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THE FINAL EXPERIMENT
A Rock Opera by Arjen Anthony Lucassen, reads the legend on the CD box and just as the adverts say - "it does what it says on the tin" - it is so with this album.
'The Final Experiment' is the story of a blind minstrel named Ayreon, who is subject to thought transferences from the future (the scientists in 2084, when the earth is dying, send back time traveling telepathic
messages, in the hope that mankind will listen and change their ways). This is all explained to us in the prologue; which is exquisitely read by Edward Reekers; and around which the synthesised overture is set.
Ayreon becomes aware of the visions during 'Dreamtime (Words Become A Song)', a totally fabulous rock anthem, with great vocals that remind me of Joe Lynn Turner, and some stunning Hammond organ work - a wonderful
first song. In the 'Eyes Of Time', Ayreon tells the villagers what he has seen - it's a song with a definite eastern feel and, again, an excellent tune. A more laid back, bluesey number is 'The
Accusation', within which the villagers condemn Ayreon, they dislike his revelations and believe him to be a fraud, maybe even evil.
They drive him from the village - and here we are treated to a great instrumental piece, with some wonderful flowing keyboards and fabulous guitar work, which leads us into the growling vocals of 'Oblivion'.
A complete change of sound for 'Ye Courtyard Minstrel Boy', a pseudo medieval ballad, beautifully sung by Ian Parry and with a sweetly simple backing track - this indicates that Ayreon has reached the court of King
Arthur, where he has found a warm welcome.
He entertains the courtiers with 'Sail Away To Avalon', a song with a great catchy chorus and a pretty snippet on the flute, played by Barry Hay who also sings this track. Lucassen, himself sings 'Nature's Dance'; the song supported by some lovely, bubbling guitar. The song explains that Ayreon, while wishing that he was like everyone else, finally accepts his fate.
Having accepted his fate, Ayreon tries to convey the messages from the future: first, he tells of computers and how, eventually, they take over from, and replace, mankind. This is again sung by Ian Parry,
a driving rock song.
The desolate sounding, half spoken 'Waracle' tells of future wars and the threat of total annihilation. The danger of pollution is the third peril that Ayreon tries to warn against in, 'Listen To The Waves', which is sung by Lucassen - as is 'Magic Ride', the next track, a simple little song with an understated substructure.
Merlin is unhappy about the prophecies, and decides that Ayreon must be silenced. 'Merlin's Will' is a song with a fabulous chorus, and some sparkling harpsichord work. 'The Charm Of The Seer' is smoothly
sung by Ruud Houweling; it's an uncomplicated song with a definite charm all of it's own.
This is followed by 'Swan Song', a delicate instrumental featuring some sensitive piano playing - this is a lovely composition.
'Ayreon's Fate' is a fairly laid back number with a simplistic backing, but nevertheless, the chorus has a spine tingling quality - as Merlin casts the spell that will silence the minstrel for ever, Ayreon tries to
convince him that these proclamations were mankind's last hope. With sudden insight, Merlin realises that this was true and vows that man will hear Ayreon's words in the twentieth century.
'Merlin's Prophecy' which begins with some uplifting keyboards, shifts the mood up a gear, this is another great rock tune - Lucassen certainly has the knack of writing wonderful, inspiring finales. The album closes with a swift reprise of various tracks and the final speech, "The outcome of the final experiment has now been placed in your hands ..."
So, this album is a self-fulfilling prophecy and Ayreon's words have been heard!
Whilst tales of King Arthur can be seen as somewhat trite, one can see why he is used - as Arthurian legends are rife, all over Europe, and have been reinvented time and time again. That having been said, the music on this album is so accessible - there are snobs who will tell you that that there is no musical merit here, but I disagree. This is a very enjoyable experience, captivating and delighting every time.
Marisa 21 August 1999
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ACTUAL FANTASY
This, Ayreon's second album, has a heavier overall feel then either of the other two.
But don't let this put you off - it retains the very melodic and harmonious tone. 'Actual Fantasy' is actually more atmospheric and more subtle. Yet while it does not contain any big showstoppers, it has a certain operatic splendour.
The vocals on this album are shared between Robert Soeterboek, Edward Reekers and Okkie Huysdens. Synth solos are provided by Cleem Determeyer and Rene Merkelbach, who also plays Hammond, while the other
instrumentation is by, project founder, Arjen Anthony Lucassen.
