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Arch / Matheos > Sympathetic Resonance > Reviews
Arch / Matheos - Sympathetic Resonance

Still not quite it - 60%

LuigiCalzone, March 17th, 2023

In the 2000s it became pretty quiet around Fates Warning and its side projects. The main band only released 'Disconnected' in 2000 and 'FWX' in 2004, while Jim Matheos released the EP 'A Twist of Fate' with their former vocalist John Arch. It wasn't until 2011 that the fans finally got some new material. The first full length album with John Arch since 1986 is published under the name Arch / Matheos, but the musicians featured are basically the current Fates Warning lineup with the the one exception of John Arch singing instead of Ray Alder.

Similar to 'Darkness in a Different Light', the Fates Warning record that followed the Arch / Matheos debut, 'Sympathetic Resonance' is totally overproduced. The sound is overall soulless, even mechanical at times. If you are into modern production, this is nothing you will be disturbed by, but I can't stand it. However, unfortunately the songs themselves aren't masterpieces either, but for the most part they are good. "Neorotically Wired" is a pretty ambitious opener that exceeds the 11-minute-mark and is full of catchy melodies. Even the technical parts have some kind of earworm factor to them, definitely a memorable track. The catchy melodies continue in the "hit" single "Midnight Serenade". The two highlights on the album are "Stained Glass Sky" and "Incense and Myrrh". The former is the longest song on 'Sypathetic Resonance'. Similar to the opener it mixes technical instrumentation with catchy melodies, but it does it better. In my opinion the vocal melodies and the overall songwriting is superior in "Stained Glass Sky", and the riff coming shortly after the silent middle section is by far the best on the album. The latter is a beautiful and emotional track, a pretty cool way to close the album.

'Sympathetic Resonance' would be quite strong, if it weren't for "On the Fence". While having decent melodies occasionally, the verse riff is pretty ugly and can get annoying over time. This is without a doubt one of the worst songs in existence inside the Fates Warning cosmos. But even without this stinker the painfully modern production makes the album difficult to enjoy and the fact that it nearly lasts for 55 minutes does not help. It isn't easy to consume this album in one piece and it takes time to get into the long songs, but after several listens the album is pretty good. Overall an improvement over the EP from 2003.

John Arch and the rest - 63%

colin040, December 20th, 2020

Having John Arch back is business is a great thing, it really is - but what happens if his talents aren’t used properly and the orphan gypsy has to front a mediocre record instead? That's exactly how I feel about Sympathetic Resonance nowadays, as it lost its appeal to me over the years; perhaps due to the superior Winter Ethereal, which showed Arch/Matheos change for the best, or perhaps because I'm slowly turning into a nitpicker as I grow older.

Apparently parts of Sympathetic Resonance were written as a follow-up to Fates Warning's FWX, but due to change in plans, Jim Matheos decided to hit up John Arch and formed a new project instead. Strangely enough Sympathetic Resonance doesn’t really fit in with any of the Ray Alder-fronted albums: gone are the moody electronics and Jim Matheos doesn’t focus as a much on a sense of minimalism but instead sounds more engaged again at least. It does indeed make me wonder what Jim Matheos had in mind here, as Sympathetic Resonance is something completely different when compared to FWX. Compositions such as the referential ‘’Stained Glass Sky’’ and ‘’Any Given Day’’ with its power metal-esque chorus sound elaborated and instrumentally extended and see Jim Matheos putting the ‘’metal’’ back in his signature style of playing - these are definitely good signs for a fan of Fates Warning's heavier stuff.

Unfortunately it really isn't enough. While Jim Matheos continues to push his limits by climbing up octaves and sliding down towards low-end chords, he still struggles to actually put his riffs to optimal use. The moody, yet lengthy ‘’Neurotically Wired’’ has its emphasis on some decent puzzling riff constructions and a good sense of groove circa its chorus, but in the end appears somewhat empty in terms of riffing and overall feels more like an opportunity to show us that John Arch hasn’t lost it. Indeed, having John Arch by Jim Matheos’ side certainly helps and perhaps he has more in common with his former self circa The Spectre Within than circa Awaken the Guardian here, as his delivery feels more heartfelt and humane than mystic and arcane. Unfortunately, the vocals alone aren’t enough to redeem Sympathetic Resonance from its flaws and if you've ever wondered what John Arch sounded like on some awfully bland tunes, look no further.

