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I’ve been putting off writing a review for this album for some time. Partly it’s because it already has so many reviews which say almost all there is to say about this album (specifically, that it’s fucking incredible), and partly because it’s simply hard to write a review for such a truly spectacular album. It’s nearly impossible to shove enough praise at The Spectre Within, because no matter how eloquent your review is, it still will ultimately be an understatement. The Spectre Within is worthy of every bit of praise anyone on the metal archives could possibly give it, and then some. This is not an exaggeration – this is truth. This album transcends not only everything else Fates Warning has ever done, but damn near every bit of metal to ever be recorded. This is the absolute pinnacle of 80s American metal, and I say that with complete honesty.
So, while I could fill up a few more paragraphs with more generic (albeit well-deserved) praise for this album, this review cannot be infinitely long, and it wouldn’t be much of a review if I didn’t mention the music. I’ll start with the musicianship; this isn’t the most technical music ever written, but it’s not trying to be. The riffs and leads are technical enough to impress, but never more than that. The emphasis here is on melody and atmosphere, not on flashy guitar acrobatics. As with all USPM, the rhythm guitar is central to the music, providing the backbone of the songs, and the riffs here are of unmatched quality. Every riff is brimming with originality, propelling the songs along and demanding the attention of the listener. The drums are equally superb, with Steve Zimmerman hammering out loud, bold rhythms that perfectly complement the riffs. The bass, while not as central to the music as either of the aforementioned instruments, is well played and clicks right into place alongside the rest of the music. The lead guitar is used sparingly but is superb and very varied, ranging from frantic (but not flashy) on the faster tracks to slow and emotive on Epitaph.
...Which brings me to the vocals. John Arch deserves his own paragraph. Opinions on Arch tend to be rather polarized, as many find his voice annoying. This opinion, initially, is quite understandable; he has a very awkward, nasally tone that can make a bad first impression. His vocals, however, are completely and utterly incredible. Technically, he’s a very competent singer, capable of both ear-piercing highs and emotional midrange, but it’s not his voice that impresses so much as the unique way in which he uses it. The true magic behind Arch’s vocals is the complex, floating melodies he weaves above the music. Arch does not confine himself to following the riffs as many vocalists do; rather, he sings complex lines that add an additional layer to the music, with a presence equal to, if not greater than the rhythm guitar. That isn’t to say he’s completely separate from the music, however his vocals have a freedom from the rest of the music that few other singers, if any, can emulate. Arch also sings impressive harmonies, not only doubling the guitar behind his already complex vocal lines, such as on Pirates of the Underground, but also taking the place of a lead instrument, such as on The Apparition.
And now for the music itself: the songs are all fairly long, with Without a Trace being the shortest at 4:50 and Epitaph measuring an impressive 11:58. Despite the long song length, however, not once does a song sound plodding or dragged out. Every second of The Spectre Within is exploding with fresh and original ideas, from the opening bell tolls of Traveler in Time to the fading vocal harmonies at the end of Epitaph. Each song presents the listener with something new and exciting, and each melody brings its own uniqueness to the grandeur of the album. The album itself is pervaded by a dark, almost morbid atmosphere, brought about mainly by the combination of the ominous imagery of the lyrics and the ever-present riffs. Piercing the darkness is John Arch, weaving his aforementioned melodies, leading the listener through the album. Thematically, the album revolves around the concepts of death and the afterlife (with the slight exception of Pirates of the Underground), viewed through a different lens with each song. Traveler in Time marches steadily and relentlessly towards death, while Orphan Gypsy carelessly careens towards it. Kyrie Eleison desperately seeks a reprieve from death through religion, while Epitaph welcomes its release with open arms. The music and themes are tied together with marvelous songwriting; Traveler in Time’s march is clearly heard in its main riff. The Apparition’s yearning for enlightenment is urged on by its uplifting and energetic bridge. Further developing The Spectre Within’s theme are a set of brilliantly written lyrics – John Arch proves himself to be an extraordinary talented lyricist on every song, from Epitaph’s morbid hopelessness to the biting wit of Pirates of the Underground (which is a cleverly masked criticism of the lack of metal played on the radio).