The album begins with beautiful and haunting string sounds which are layered with several other complimentary musical phrases. Over this, a deep voice alternates with some sweet vocal harmonies - a great
beginning.
Distorted chanting introduces 'Abbey Of Synn', an epic at over nine and a half minutes, which features some wonderful vocal harmonies supported by the swirling and uplifting keyboards. 'The Stranger From
Within' is a more subdued number which blossoms two thirds of the way through when the Hammond comes in.
Soft shimmering sounds and an hypnotic rhythm herald 'Computer Eyes'. The first part of this song is very gentle, then the beat becomes more insistent and the sound fuller and richer with the keyboards weaving
around and through each other.
The low key verses of 'Beyond The Lost Horizon' contrast well with the catchy chorus - I defy you not to sing along after a couple of listens! - while the music admirably captures the atmosphere of battle.
Evocative interwoven vocals dominate 'Farside Of The World'. While the music leans more towards a space rock feel.
'Back On Planet Earth', another heavier rock number, has another memorable refrain.
The bubbling keyboards break free in a great soaring instrumental section. 'Forevermore' is beautifully sung, by Edward Reekers, with a chorus filled with wonderful vocal harmonies. The instrumentation changes through the song, utilising firstly keyboards - which give way to a mainly string section ... a fabulous song.
'The Dawn Of Man', with its compulsive beat, gradually builds up to the magnificent instrumental climax, then subsides to an eerie nursery rhyme sound complete with gurgling baby.
The CD ends with the single version of 'The Stranger From Within', at a much reduced 3'40".
I must admit that on first listening I was not as keen on this as the other Ayreon material. But this is a grower ... and there are some terrific numbers contained within 'Actual Fantasy' ... make this your reality.
Marisa 22nd December 1999
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INTO THE ELECTRIC CASTLE ... A SPACE OPERA
My heart sinks when I get something like this to review - one glance at the title: 'A Space Opera'??
Oh dear, surely that sort of thing was done to death twenty-odd years ago? I take a closer look - the artwork is fabulous and there's an impressive cast list which includes Fish and Damian Wilson, whilst the musicians include the talents of Thijs Van Leer and Clive Nolan (although, it must be said, Clive's contribution is very short).
The story is as follows: the gods, after creating and populating the earth, become envious of man's ability to experience emotion and decide to put humanity on trial.
They take a representative sample from history:- an Egyptian, a Roman, a Barbarian, a Knight, an Indian, a Hippy and Futureman - who must all pass a series of trials. After a while, the gods grow tired of their game, and set those that have survived, so far, one last test. They must decide which of two doors to exit from; those that choose correctly to be returned from whence they came but, of course, with no memory of what had happened.
Damian Wilson's distinctive voice is as amazing as ever and, for me, is the highlight of the CD.
I'm pleased to say that his character, the Knight, is one of those who make it to the end of the story and thus we get to hear his splendid voice on several tracks. Special mention also for Thijs Van Leer, whose flute sings out clearly, giving an uplift wherever it appears.
I am not a fan of Fish, but I really enjoyed his performance, on this album, of (obviously) the Highlander, for which he wrote his own lyrics.
Unfortunately the Highlander is the first to die, when the gods insist that the group dispose of one of their own as only seven may move onwards.
Mention should also be made of the two female vocalists, Sharon Den Adel (the Indian) and Anneke Van Giersbergen (the Egyptian), who both have fine clear voices - they contrast well with the varied male vocals.
Each of the character has his/her own style and mood - obviously created with the singer in mind. The individuals sing both solo and in different combinations but my favourite pairing is the Knight (Damian) and the Hippy (Arjen Anthony Lucassen, the author of this epic work) with 'Across The Rainbow Bridge', a bit of a rocker. Another favourite is the finale, 'Another Time, Another Space', this is a real musical show-stopper sung by the characters who have survived their mystical journey.
This is not an album without clichés, lyrically or musically, for example - the knight keeps wittering on about Avalon (this is the sort of thing that gets prog-rock a bad name for writing about hobbits and
such). Musically, the influences are very varied - I can hear Hawkwind, World of Leather, Pete Townshend, Average White Band, Moody Blues, Beatles, Dio, Mr Big and Queen - how's that for starters!! - and I'll
bet you could spot more of your own.
Nevertheless, there is a lot of good and some great singing, the music is well played, superbly produced and arranged and, yes, I do like it.