‘’Midnight Serenade’’ and ‘’On the Fence’’ sound so one dimensional and it does these songs no favor at all: Jim Matheos sounds at his most uninspired here, as his riffs dwell on and on forever and although the former relies on a catchy chorus and the latter seems to take an interesting direction once those moody leads appear, both tunes stay in the bland-progressive metal zone as far as actual riffs are concerned. ‘’Stained Glass Sky’’ is another long-winded track, but at least opens up like an enormous jam session where the band (minus John Arch of course) rocks out. Jim Matheos and Frank Aresti slide all over their fret boards, whereas Joey Vera’s punchy bass lines provide the depths that Bobby Jarzombek clashes against with his drum kit, yet the track takes an unfortunate turn for the worse once by the time John Arch arrives. The track features some enjoyable references to the Fates Warning of old and I like those cleaner breaks as well as that tranquil segment that’s brought to life by the mesmerizing lead work, but as far as heaviness goes, you won't hear much more than Jim Matheos and Frank Aresti chugging along with little sense of imagination.

Whereas Sympathetic Resonance sounds more like an album of enjoyable moments here and there, its actual highlight appears near the end of the album - better late than never, I suppose. The progressive behemoth ‘’Any Given Day’’ works at what it tries to accomplish: the usual guitar chugs are still there, but at least they often alternate with a fair amount of clever spider web-like chords twisting and turning around them and with a catchy to boot, it’s the most memorable tune you’ll find here. At least I’m also fond of that moody climax, where John Arch hopefully soars his heart out while those guitars wail with divine majesty.

Sympathetic Resonance isn't an awful album, but these guys have proven that they're capable of more. Early Fates Warning aside, follow-up record Winter Ethereal is quite an improvement of this album, so go spend your time with that one instead.

This review was originally written for antichristmagazine.com

Shadows Are Dancing, Spirits Romancing - 90%

Twisted_Psychology, December 13th, 2012

Originally published at http://suite101.com

Fates Warning is a name that needs no introduction. They may have gotten a great deal of acclaim for their time with vocalist Ray Alder but their three albums with original singer John Arch have acquired a godlike status in the prog metal lexicon. This apparently hasn’t gone unnoticed by Fates mastermind Jim Matheos as the pair finally reunited in 2003 to work on Arch’s solo EP comeback. Now, in a way similar to the tragically short-lived Heaven and Hell, Jim and John have put together Arch/Matheos and brought some notable figures along for the ride. The resulting release doesn’t have the same sound as the old Fates Warning material but it does offer something that is just as enjoyable.

Seeing as how this project is essentially the current Fates Warning lineup with Arch in place of Alder (the latter is even thanked in the liner notes “for understanding”) and how much of this material was intended for that band, it wouldn’t be too foolish for one to assume that this album is driven by the mystical sound that was present on classic releases such as “Awaken the Guardian.” However, it turns out to be a completely different beast…

For starters, this album has an incredibly modern feel and fits in with the current prog metal mindset much more than it does with any old school mentality. The production comes out loud and clear while the band’s performance aesthetics seem to have a lot in common with the recent releases put out by Dream Theater or Symphony X. But while some may brand this new project as having a rather generic presentation, the group itself does manage to stand out thanks to their individual performances. The atmosphere is still pretty dark, the song structures are complex, and everyone gets plenty of chances to show off their technical skills. The guitars show off the most dexterity as the riffs express some tricky rhythms and sweet melodic moments while the drums also get some cool patterns in.