Of course, The Spectre Within never loses its metal sensibilities for the sake of being artsy. Without a Trace is, at its heart, a galloping speed metal anthem. Likewise, The Apparition is pure melodic USPM. Stylistically, The Spectre Within stays a true heavy metal album, and it’s the fact that Fates Warning could craft such a masterpiece within that framework that truly impresses – the enjoyment here does not come strictly from the superb theme or artistic vision, it comes from the quality of the music. Even listening to it strictly as a metal album, The Spectre Within never once disappoints, which is quite an amazing feat. Even with all of its artistic splendor, The Spectre Within remains an album to which one can simply let go and headbang.
So, there you have it. The Spectre Within is a one of a kind album, the likes of which will probably never be recorded again. I have yet to hear an album that surpasses it, and probably never will.
There are two fairly distinct phases of Fates Warning to note. In the early years, primarily with John Arch on vocals (and ending with 1988's No Exit, the debut of Ray Alder in the band), they created classic, riff-heavy compositions in the vein of melodic speed metal with a dash of Maiden. Starting with Perfect Symmetry, a more mechanical, progressive entity took form. While this latter phase produced some interesting and memorable albums (Perfect Symmetry, Parallels, Inside Out), it is the classic Fate's Warning which I hold most dear. There is something truly atmospheric about their first three albums. 1984's Night On Bröcken was a solid debut with a few catchy pieces, but it's follow-up The Spectre Within is not only the finest album in the band's career...but one of the greatest melodic metal albums ever to emerge from the US of A.
Each of the seven tracks on Spectre creates a bold narrative vision, laden in the mystique of carefully plotted compositions and the haunting keen of John Arch. Outside of the music of Fate's Warning, one might find Arch annoying at best, but within the milieu of old, haunted speed metal landscapes, he shines like a fallen God. "Traveler in Time" creates a panorama of flowing bass and insanely catchy riffing which foreshadows their later, progressive work. The track also features some creepy acoustic segments with amazing vocal lines, bells, drumming, unbelievably awesome. "Orphan Gypsy" is powerful and sad, glistening melodies atop its forceful, circular intro riffing. The speed metal of the verse is amazing, but again, this band wrote riffs like no other, you can alreaady hear the adventurous nature the band would channel for the remainder of its career, even though the enveloping composition is somewhat traditional. The lyrical skill of this band was nearly unparalleled in its day, almost poetic.
'Young warrior to the drunken galley slave, running with the wind running wayward knave I'm a vagabond with a maëlstrom mind, my blood has left me behind So go away, leave me alone, if you look in my eyes you see only stone I won't let you in, I can lock you out, in your world, your fallacy, I don't want desolate island debris'
Just when you thought you were losing yourself in the high mystique of The Spectre Within, it moors you back to Earth with a pair of pure metal ragers. "Without a Trace" features a lick Iron Maiden only WISHED they came up with, and "Pirates of the Underground" is simply incredible, with a gung ho vibe to its volley of riffs, an almost doom/speed hybrid in its verse. "Apparition" has Arch at his best, the vocal melodies are inescapably memorable, and the riffs plod along with limitless grandeur. "Kyrie Eleison" opens with some chanting and then proceeds to create moody atmospheric doom the likes of many others only dream of conjuring, before the amazing verse riffing picks up speed. The epic length album closer "Epitaph" runs nearly 12 minutes length, and never grows dull. 12 minutes of perfection, from the monolithic doomy intro riff to the flourish of proggish synthesizers in the closing seconds. At this point you know you've been on quite the journey, once the album ends you can return to the world of sunshine.
The Spectre Within has a timeless production, the album has never become dated, except in the technical sense. This is a testament to the superb quality of every second of riffing on the disc. There are no weak tracks, no boring moments, and nothing even bordering on 80s cheese. The album is dark and serious, haunting and morose, with only a smattering of fist pumping metal excitement on "Without a Trace" and "Pirates of the Underground". This is one of the very best releases of classic American metal, and one of the best for Metal Blade/Restless. Yes, despite the rash of trendy modern signings the label has made to stay afloat in this tasteful era, they were once the mightiest label around, with a roster of legends. Fate's Warning is surely one of those legends, and this album represents their finest hour.