Despite myself, and my own initial misgivings, I like this very very much - it's great fun and has instant appeal that, I must admit, grows with each playing (I've now heard it three times). Who knows this may become an essential part of my collection.... It'll do for me anytime.
Marisa 03July99
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UNIVERSAL MIGRATOR PART I: THE DREAM SEQUENCER
The story contained in the two 'Universal Migrator' CDs follow on from Ayreon's first album 'The Final Experiment'. Both CDs tell their own tale but the two fit together, 'The Dream Sequencer' being the first.
The CDs are beautifully presented and both include substantial booklets with the lyrics and details of who performs on each track. The front page of the booklet opens out and across the inside three page spread
can be found photos of all of the participants. On 'The Dream Sequencer' the portrait of Arjen Lucassen shows him dressed as the Universal Migrator (as on the cover of the second CD).
As on previous Ayreon albums, the songs are written, composed and produced by Arjen with some of the artists sharing credits for lyrics or vocal melody.
The band on this album consists of Lucassen who plays all of the guitar solos and synth melodies, electric and acoustic guitars, bass, synths, Mellotron, Hammond and other keyboards; drummer Rob Snijders; and Erik
Norlander who provides some synth solos and plays piano, Hammond and other keyboards. Added to these are a whole host of vocalists, a short synth solo from Clive Nolan and strings by Peter Siedlach.
The story takes place in the 22nd century in a deserted colony on Mars. There is one man left alive, the air supply has almost run out and food is running short as supplies stopped arriving after the war
(foretold in 'The Final Experiment') wiped out all life on earth. Our hero (U.M.) turns to the recreational machine called the Dream Sequencer, which uses a form of hypnotism to travel through time and space,
in the hope that it will ease his last hours ...
The album begins with lots of spacey synths and the voice of the computer (Norlander plus vocoder and Lana Lane) giving our man setup instructions for his trip. An instrumental piece eases us into his world ...
The first step for
the U.M. is the point in his childhood when he and his sister realise that they will never leave their desolate home. 'My House On Mars' moves along with a strong bass rhythm supporting some strong guitar and keyboard work somewhat reminiscent of Tim Blake. The vocal, supplied by Johan Edlund is suitably downbeat and a counterpoint is provided by the voice of Floor Jansen in the chorus.
Lana Lane sings the next piece. '2084' is a lament that tells of earth's destruction at the hand of man. Ms Lane's voice rings out clearly and there's some nice guitar work too.
This track also contains Clive Nolan's synth solo.
Moving back in time the U.M. "sees" the memories of a small boy who witnesses man's first steps on the moon on TV.
A racing rhythm and acoustic guitar leads to the vocals of 'One Small Step'. This song with its sweet sounding verses, sung by Edward Reekers, has a very catchy chorus - with backing vocals from Lana Lane - and more strong instrumentation.
'The Shooting Company Of Captain Frans B. Cocq' tells of a group of men being painted by Rembrandt. It's a light and gentle song that's heavy on synths.
Sounds of the sea introduce the next song in which Lana Lane sings as Elizabeth I sending out her ships against the Spanish Armada. 'Dragon On The Sea' happily combines acoustic guitar, bubbling keyboards and
swirling synth sounds beneath the powerful vocals.
'Temple Of The Cat' is a particularly sweet tune. The winsome, silvery tones of Jacqueline Govaert are enhanced by some delightfully light-hearted instrumentation.
The U.M. next meets up with the spirit of the blind minstrel, Ayreon. A charming medieval motif runs through this number, sung by Lucassen himself, with its merry and untroubled instrumentation representing the
soul of the prophet finally free after his nightmarish life.
The sublime and glorious voice of Damian Wilson adorns 'And The Druids Turn To Stone', a story of Stonehenge.
This is a fabulously opulent sounding piece with lashing of Hammond organ. The music ebbs and flows around Damian's outstanding vocals which are allowed to fly freely ... wonderful.
Slipping ever backwards, the U.M. eventually sees through the eyes of 'The First Man On Earth' and feels that this quiet green land is where he belongs. The unmistakable voice of Neal Morse is teamed with
backing vocals from Mark McCrite, and Morse has definitely left his mark here - the lyrics are credited to Morse, Norlander and Lucassen.
The lavish instrumentation gives a Sergeant Pepper-ish feel to this catchy upbeat song ... fabulous stuff.