As subconsciously expected, John Arch is the real star on this release. In a way similar to Anthrax’s Joey Belladonna, Arch truly defies his age as he effortlessly moves up and down his range while refusing to simplify his vocal lines. One thing that has changed is the lack of the whimsy that popped up on past songs like “Fata Morgana” but it could be argued that such an approach wouldn’t really fit a tone like this. That and his accent and mannerisms are enough to let you know that the man hasn’t really changed a bit…

The song variety on this album seems to have a thing or two in common with modern Dream Theater as the six songs on here consist of three songs that are less than eight minutes long and three that are longer than ten. Having a large number of longer songs may prove to be a bit exhausting for some but the ones on here manage to be quite enjoyable. “Stained Glass Sky” is one of the strongest songs on here, if not the strongest thanks to the tricky guitar play during the verses, awesome chorus transitions, and the acoustic segment towards the end though the instrumental segments may dance on the long-winded side. “Neurotically Wired” also does a good job of starting things off while “Any Given Day (Strangers Like Me)” is probably the fastest track on here.

The shorter songs also manage to be quite good as well. “Midnight Serenade” is probably the best song on here and easily its most accessible due to the building verses and sweeping chorus that are put on display. In addition, “On The Fence” is probably the heaviest track on here with its chugging riffs while “Incense And Myrrh” closes the album out with another smooth chorus and melodic solo work. When looking at this album overall in context to the Fates Warning discography, the number of longer songs on here is quite an unusual move. That band certainly has their share of lengthy tracks but only one or two were recorded with Arch and even the ones with Alder’s vocals were cut up into different sections half the time! Fortunately everything’s written well enough to keep this from being a grating complaint but it does make one wonder if they could’ve spared an extra song or two…

Overall, this is one of the most well put-together albums that 2011 has to offer but there is no denying that it can be a hard release to get a feel for. The modern feel and rather long songs may enough to put some off, but the band members’ persistence does make it another good example of the older crop showing the young just how it’s done. That and there’s no denying that Fates Warning was pretty tricky to begin with…

But as someone who hasn’t listened to much of their main band’s material since Perfect Symmetry, I’m not really sure how this album fits in their overall discography. All I can say is that it does make one hope that Matheos will be able to transfer this energy to his next big project. And if this ensemble doesn’t have another full-length up its sleeve, will someone at least recruit Arch for a full-time endeavor? This man has so much more ass to kick!

Current Highlights:
“Midnight Serenade”
“Stained Glass Sky”
“On The Fence”

Perfection can be flawed - 100%

ArcanaAwaits, August 22nd, 2012

Upon first hearing about this project, I wasn't sure what was more exciting, the given substantial front-man who had nearly disappeared from the scene since 2003 with his solo project under the moniker self-titled John Arch, or the fact that Bobby Jarzombek would finally be recording an album with Fates Warning. Maybe it was the realization of everything that made even the initial announcement completely intoxicating. Overall, excitement and VERY HIGH expectations was already underway with the long-term fans.


Let's get started with the review: For those who have been long-term fans of Fates Warning, you will already know about the dramatic change in musicianship, as well as line-up changes post 86'-present. For those just entering into the idealistic mythical world of the John Arch based-era, you're in for quite the surprise musically. The very first thing you'll notice from the start of this album is that progressive is merely an understatement to describe the music in its entirety. The second thing you will probably notice is that John Arch has hardly aged vocally compared to his 27-year old counterpart. Putting all claims aside of Fates Warning ripping off Dream Theater/Rush or vice-versa, this album is arguably the most unique and heaviest Fates Warning album to-date. It is obviously clear that regression does not reside with this group or project. From the moment that the album is put on, you feel like you've entered a dream-like phase until being blasted with pure emotion and complexity where you feel as if you're starting to spiral into a technical madness. There is an apparent conceptual-basis behind the entire album which is quite difficult to comprehend with the first few listens, but definitely eases up over a time. This is probably the only distraction which this album offers; discovering the story.