John Arch. Those words alone show how amazing this album is. One of the most unique and incredible singers I have ever heard. Sure, he is somewhat annoying at first, he resembles Bruce Dickinson and everything else people say about him is probably true. However, no one can do what he does. I'm not really sure what is it that he does, but he does it, and it sounds amazing. But of course, a singer isn't the only thing that says if an album is good or not. Don’t worry though, because "The Spectre Within" is a masterpiece of power/prog metal. Most people prefer "Awaken The Guardian", and while I love that album too, this is their crowning achievement, in my opinion. Here they started to show some hints of prog influence on their sound, but overall it still is US power metal. There is also a thrash influence on the riffs, but more on that later. I still remember the day I bought this album. I had never heard anything from FW before, and I don’t have the habit of buying CD’s without downloading it and getting my conclusions first. But I trusted MA (more precisely, UltraBoris) reviews and bought it without knowing what to expect. Getting home, I go to my room and put it on my CD player. I press play. The music starts and I think “Yeah, pretty good music”. The vocals enter and I think “OMG, who is this idiot raping my ears?” No kidding, that is what I thought at first listen. It has been said on the previous reviews and I agree wholeheartedly: this album is an acquired taste. Is not something you’ll listen once and think “What a masterpiece!” No, it takes time. Time not only to understand the music itself, but mostly to get used to John Arch’s vocals. Sometimes it will take just a few repeated listens, others it will require much more patience. But in the end, it is worth it.
The music here is unique. The sound can be described as a mix of US power metal with some influence of thrash in the riffage, some characteristics from the N.W.O.B.H.M and an atmosphere completely different from anything I’ve ever heard. There are some heavier and faster songs like “Kyrie Eleison” and “Without A Trace”, some more mid-paced moments like “Orphan Gypsy” and “The Apparition”. Then you have the ever-changing nature of the long epics “Traveler In Time” and “Pirates Of The Underground”, the first one being the second best song here, after “The Apparition”. And to perfectly finish the album, you have “Epitaph”, an atmospheric epic with a somewhat creepy performance from Arch. Every song has impressive riffs; some great solos here and then; effective, although simple, drumming and good bass playing to round it up. Thanks to the excellent production we can hear every single instrument, even the bass. Another thing that I must mention is that every song has a memorable chorus, except “Epitaph” and "Pirates Of The Underground, but I don’t think that song even has a chorus.
While I was writing this review, I thought a little more about what I said before concerning Mr. Arch’s vocals (and read the other reviews again), and I think I finally understood what is it that makes him so unique. He is MAGIC. Not only he has a huge range, capable of changing notes and pitches in instants and holding them for seconds, he can create melodies with his voice that are trance-inducing, and he sings them throughout the whole album. Yeah.
So that is all I can say about this album. Nothing new, really, but there isn't anything else that needs to be said. It is a must-have for everyone that likes metal, and for everyone with a fascination for vocal skills. The amount of talent contained here is guaranteed to kick the ass of any Pantera fan in miles. It is a shame that this album is so underrated, even among FW fans, because it is, undoubtedly, their best. All hail Jim Matheos, Victor Arduini, Joe Dibiase, Steve Zimmerman and, especially, John Arch.
In the four corners of life are the golden mirrors reflecting what you are and what you are to be. In the first is a young boy, white dove in his hand. In the second is a warrior in armour. In the third is an old man, gold watch in his hand. Fourth and last, there's The Spectre Within. It has no reflection at all. There is nothing like this. This is a power metal album with exceptional complexity and viscerality that heavily emphasizes both the vocals and the riffs. Although the excellent successor 'Awaken the Guardian' does share these traits, the two are still very different; the fantastic atmosphere is present in both, but here fantasy is comparatively less prevalent, while death and darkness are ubiquitous, and this is more thrusting forward in contrast to the symphonic soaring of 'Awaken the Guardian.' It sucks the listener into the abysmal maelstrom of clashing thoughts, through a labyrinthine path of convoluted structure and unpredictable shape.