A short instrumental piece ends the albums and returns the U.M. to his own time. He wants to go back even further ... will he? Tune in to the next installment on 'Flight Of The Migrator'.
'The Dream Sequencer' is perhaps not quite as immediate as some of Ayreon's work ... but two or three listens soon had me hooked.
The material from Ayreon's previous albums always sounds fresh and, I suspect, this is going to become another favourite of mine.
Marisa 11th June 2000
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UNIVERSAL MIGRATOR PART II: FLIGHT OF THE MIGRATOR
'The Dream Sequencer' is described on the cover as "a song-oriented melodic and atmospheric journey", but Flight Of The Migrator, which follows directly on, is a "heavy progressive adventure through
space" ...
The band for the album is again built around Arjen Lucassen (electric and acoustic guitars and solos, bass, synths, Mellatron, Hammond and additional keyboards) and Eric Norlander (synths and solos, vocoder voice,
Taurus pedals, Hammond and other keyboards) with strings from Peter Sielach but, this time, Ed Warby supplies the drums. Vocals, guitar and synth solos come from a myriad of artists.
In 'The Dream Sequencer' our hero travelled back in time to the advent of the first man - and wanted to go further ... 'Flight' begins with the machine asking if he really wants to risk going back to the birth of the
very first soul - the Universal Migrator. A frenetic instrumental piece, featuring Lucassen's guitar work and Norlander's synth expertise, called 'Chaos' sets the scene.
This makes a great start to the album; it's fast moving, pretty heavy, but very tuneful.
The first song has vocals from Russel Allen and a guitar solo from Michael Romeo, both from Symphony X.
'Dawn Of A Million Souls' tells how the Universal Migrator splits; each part searching for a planet on which to establish life. Our hero follows the one who is to head for the earth. This is a fabulous song - Allen's voice sounds wonderful and, in the catchy chorus, is perfectly twinned with Damian Wilson's backing vocals, some great synth work keeps things moving along, delicate strings give the whole piece a lift and Romeo's solo provides a splendid interlude.
Doleful strings play the melody of 'Journey On The Waves Of Time' before the synths cut in, heralding the rest of the band.
Ralf Scheepers (Primal Fear) provides the the upbeat vocals that are interspersed with swirling synth sounds and Norlander plays a great Hammond solo midway through.
'To The Quasar' is in two parts; 'The Taurus Pulsar' begins with acoustic guitar and gentle synths. I like the vocals of Andi Deris (Helloween) in both parts of the song - in the second, 'Quasar 3C273', Lana
Lane sings the suitable strident backing vocals. This number features some strong bass work and a nice guitar solo from Oscar Holleman who, with Lucassen, mixed the albums.
Spacey synths and pompous keyboards start 'Into The Black Hole', a three parter. Bruce Dickenson's vocal is supported by more spacey sounds and strong keyboards in 'The Eye Of The Universe' while 'Halo Of
Darkness' is a heavier piece. The last part, 'The Final Door' sees a return to the vocal melody from ''Eye', here the sound building to a climax enhanced by Clive Nolan's Wakeman-esque synth solo.
Gary Wehrkamp (Shadow Gallery) is the man who provides both virtuoso guitar and synth solo on 'Through The Wormhole'. This is sung by Fabio Lione (Rhapsody) and is a fast paced number with strong guitar work.
'Out Of The White Hole' takes our traveller into the Andromeda galaxy and past a planet similar to the earth in a powerful piece with vocals by Timo Kotipelto of Stratovarius.
The deep voice of Robert Soeterboek sings of our hero's return to 'The Solar System'. At the end of this song the computer voice warns of an impending system failure ...
The spirit of the traveller awakens and realises that while its body has died - the last man alive has become a Migrator ... he will cause life to start on another planet. This, the last track of the album,
begins dramatically; the sound builds slowly with a stirring melody emerging ... only to be superseded by the frantic rhythm that runs through 'The New Migrator'. Ian Parry (Elegy, Vengeance) wrote and sings
the lyrics to this and his vocals are set over some intricate and speedy keyboard work - a fine song to finish on.
I must admit that I am not generally fond of heavy music but Lucassen has a deft touch that provides a lift to the majority of the music on this CD and I particularly enjoy the first two thirds of the album and the
last track - the other two tracks are a little too severe for my personal taste (although the sound suits the subject matter! All in all an album that should appeal to any one with a leaning towards prog metal.
Marisa 18th June 2000
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