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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Disconnect yourself from Pop-Culture, August 5, 2000
Forget what you thought you knew about popular music. Disconnect your brain from the concepts of traditional rhythm, classical harmony, conventional song structure and stereo-typical pop culture ideals. Got it all erased? Now you are prepared to delve into the mastering minds of progressive metal's masters, Fates Warning. After having taken the concept album seeming as far as they possibly could in every direction on the epic A Pleasant Shade of Grey, the Connecticut sons return with a more focused effort, though no less ambitious in writing. Disconnected seeks to bring together the masterwork ideal of thematic writing with the more song oriented flow from the Parallels/ Perfect Symmetry/ No Exit era. Disconnected finds the core trio of Ray Alder (voices), Jim Matheos (guitars), Mark Zonder (percussion) rejoining forces with long-time friends Joey Vera (bass, from Armored Saint) and Kevin Moore (keyboards, from Dream Theater). The flowing ebb and wake the quintet creates through pastoral colouring of sound is as dynamically expressive as it is musically complex. There are few bands with the structured musicianship that Fates Warning consistently bring to the table. Their experimentation with textures and sound colouration harmonically is intertwined with their disregard of time signatures in an effortless flow. The grace by which the quintet conquer the traditional bounds of music is inspiring and the lines soar as much as they whisper.Disconnected is what past Fates Warning fans have been longing for the past several efforts while establishing a new direction for the band in the next decade. After nearly twenty years their sound transcends the definition of maturity and exudes a depth of style and precision that encompasses the true spirit of music, both in mechanics and artistic expression. You have been warned about defining music by traditional orchestrated structure, now accept the hand the fates have dealt to you. Disconnect every previous notion you have and embrace the value of Fates Warning.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars
A pleasant shade of.. yellow?, October 5, 2001
I always hate to use the word 'mature' describing music, especially metal bands, but it's probably the best description. This is what metal should be like; not being loud for its own sake, but adding to the music. The Who understood. King Crimson, Dream Theater, Queensryche, they understand. And so does Fates Warning.Disconnection. Alienation, separation, loneliness. The subject has been dealt with many times before, true, but at least Fates (mostly) isn't resorting to cliches here. The lonely feeling is palpable throughout, from Ray Alder's dead-on vocal delivery to Jim Matheos's guitar wails that open and close the album. (Has he been listening to a little too much Robert Fripp lately? Nevermind.) Though Ray contributes a lyric or two, this is mostly Jim's baby. Hard to believe how far they've come since the D&D days of Awaken the Guardian, isn't it? There's hardly any soloing or showing off here, no wild screaming or frenzies of 64th notes. Like their previous A Pleasant Shade of Gray this is an album full of tones and textures, a recording where the production and ambiance is just as important as the music. This will also come as a relief to those who disliked the valium-induced-coma approach of PSoG. Though the mood is dark and dreary as ever - I still find Disconnected impossible to listen to if I'm in a happy mood - they've brought fire and energy back to the mix. Mark Zonder's wonderfully understated drumming gives everything just the punch it needs, and they've remembered to turn up the tempo again. The one exception is "So;" Ray sings tiredly and everyone else seems practically numb. And for that track, that's exacty how it should be. Is this album worth buying? That probably depends on what you're looking for. If you just want heavy metal, probably not. If you prefer subtlety in music you have to hear several times to appreciate, come right in. Welcome.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
the true progression...., April 28, 2001
How do you top A Pleasant Shade of Grey (APSOG)?You don't try to. I will have to admit, I was skeptical about this album. After all, APSOG didn't leave my heavy rotation for over a year (it didn't leave my cd player for three months!). Disconnected? This isn't a new theme. Queensryche has brushed on the subject several times, but not to the extent that ever satisfied me. So I popped this cd in and listened to it the first time. Impressive, but different. So I listened again. In reading some of the other reviews, some people were disappointed or were expecting something else I guess. So was I. My second listen was disappointing. There was something, I don't know what....disturbing? Annoying? Irritating? What was wrong? What was I missing? So I set it aside. For a few days. But the opening guitar riffs, which carry the familiarity of haunting whale sounds, stuck in my head. I put it back in and gave it a couple of more spins. I don't know if it grew on me, but I don't think so. I think I grasped the message. I can't write it here, because I can't verbalize it. All I can say is that they achieve in this album the feeling of disconnection that is ingrained in our societal consciousness. And they toast your socks off (nice and heavy). This isn't APSOG. Don't expect it to be. But what amazes me is the fact that these guys continue to produce such great albums without losing their way or losing their focus. They are in top form. Buy this album, definitely buy APSOG.
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