The thing which stands out the most for each track, aside from the obvious long-awaited vocalization, are the multifarious time signatures which hardly stay consistent throughout the entire album making it difficult for those with an untrained ear to comprehend, yet a very simple task for those of the opposite. Regardless of musical knowledge and the amount of hearing training between each person, the listener is still grasped dearly onto each note that is being played. Next would have to be the "obviously brilliant" vocalization which I have been hyping up throughout this review. John's vocals throughout this album are easily the most impeccable compared to any of his previous works with early Fates Warning/solo work. The music in its entirety can only be described as a wall of perfection, each note being played precisely in the correct formation, sequence, and time as if it had been intended that way and written out on stone beforehand.


This time around, the lyrics are much different than anything you would read/hear from early Fates Warning with John Arch fronting, as well as writing, but more closely related to John's solo project. They're much more heart-driven, as opposed to fantasy based, yet with a few nods to earlier works with just the right amount of everything thrown into the mix. Emotion, fantasy, hopes, losses, etc. Everything that makes us the imperfect humans which we strive to be. Everything about this album reflects off of each little insignificant minor detail, from the cover-art to the title of the album and even the most significant parts; music and lyrics. This album may have been Fates Warning's flagship compared to everything they've done in the past 20-years, had it been used under the same moniker (the name was changed to present a lack of confusion and separation from John Arch and Ray Adler). It is no doubt one of their most unique albums, which if anyone is even remotely familiar with Fates Warning's work, is quite a statement to make.


While it is marvelous to hear that this long-awaited album was finally in the works and has been finished, it may leave the listener in some sort of disappointment, or unsettling feeling of realization that this is probably going to be the final works of a John Arch fronted Fates Warning. Overall though, the entire adventure that is titled "Sympathetic Resonance" will leave the listener on a mystical journey on a spectral plane of perfection.

Morning Desert, Sun Horizon - 99%

Dragonchaser, April 25th, 2012

The members involved in this project should need no introduction. Suffice it to say, any fan of Fates Warning will be a fool not to have noticed this album, which is the first time John Arch has leant his vocal talents to a full-length since 1986’s seminal “Awaken The Guardian”. While Arch’s solo EP from 2003 was a mighty progressive affair, it was generally more melodic than anything offered on “Sympathetic Resonance”, which is progressive metal in every sense of the word.

Just to clear something up: if anyone tells you this sounds like the material the Fates put out in the early 80s, then they are quite mistaken. Don’t expect shrieking vocals over mystical twin-guitar melodies and proto-power metal lyrical content. This is unmistakably the sound of John Arch fronting modern Fates Warning, only without the electronic elements brought forward for “FWX” and “A Pleasant Shade Of Gray”. In fact, the music here is heavier and more complex than anything Matheos has done before. It is truly a musical tour-de-force. At times, it gets so technical it almost seems to lose focus, but that’s only apparent to the virgin listener; the more you listen to it, the more you start to see the bigger picture, and believe me, it is a work of art.

As it has already been stated, John Arch sounds unbelievable here, much as he did on “A Twist Of Fate”. The range and depth of his vocals are simply astonishing, and considering his age, it’s amazing how he compares to heroes like Bruce Dickinson or Geoff Tate. Regardless, if you’re interested in this only to hear Arch bewitch you with his magic spells then nothing here will disappoint you. The only gripe I have with his performance is the lack of the vibrato that made tracks like “Exodus” and “Valley Of The Dolls” such momentous moments in metal. The missing vibrato is replaced with more interesting, and dare I say, mature vocal lines that meander and wind until they eclipse everything the rest of the band are doing.

Musically, there is much to this release, but what we’re looking at is heavy, complex riffing backed by manic percussion and slithering bass. Don’t let people tell you this doesn’t sound like modern Dream Theater in places, because it does. Also, those up to speed with Ray Alder’s time in Redemption will notice similarities there, too. I guess the question on everyone’s lips is does this satisfy the old school Fates fan hoping for a follow up to their first glorious trilogy of works? In all honesty, it does, but for different reasons.