John Arch's vocals form the core of the album's sound. Voice-wise, he could be described as a nasal version of Bruce Dickinson or Geoff Tate, but perhaps he resembles 1970s' Halford more overall in the inaccessible and twisted vocal lines – and he takes the vocal twist to the extreme. Like Halford's line in the bridge of 'Stained Class,' John Arch's phrases are long-winded and melodically rich, with many notes and pitch-changes. Almost every phrase is extended beyond the typical length, yet it feels logical – even absolutely necessary. John Arch sounds like he is warping the musical environment around himself, and these lengthy twisting vocal lines lend a sophisticated and dark mood to the overall music. Mostly he is high-pitched, especially soaring incredibly high in the endings of 'Orphan Gypsy' and 'The Apparition,' but sometimes, as in the pre-chorus of 'Kyrie Elesion' or the first verse of 'Epitaph,' his voice turns lower and sinister. He also sings in a ballad-like way in the third part of 'Epitaph,' as well as providing almost distorted vocals in the second bridge of 'Traveler in Time' (the "sacrifice the living for life" part) and some low-volume, subliminal spoken words in the third section of 'Pirates of the Underground' (probably backward as well, if it is a faithful representation of the lyrics "preacher man spins backward secret messages"), though he never completely changes his voice like King Diamond. Moreover, the various passages without lyrics, consisting of "ah"s and "oh"s, are employed with melodic significance, sounding composed, not improvised. Even the very short screaming phrases like the one announcing the entrance of the last verse of 'Without a Trace' or the one in 'Kyrie Elesion' that leads into the guitar solo have anticipatory melodies related to the following music, and every song has more than one extended shouting consisting of five or more notes, like the one between the bridge and the last verse of 'Orphan Gypsy.' The non-lyrical vocals sometimes even take the role of a lead instrument, as in the section right after the first guitar solo in 'Traveler in Time,' the intro of 'The Apparition,' and the fourth part of 'Epitaph.' Also, they are overdubbed for providing background harmony, to an especially great dramatic effect in the final stanza of the middle section in 'The Apparition,' while in 'Pirates of the Underground' the overdubbed vocals almost form counterpoint with the main vocals. The ending phrases are often complex as well, such as the descending lines after the choruses of 'Traveler in Time' and 'Orphan Gypsy.'
Competing with and complementing the complexity of the vocal lines are the riffs with an almost thrash-like insistence on being prominent for most of the time. The riffs are not overtly technical – heavy metal riffs consisting of one power chord for two or four palm-muted notes either down-picked or alternate-picked are the most abundant, and although there is only one real thrash riff (the one right after the chorus of 'The Apparition'), there are some heavy riffs with visceral compulsion, such as the intro riff of 'The Apparition' or the main distorted riff in the first section of 'Epitaph,' helped by the crunchy guitar tone. Metalness is never sacrificed, but the riffs are still complex. Warped by the twisting vocals, there are rhythmic asymmetries and short noodling phrases thrown in (most prominently in 'Traveler in Time'), and some riffs, like the verse riff of 'Without a Trace,' follow the vocal twists into a darker section within themselves. The left-channel guitar usually plays in a slightly higher pitch than the right-channel guitar, sometimes resulting in arcane harmonies as in the chorus of 'Without a Trace.' The high degree of variation among the songs exhibited on this album certainly owes a significant part of its debt to the riffing – even the three fast songs have main riffs of different natures, from the grinding riffs of 'Orphan Gypsy' and the fast yet heavy chugging of 'Without a Trace' to the staccato speed metal gallops of 'Kyrie Elesion.' Riff progressions are very smooth, though not predictable, with various transitional phrases such as the tremolo connection of the first and second under-verse riffs of 'Orphan Gypsy' and the noodling melody between the verse riff and the chorus riff of 'Without a Trace.' There is even a guitar lick in the last verse of 'Kyrie Elesion' (right after "here I go and start to fall again"), heightening the dramatic effect and giving variation. Some riffs enter in varied forms throughout a song (most notable in 'Orphan Gypsy') and even different riffs often have melodic relevance with each other, lending a strong thematic consistency for each song. A sense of necessity is present in every riff transition – it feels inevitable that a certain riff came after another, and it seems to be the only right way to have arranged them. While the vocals are omnipresent during the verses, they leave room for riff breaks, such as the re-introduction of the intro riff after the first chorus of 'Without a Trace' and the quasi-thrash break of 'The Apparition.' The vocals and riffs are both highly idiosyncratic, but they are integrated well with each other: sometimes the riffs support the vocals, as in the intro of 'The Apparition,' while at others it provides contrast, such as the riff in between the first and second solos of 'Traveler in Time' which first allows the vocals to sing (or, in this case, play) the consonant and uplifting lead melody and then turns darker itself.
