray does not stick to the traditional operatic vocals featured by James LaBrie of Dream Theater. Ray has a wonderful style, able to use vibrato profusely and sparsely, depending on the situation. The vocal melodies on APSOG are some of the best ever written in my opinion. The drumming is by the amazing Mark Zonder. Wow! Apparently Mr. Zonder's middle name is "Tasteful Yet Technical"... the drumming on APSOG ranges from minimalistic and quirky to intense and technical. However, Zonder is never in poor taste. Beautiful cymbal work and blazing fills are just part of why Mark Zonder is, in my opinion, progressive music's finest drummer. The guitar parts range from syncopated rythm cords to beautiful acoustic solo pieces. If you are looking for a deep, introspective and thoughtful album, this is THE cd for you. If you are just getting into Fates Warning or progressive metal, this is THE cd for you. Clocking in at 53 minutes, "A Pleasant Shade Of Gray" is one continuous epic masterpiece written by virtuoso Jim Matheos... an awe inspiring and tremendously emotional piece. Rating: 100% - PERFECT --mark--

APSOG is something of an anomaly in the progressive-metal subgenre: a genuinely groundbreaking work with very few obvious influences. I should mention at the outset that labelling this CD as 'metal' in the classical sense is almost meaningless, as the album is more concerned with the creation and sustenance of mood, tone and texture than pumelling the listener with an all out assault on the senses. That isnt to say this isnt a _heavy_ album: my definition of heavy apparently transcends guitar tone and speed and flows out into rhythmic complexity and sheer, overbearing menace.
That said, APSOG is very difficult to describe effectively. The emphasis initially seems to be on Matheos' stunningly evocative and understatedly complex guitar work (there are only two solos on this CD, and both are brief), but repeat listens reveal the truth, which is that APSOG turns on an impressive dual attack of guitar and keyboards (courtesy of Sir Kevin Moore of Dream Theater fame). This interplay is best exposed in the simply minblowing instrumental track, part 8.
Ray Alder's impressive vocals are also an integral part of the formula, as his range is dramatic, but his performance here is actually somewhat restrained, even delicate, which suits the gloomy, layered mood of the music perfectly. Mark Zonders drumming is simply world class (he is at the _very_ top of the pile of modern rock/metal drummers), interweaving complexity, subtelty and some of the most tasteful playing prog metal will ever see.
The album itself is one long track split into twelve segments. the tracks flow together extremely well, and a real mood is created and sustained from song to song. There are melodies here, but they are not obvious: more, they unfold over time in the listeners mind.
As an experiment and a deliberate attempt to create something new and exciting in a genre which (although I love it) has seen its fair share of stagnation and derivative albums (much like any genre really) APSOG is an unadulterated triumph. It is fresh, compelling, dark, menacing, original and has real longevity.
The ending to the final track is probably the most delicately beautiful moment to emerge from the oft maligned progressive metal genre, or indeed any genre, and is worth the entrance price alone. These are just some of the reasons I consider APSOG to be a true masterpiece.

This cd seems to either get slammed or glorified. It is vastly different than the other Fates's cd's I own (or any other progressive metal cd I've heard). It is very slow paced but builds through out the cd. To me it has an atomospheric type sound somewhat similiar to Floyd. The first couple of listens I wasn't sure what to make of it, but it steadily grew on me. Now it is one of my favourite cd's.

Often compared to their peers Dream Theater,Fates Warning lack the tremendous succes and fan appeal of the latter,yet they are a much more genuine progressive-metal band:Ray Alder is a great vocalist(no matter the setting,studio or live),while the band as a whole create a sound that is much more alive than that of Dream Theater's -the overall effect is that of a band TRULY creating progressive music,as opposed to that of good musicians playing at the genre.This album is a stunning masterpiece:in a better world Fates Warning Would have achieved the status they deserve.

The first thing anyone who buys this album has to do is throw away all expectations. Banish the word "metal" from your vocabulary and just focus in on what this album really is; music.

Next, put the album in your CD player and bring the lights down low. You have to remember that, while you should focus on this being music, also remember that most music is a journey and A Pleasant Shade of Gray is a deep, introspective journey.

Press Play.
Enjoy.

From the opening chord of the album, you feel an immense amount of distance between yourself and the music-- the sound of rain as the slowly played notes ring in your stereo. Thunder crashing-- where are we? The keyboard comes in, mimicking the guitar from earlier and then silence. Ray Alder beings to sing, slowly, purposefully, emoting each word--telling a story. "So where do we begin and what else can we say..." Ray slowly brings you closer, warming you up with his strong tenor.

There is nothing normal about this album in any sense of the word. The lyrical content, the music (that is now the embodiment of how heavy Fates Warning will get on a disc), the song structure (the album is actually one song broken up because the record label requested it) even the packaging. This disc offers a unique look at the human psyche in a way that isn't cheesy or rudimentary--in short, it's interesting and not the same banter seventeen year olds talk about when they're high!

If I were to describe the musical direction I could choose to use the word progressive, but why bother? The automatic thought is to equate them to Dream Theater (the album does feature original DT keyboardist Kevin Moore) and this is not the case. In fact, they are far from Dream Theater. In fact, the three words are almost contradictory but I would describe Fates Warning as Minimalist Progressive Metal-- if a label was required.

APSoG uses repetition in musical themes and lyrical content to hold the 50min piece together and it works. Jim Matheos has two solos on the entire disc and each of them is beautiful and exact. I choose the word "exact" because it's easy to play a solo in a song, but Jim fits the mood and adds a new texture to the song. The guitar solo in "Part VI" (the half way point of the album) is a work of art, not a shred fest, but an emotional climax!

At this stage in there careers, you couldn't have compared APSoG with any other Fates Warning disc. It was/is a unique part of the varied and storied history that is Fates Warning-- but for all of you fans who started off with FWX or Disconnected, you will NOT be disappointed with this album whatsoever and will hear similarities galore. It's obvious which direction Fates Warning are headed now but it's comforting to know that A Pleasant Shade of Gray was at the foundation of that change.

A Pleasant Shade of Gray is without a doubt Fates' best album, technically superior to anything they have done before, lyrically, and especially tematically. I don't think it's right to try to compare it with Fates' previous works, it's simply in a different league, a league totally of it's own. So don't expect it to be like any of their older albums. In my opinion this is one of the boldest statements of dedication to prog rock we have seen so far, they build the universe they want, they colour it and texture it without compromise.

If you are into art rock, prog rock of highest quality, look no further.

Fates Warning offers it's most ambitious, and tightly focused work to date with the release of the masterful 'A Pleasant Shade of Gray'. Long a staple of the progressive rock genre, 'Gray' is a peek into the brilliant mind of guitarist and principle songwriter Jim Matheos. The album, one continual song, explores a darker side of life, and love. The virtuosity displayed by Matheos, drummer Mark Zonder, and bassist Joey Vera (along with a guest appearance by former Dream Theater keyboardist Kevin Moore) is nothing short of spectacular. Together, the foursome create a musical ambiance that must be heard to be believed. But for all their technical mastery, it is the voice of lead vocalist Ray Alder that makes the album truly stand out. Alder's range and power are very similar to Queensryche's Geoff Tate. Throughout the ride that is 'Gray', Alder never fails to perfectly express Matheos lyrics. On previous efforts, Fates Warning would sometimes sacrafice the song for extended instrumental jams. And while there is no shortage of fireworks on this album, the group as a whole has created what will be looked upon as one of the difinitive progressive rock albums of all time. It is never self-indulgent, and after the album is through, it leaves the listener begging for more.