It would be pleasurable beyond measure to discover Alder has decided to sit out the last promised Fates Warning record so that Arch could fulfil his duty behind the mic. It would be even better to see an album with a mystical portal on the sleeve, the old logo back of it, boasting a preposterous but image-conjuring title like “The Kraken Sleepeth” or “Triumps Of Torlough”. But I guess that’s not to be. So enjoy this reunion for what it is, and pray to whatever God is listening that there will be a follow up.

The Guardian Awakens - 92%

GuntherTheUndying, April 12th, 2012

It took many, many years for this duo to finally return, but holy poop, "Sympathetic Resonance" is utterly fantastic. The album shows the return of banshee-scarcer John Arch and Fates Warning mastermind Jim Matheos after a lifetime of walking different paths since the seminal "Awaken the Guardian" which was released back in 1986. "Sympathetic Resonance" represents the evolution of both Arch and Matheos appropriately, as the album is neither a rehash of Arch-era Fates Warning or the recent work produced by Matheos' legendary faction, but something entirely new and vibrant yet wonderfully natural in its own skin. But now picture heavyweights like Bobby Jarzombek and Joey Vera adding their specific tints to the melting pot of metallic bliss, and you'll have a great idea about what to expect: sheer brilliance.

Unrelenting, sheer brilliance. Passionate, fiery progressive metal echoing a generation of growth and aging, power and might. Of all the album's pristine qualities, John Arch's voice is by far the pinnacle of the record; his amazing vocals sound excellent in this formula, definitely on par with his stint in Fates Warning. The project's musical basis has a lot of similarities to Fates Warning as one could guess, but it's the care that makes it so damn good. Each and every riff and section is mechanically milked to its usefulness, and there are really no dull moments. At times they maneuver through catchy numbers like "Midnight Serenade" before effortlessly conquering a magnetic vortex of mathematical progressive metal in the form of "Stained Glass Sky," as if the transition was for wimps. But each member of the project delivers an individualistic performance beyond the expectations of everyday progressive metal, and "Sympathetic Resonance" is really in a league of its own musically.

Call me crazy, but I enjoy the closing "Incense and Myrrh" more than anything else; it isn't only the best song on the album, but an emotional powerhouse featuring some of the most beautiful instrumentation imaginable and Arch's pristine vocals, which are perfect. Not near perfection, but the sound of perfection. You'd never guess the Arch/Matheos project was twenty years in the making based on the impeccable quality of material and the sensational performances by all members; it seems like they've been together for years based on this wonderful album. "Sympathetic Resonance" is a monument to the consistency and impeccable chemistry of John Arch and Jim Matheos, unified here in sublime grace. You are kicking yourself in the face if you remotely enjoy progressive metal and have not yet been whisked away by the magic of "Sympathetic Resonance."

This review was written for: www.Thrashpit.com

Arch/Matheos - Sympathetic Resonance - 80%

ConorFynes, December 10th, 2011

Rewind back a pair of decades, back to the time around the release of US progressive metal act Fate's Warning's third album, 'Awaken The Guardian'. Unable to pay his bills with the band income alone, singer John Arch was working hard with a dayjob to make ends meet. On top of that, he had a band pressuring him to choose one or the other. At that, he was forced to leave the band, and Fate's Warning then found a new vocalist in the form of Ray Alder. After that, Arch stayed out of the music scene for the better part of two decades, until a two song bout of musical inspiration gave in the form of a solo EP, 'A Twist Of Fate'. If that was any indicator, it was true that the man who led Fate's Warning through their early work still had the pipes to hold his own quite brilliantly. With this and better conditions for making music, John Arch and Fate's Warning guitarist Jim Matheos have teamed up together once again to make music. The outcome of this collaboration is the album 'Sympathetic Resonance'.