The vocals and rhythm guitars are definitely the greatest forces of the album, but the other voices have their contributions. Guitar solos are fast and shredding in general but controlled and integrated with the songs. There are some blazing super-shreds, but these are used with restraint, and on the lower strings, so they never become flashy. Excluding the slow solo in the third part of 'Epitaph,' the solos of 'Without a Trace' and 'Kyrie Elesion' are the most melodically articulate, with the solo of 'The Apparition' being more chaotic (though certainly within the framework of power metal solos and not even remotely resembling Slayer or Morbid Angel solos). Several, such as the second solo of 'Traveler in Time,' in contrast to the mentioned solos of 'Without a Trace' and 'Kyrie Elesion' which maintain a consistent mood throughout, go through brighter and darker phases as the riffscape changes underneath. Sometimes the solos are used to interesting effects; the fading last phrase of the first solo of 'Traveler in Time' hints at the "vocal lead-riff" that is to follow, and the second guitar solo of 'Without a Trace' begins with a slightly more elaborate version (five notes instead of three) of the main motif in the verse riff. The bass guitar is not prominent in terms of either production or composition, but there are a few instances of interesting performances, such as the supplying of an extra bit of melody in the chorus of 'Orphan Gypsy,' or doubling the vocal line ("tabernacle is forbidden") in the middle part of 'The Apparition,' and in the first part of 'Epitaph' the frequent absence of distorted guitars requires the bass to fill in the place in support of the acoustic guitar melodies. The drums follow the riffs for most of the time, hence naturally not very attention grabbing but interesting and varied (since the riffs are), and there are some fill-heavy sections such as the chorus of 'Traveler in Time' and the part between the solo and the final verse in 'Orphan Gypsy.'
Generally songs start with an introductory sequence of riffs, which leads into the first verse-chorus cycle made up of two verses followed by a chorus, then they enter the middle section consisting of a solo or two and a different verse, and finally ends with the second verse-chorus cycle, with only one verse and a chorus. Four of the seven songs, namely 'Traveler in Time,' 'Orphan Gypsy,' 'Without a Trace,' and 'Kyrie Elesion,' follow this pattern, though they all slightly differ from each other in construction. 'Traveler in Time,' the most epic of these, contains two separate solos and two middle-section verses, and a full-fledged riff sequence (and a subtle acoustic phrase) as an outro. 'Orphan Gypsy' has a very long introduction consisting of four riffs and a guitar solo, and unlike 'Without a Trace,' sends out the middle verse first before going into the main guitar solo. Both 'Without a Trace' and 'Kyrie Elesion' have two consecutive guitar solos with different tones (and the first ones are harmonized), but the others don't, and while 'Kyrie Elesion' lacks any middle verse, it is the only one with a pre-chorus. There are also some differences between the first verse-chorus cycle and the second, other than the fact that the verse part is twice as short the second time, minimizing the déjà vu effect. The tremolo phrase connecting the verse and chorus of the first cycle in 'Orphan Gypsy' is replaced by a drum fill in the second; 'Without a Trace' has the transitional melody between the verse and chorus of the first cycle omitted in the second, and the second verse-chorus cycle of 'Kyrie Elesion' starts with more intensity than the first does (manifesting the said intensity in higher-pitched notes). In fact, in the case of 'Orphan Gypsy,' each of the three verses is sung slightly differently.
The other three songs all have several seconds of silence (though sometimes the guitar sound is sustained faintly throughout the pause) within the songs that divide them into different parts, although in the case of 'The Apparition,' the main verse-chorus cycle repeats itself at the end, making it hard to consider it a truly multi-sectional song. 'The Apparition,' in fact, has the most conventional structure among all seven songs on the album, with a relatively shorter verse-chorus cycle which is repeated thrice, but the almost futuristic introduction with interwoven riffs, leads, and vocals and the intense middle section which is a world in itself, consisting of ever progressing verses and a frenzied solo as well as riff breaks, sets it above any cyclical redundancy. The other two are truly multi-sectional epics. 'Pirates of the Underground,' the lesser of the two, is in three parts. The first part consists of an introductory passage of three riffs and a guitar solo. The verses, which, save the repetition of the first verse (albeit with slightly different vocal delivery), progress linearly, make up the second part, and fast riffs with a harmonized solo and several lines of verses form the third part. 'Epitaph' is a staggering epic of almost twelve minutes divided into four parts. The first part is a series of contrasting distorted and acoustic guitar riffs, the second a fast twisting section, the third a calm, acoustic driven part with a slow guitar solo and ballad-like singing, and the fourth a build-up of riffs, vocals and keyboards, which finally fades out.
