Location: Waalwijk, The Netherlands
Genre: Progressive Rock/Metal
Released: October 28, 2013
Format Reviewed: FLAC
Feature: Traveler In Time
By: Kris Kotlarik
In the review for The Gentle Storm’s The Diary, I made a funny about how The Theory of Everything (the movie) ripped off the plot from the Ayreon album of the same name. Honestly, I don’t think that is much of an exaggeration. The story revolves around a genius prodigy with a mental impairment and features a smart but neglectful and self-centered father, a caring mother, a love interest, an asshole of a rival who eventually works with the prodigy, and a teacher who guides the prodigy through the toughest of life’s problems. It has all the cliches for a blockbuster movie, right? The rival drops some especially cornballish lines that only someone like Arjen Lucassen could/would pull off. And yet, at least for the most part, it works.
Depending on how you feel about occasionally cheesy lyrics, there are two other possible weaknesses that could detract from your enjoyment of this album. The first is the over-the-top nature of the vocals; there are so many high-pitched climax-sounding notes that it’s often hard to tell where you are in the story. The second is that this album is long. About an hour and half long, spread out over 42 “tracks.” These tracks are more like segments of a significantly longer track, of which there are officially four. The continuous flow makes this feel overwhelming; even now, I still have a hard time listening to this in its entirety. Part of that stems from the expositional nature of the first disk, which takes its time in establishing the characters and the plot.
Like most Ayreon albums, a singer is cast as a singular character. There isn’t all that much star power here, at least in comparison to previous albums; Tommy Karevik (Kamelot, Seventh Wonder) does a sensational job in the prodigy role, while Marco Hietala (Nightwish, Tarot) goes toe to toe with him as the rival. Sara Squadrani (Ancient Bards) and Christina Scabbia (Lacuna Coil) play the girl/love interest and mother, respectively, but sound too similar to each other and often have to be deciphered based on their lyrics instead of their sound. Scabbia, however, is a star on the second disc, especially in the closing tracks. She also belts one for the ages at the end of “The Argument 2.” Yes, there are two “arguments.” But the first argument, which is on the first disc, isn’t that much if an argument. Maybe that’s exactly what Arjen was going for; the second disc has much more intensity than the first.
Since there are so many tracks to listen to, if you’re short on time and want to just listen to one song, I would pick “Collision.” It’s basically a vocal dual between the prodigy and the rival with strong energy to it. There’s also “Progressive Waves,” an instrumental that I am fairly certain was included only to showcase the godly synth talents of Keith Emerson (Emerson, Lake & Palmer), who plays the most ELP-esque solo ever recorded, as well as Jordan Rudess (Dream Theater). Also making a cameo appearance is Rick Wakemen (Yes) on “Surface Tension” and guitarist Steve Hackett (Genesis) on “The Parting.”
Those who know what Ayreon is all about already know what they are in for: A lot of classic prog melodies in the form of a rock opera. That said, this feels different from albums such as 01011001 in part because of the realistic nature of the story. There aren’t any space aliens here; no crazy extraterrestrial trials or tribulations that the main characters must face like Into The Electric Castle; and no time traveling using a dream sequencer from which you drink the fluid from the left terminal. We may not all be scientists (I sure as hell am not), but Arjen poses what could have been an impossibly complex story into something that most people can connect to. This may take several listens to get into, but it’s worth the wait if you give it time.
Overall: In the higher end of Ayreon’s albums and one of the best from 2013.