Despite more or less having the Fate's Warning lineup intact (with the obvious exception of the replaced vocalist), the name Arch/Matheos has been used in order to keep away any assumptions that John Arch is replacing the replacer; Ray Alder is still the vocalist of Fate's Warning, and scheduled to record with the rest of the band on an upcoming 2012 release. These technicalities aside, 'Sympathetic Resonance' may as well be considered a Fate's Warning album, and perhaps the best one to come along in some time. With Matheos' aggressive style of playing and signature sound of Fate's Warning once again paired with the haunting acrobatic vocals of Arch, this sounds quite familiar. Musically, this is virtually everything I might expect from a Fate's Warning album; dark atmosphere, and some of the best musicianship that the genre of progressive metal has to offer. In particular, Bobby Jarzombek's skills at the drums are immense, and there are plenty of flourishes that each band member gives to the performance to make things sound all the more intense. The songwriting contrasts dark acoustics with thrashy technical displays; things sometimes feel chaotic, but it is controlled. Of special note are the melodies employed here, which are pleasantly challenging to decipher at first.

Perhaps of greatest interest is the performance of John Arch himself, the reason why this cannot be considered a Fate's Warning album. Without beating around the semantic bush, his performance is pretty incredible. Despite now creeping into the depths of middle-age, the man's voice has not aged a year, hitting even the high notes with beautiful precision. He is also able to pull off fairly complex passages with relative ease, and dare I say; I really prefer John Arch's performance here to anything Ray Alder has done. That is not to offend the excellent work of Alder, but I do get the impression that this will surely spark up debates around who is the better vocalist. I really get an impression here of a married man leaving for a high school reunion and hooking back up with his high school sweetheart. The wife may be very good for him, but there may also be reason to be jealous.

With the exception of the lyrics- which seem to tug at any cliche they can grab at- Arch/Matheos is a very exciting project that has made an excellent album here with 'Sympathetic Resonance'. It is none too different from Fate's Warning, but perhaps that is a good thing. In any case, while I do hope that Fate's Warning stays the way it already is, I would love to hear more of this partnership. For one, it's helped re-ignite my love of progressive metal.

Progressive Perfection! - 100%

Pratl1971, October 11th, 2011

The ardent fan of progressive metal will most certainly find him or herself going into convulsions over what might well be the prog metal album of the year. Yes…even surpassing Dream Theater. Sympathetic Resonance is the brainchild of former Fates Warning alumni vocalist John Arch and guitarist Jim Matheos, and the years have certainly been good to them. In fact, every player on this album has a tie to Fates Warning and it shows throughout.

With six amazingly brilliant tracks, the first effort from this dynamic duo will hopefully lead to other collaborations of similar ilk in the future. From the first notes of “Neurotically Wired” the pulse starts going and the toes start tapping, and that is only driven harder by the entry of Arch’s vocals, which never seem to age! At 52, the guy is still hitting all notes and ascending the spectrum beautifully. As a longtime Fates Warning fan, especially the Night on Brocken through Awaken the Guardian era, this album takes me right back to that period. This is the true definition of progressive metal from the ground up and covers every bare spot with some of the finest musical harmonies I’ve heard in some time. What always impresses me is how a band can put together a song in the ten to 13-minute range and never have it bore you for even a moment through its duration. Each track on this record does that and then some, making it one of the must-hears of the year thus far.

Matheos handles his guitar with the expertise and efficiency of a man possessed, driving riff after gargantuan riff into your brain like a slippery railroad spike and leaving you wanting more. “Stained Glass Sky” has some of the best riffing I’ve heard in a track in some time, speeding into the room like a frenzied kid off Ritalin and finally nestling into the comforts of cool chord-balance as Arch offers up a soaring vocalization that calms the waters, if only for a moment. These two are without question one of the most potent and lethal combinations for metal music since Halford and Tipton, Dickinson and Murray or Blackmore and Dio; all of the emotions contained in these tracks are honest and without dilution or pollution. I’m simply so enthralled by this music that I’m already planning on digging out my old Fates Warning records and spinning them this week until the neighbors comes at me with sharp sticks. In all seriousness I don’t see this leaving my player for a while, and with the long drives I have ahead of me this will be a wonderful companion. The crisp production only makes it more brilliant, as bassist Joey Vera thumps away in his usual familiar style. Second guitarist Frank Arersti and drummer Bobby Jarzombek round out the picture with absolute perfection.