Thematic and atmospheric preoccupation with death is present throughout the album. From the clock ticks to the bell tolls, 'Traveler in Time' displays an obsession with the approaching of death through the passing of time, accentuated by the dark riffs and morbid vocals, while 'Kyrie Elesion' seems to be running away from death with the urgent gallops of the main riff and the haunting chase of the pre-chorus. 'The Apparition' and 'Epitaph,' however, are the most narrative. Following the introductory vocal-riffs showing desire and yearning for knowledge (about afterlife), and the "take me away" chorus, 'The Apparition' really does get taken away into an abyss of a thrash break. Then, with the words "I want to know," it morphs into a fast, somewhat uplifting but ambiguous speed metal section, enlightening and revelatory, which culminates with the repetition of the "no reflection at all" line, representing the lack of afterlife; first it is sung rapidly, the second time it is contemplatively extended, and the third time the pitch ascends high, perhaps in fear of reduction to nothingness, perhaps in ecstasy of being able to gain total liberation from the shackles of the world through death, or both, as the immediately following schizophrenic solo, which hesitates in the middle but rushes near the end, seems to hint toward. 'Epitaph' narrates the advent of death (likely suicide, as the lyrics suggest) in four parts – despair, dying, fading, and dirge. The contrasting "yeah"s and "no"s between the first and second verses strengthen the schizoid and nihilistic mood, and the descending last phrase of the first section takes the song into the frantic second section with a deathly suggestion. In the second section relating to the dying process, the morbid vocal melody, the mad speed at which the lyrics are spouted out, and especially repetition of "afraid to die" at the end in a hysterical tone, with the omission of the "I'm not" part, hints at the presence of ambiguity in the narrator's acceptance of death. The soft, wraith-like singing and the ghastly keyboards in the third section create a dreary atmosphere and a sense of fading away. The interwoven development of riffs, almost choral vocals and symphonic keyboards in the fourth section act as a requiem of magnificence, but it ultimately fades out, perhaps suggesting the reduction to nothingness, mirroring what has been discovered in 'The Apparition.'
'The Spectre Within' is a masterpiece of a level previously unreached. As one of the most vocally complex albums in the realm of popular music, it conjures up sophisticated darkness and deathly contemplation without losing the sharp metallic edge. It was the most compositionally advanced metal album by 1985, towering above even the likes of 'Hell Awaits' and 'Seven Churches,' and to this day remains as one of the greatest and most unique albums of all time. Truly, it is without reflection.
"Time, what is time?" Blind Guardian once asked. In the world of Fates Warning, it's nothing. In 1985 they released The Spectre Within. It didn’t seem to matter to Fates Warning that there wasn't any other music on the planet that sounded like it, or that just one year before they were bedheaded late-for-dinner NWOBHM-worshippers. To the pundits and plaudits of the era, it must have seemed like Fates were coming from another universe, this new blistering approach to progressive metal that thoroughly exploded the more behaved diddling of Queensryche. Time isn't relevant when you are capable of laying down heavy metal like this. When you have the opportunity, you conjure the magic and by God Fates did not miss their moment.
Within a minute of opening tidal wave "Traveller in Time" it's obvious that something quite new, exciting, and even beautiful is going on here. Where Night On Bröcken riffed it's way down paths beaten flat. metallically pleasing but lacking in instantly identifiable character, Spectre seems possessed by something other. There are more riffs, better riffs, riffs coming from every corner of the room like exploding glass, this technical kaleidoscope of power chords wrecking the listener's neck in heretofore unexplored ways. There is a detectable uptick in Mercyful Fate-mania, the riffs sounding simultaneously older and more venomous, yet progressive even beyond Sherman and Denner's crew. Fates Warning were, even more so than Mercyful Fate, attempting to create a feeling of dense musical complexity, the band allowing the kind of riffic chaos usually reserved for breaks flow out into the verses as Arduini and Matheos rarely play a riff completely straight for more than a few measures without throwing some tricks at it. "Pirates of the Underground" is a good example of this, the song lurching to just over seven minutes but seeming to be comprised of a good dozen quite individual movements of wildly varying tempos, drummer Steve Zimmerman somehow managing to find a through-line and maintain a drumming style that is consistent even as it exhibits wild variance. This isn't quite the insane cut-and-paste pastiche of Watchtower or early Thought Industry, but it wouldn't be unreasonable to cite early Fates as one of the predecessors of the movement.