For a medium that prides itself on some of the more thoughtful, attentive metal music out there, progressive metal is not for everyone. If you’re of a cerebral frame of mind and truly enjoy the subtle charms and beauty that usually emanates from this style then you missing this record by these two geniuses is only to your discredit. I usually end with some witty banter to hopefully get you to smile and seek out these records by fine artists on my humble recommendation, but in this case it’s only your loss if you miss Sympathetic Resonance. It’s probably the record of the year for me so far and you really should hear this and find out exactly why this often undervalued genre is forcing its way upward.

(Originally written for MetalPsalter.com)

I am most certainly sympathetic to this cause - 90%

autothrall, September 14th, 2011

Hearing the voice of John Arch again after about 25 years is like having an unexpected trap door to my adolescence burst open and spectral fingers drag me in. Yeah, I know he put out an EP a few years back (A Twist of Fate) and I didn't pay much attention to it. My loss, but I'm truly glad that he and Jim Matheos have decided to continue their post-Fates Warning collaboration, and even more happy that they were able to utilize other musicians like Joey Vera, Bobby Jarzombek and Frank Aresti who all belong to the extended Fates family. That this is good stuff goes without saying, it's basically a modern spin on the Awaken the Guardian sound with a substantial wealth of compositional flair, and the few errant 'grooves' on the album which don't feel flush with this siren of psychedelia are very easily ignored just to have him back in the business...

In fact, Arch's performance is so crisp, clean and potent here that it feels as if he and Matheos must have built a time device, reached back into the 80s and kidnapped a younger version of himself, held at gunpoint (or being forced to listen to A Pleasant Shade of Grey repeatedly) until he complied. Hey, that's cheating! Nonetheless, the profit is all ours, as we are treated to what might be the damnedest approximation to classic Fates Warning that we are ever allowed to experience for the rest of our lives. I don't know about you, but I'll take it, because there is just nothing else like this guy's voice out there. Sympathetic Resonance provides 54 minutes of well plotted variation, with the catchy chorus melodies you remember, even if it's cast in less of a speed/power metal mold. From the massive, 14 minute groove-prog epic "Stained Glass Sky" down to the elegant seduction of "Incense and Myrrh", each line and just about every riff has been meticulously crafted to forge a balance between sorrow and anger, tranquility and exhilaration.

The leads are simplistic but effective, never staying beyond their welcome as they flirt and flummox through the mass of punching low-end chords and Jarzombek's flexible drumming. Arch is clearly given the center stage here, as it should be, but both the guitars and bass exhibit the intricate and cautionary skill level of their respective musicians, never over indulgent and almost always straight on the money. I also enjoyed how each track recalled to mind a sheaf of text from the grimoir of Fates Warning past. The little, melodic speed licks coursing through "On the Fence" reek of Perfect Symmetry. The gloomy calms of "Incense and Myrrh" and "Midnight Serenade" might have once found a home on The Spectre Within. And "Any Given Day (Strangers Like Me)" would have been infinitely preferable to any of the last three Fates albums before they embarked on their recent hiatus.

In the end, this is one hell of a treat, and I hope the collaboration deems itself fit to continue well beyond just the one album. Personally, I wouldn't mind a few more nods to their earlier, rustic speed/power metal material, as opposed to the more modernist jamming context here in the longer tracks that often feels a bit Dream Theater. That's the old school in me, the guy who likes to sit in a woodland or field on an autumn night and marathon the band's 1984-86 material while drinking heavily. A River's Edge moment. But as it stands, the professionalism and the progressive foundations here are considerably engaging, and the voice is undeniable. Thank every constellation in the sky that you are back, orphan gypsy, and thank you too Mr. Matheos for composing the plot line.

-autothrall
http://www.fromthedustreturned.com