To anyone familiar with the band's classic period, the band is musically instantly identifiable. Therefore, it truly says something when it is universally agreed that John Arch's vocals were the most unique part of Fates Warning's sound. Much like King Diamond, Arch was known for his bold use of unusual melodies, often wailing along independent from the music beneath him. John would often take parts Matheos had written to perform a solo over and create complex vocal harmonies in it's place. Although there were a few hints of his classic style on Night On Bröcken, Spectre represents a sudden bloom, Arch keeping pace with his surging bandmates by arriving ready and willing to weave his remarkable sonic spells. "Kyrie Eleison", “Orphaned Gypsy”, and "The Apparition" in particular are almost daunting (unless you've heard Awaken the Guardian), Arch high upon high and somehow omnipresent in spite of the surprising lack of obvious vocal overdubs.
Still, there are plenty of albums that innovate and impress. The reason that Fates Warning's early work generates such fevered and frenzied passion is the emotion and imagery that it generates. I've weathered many a sonic firestorm and inhuman rampage (*nudge nudge wink wink*) and come out numbed and annoyed, but the seven riff monsters on Spectre really effect me on some level. I think some of it is in the touch of doom that flavours their compositions, the Candlemass forecast mood that encloses fog-clogged uber-epic "Epitaph" with riffs like rain-drenched foundation stones, the sobbing wordless lamentations that carry the listener through psych-folk dreamscapes towards black, black, and the end of the CD. I think some of it is in John Arch's lyrics, which while not nearly as fantastic as some would have you believe, are illustrative and so loaded with imagery that one can't help but see the sodden steppes of whatever medieval hell he's seeing.
It is these factors and many others that have lead many to compare Fates Warning to various black metal artists. It is because Fates is both evocative and uncommunicative. Their arcane style lends itself to florid descriptions like the ones I so often find myself indulging in, while their self-serious and brooding disposition seems to speak of a conceptual depth that only Matheos and Arch could hope to truly illuminate. It is amongst the most striking examples I've seen of finding a product made with care and competence, a work worthy of love, and taking it so deeply into oneself that one can apply worlds of (possibly) imagined narrative and subtle intent within it's margins.
What it comes down to is this: The Spectre Within is a great, great metal album and Fates Warning is a great, great band. Whether you choose to analyze it as a philosophical treatise or a piece of smoking metal might is up to you. Shit, my favourite track is "Without a Trace" and that's about as straight-up obvious as this band ever got. It’s just speed metal, that’s all. And yet, even such a simple OTT highball is approached with such hypnotic brilliance that it seems the product of some wizardly medieval conjuration.
See, now they’ve got me going again. That’s what intriguing, well-crafted music can do to you. And I can think of no better description for Arch-era Fates than that.
Stand-Out Tracks: "Without a Trace", "Traveller in Time", "The Apparition"
The more I listen to this album, the more I realise how completely fucking impressive and brilliant it is. I had to bump it up four points from an incredible 95 to an unheard-of 99. Yes, it's just about as good as Seventh Son of a Seventh Son. You get these two albums and you have the cream of the crop as far as epic classic/power metal goes.
The most distinct feature is John Arch's vocals - the vocal lines are something totally insane, as they are not just generic shrieking, but entire complex melodies. This is probably best evidenced on "Traveller in Time", or "The Apparition".
The highlights: EVERY song is great in its own way. Lots of variety here. "Kyrie Eleison" is the obvious speed metal choice - on every classic or power metal album, there is one speed metal song. It's a law, and here is how this album obeys. "Traveller in Time" has awesome vocals, and "Orphan Gypsy" has some very catchy verses. "Epitaph" is over 11 minutes long without getting at all boring (something FW would have problems with later in their career). "Without a Trace" has a masterful chorus, and "Pirates of the Underground" has a lethal guitar section in the middle with one of the best solos ever recorded - total Ritchie Blackmore worship and they pull it off brilliantly. Finally, "The Apparition" is just about perfect - total guitar madness, combined with great lyrics (the whole album has great lyrics, but this most of all) - "no reflection at all!!!".
As mentioned, this album has probably the best production I've ever heard. Every instrument is heard, and everything has its own distinct place in the mix. I've not ever heard better utilisation of aural space, ever. There's always something going on, and it neither overwhelms you with excess technicality, nor bores you with crappy repetition.
This is one of those albums every metalhead MUST own - especially if you are anywhere near a fan of power metal.