To say it short and sweet this album is a fine balance between Progressive metal, classic rock and orchestral bombast. I even dare to say that this album is almost as good as “Queensrÿche – Operation mindcrime” If i have to name influences i would say Dream Theater, Helloween and a touch of Nighwish. But don’t worry these guys have enough balls to show us all they are far more then just copycats of the mentioned bands. For these guys it doesn’t matter if they write short or long tracks. Both concepts are understood and well done!

The album is divided in two different opuses:

Opus II: The alignment of galaxies which lasts for 34:16 minutes

And

Opus III: The origin of a curse which lasts for 36:05 minutes

Both of them are of course made up by several tracks. It’s certainly not easy listening music. You better sit down and listen and i would advice to do it with headphones since the beauty of the album can than be heard in full strength.

1. Forever the voices

Sounds like an orchestra warming up and slowly fades into an orchestra playing with choral voices on top of it.

2. The singer

Influences of Dream Theater and Nighwish. Let’s say it is a mix between power and progressive metal woven into eachother. Nice twin guitar work and around the 6th minute the bass guitar get’s it’s space out in the open.

3. The spirit

Starts with accoustic guitar combined with orchestral elements. The vocals remind me of James LaBrie. Mixed into this all is the voice of Ceara Crandal-Johnson who is a guest on the album.

4. Galactic backward movements

A long instrumental track. The track travels between peacefull symphonic music and metal bombast and around the 6th minute a saxophone shows up. And to show even more diversity at the end the eastern music influences show up which fades into French music influences which i could picture myself again walking at the banks of the Seine with my wife which we did about 10 years ago. For me it’s the best track on the album.

5. Manipulation in time

A piece influenced by Dream Theater, Helloween and Ayreon. From the opening of the track until the last notes you are being captured by the beauty of the track. Symphonic bombast with classical influences, a guitar solo which could have been done by Gary Moore (think of parisiene walkways) and the power of Helloween with great twin guitar work and not to forget the poundering bass and drum work.

6. Resolution

Orchestral start in which i recognize a bit of Bach changing into acoustic work with in the background rain falling down. I can also hear a bit of Floyd in the track

7. April in the fall

This one and the next are a bit of a miss on the album and the main reason this album gets 91/100 instead of close to the max.from me. It isn’t a bad song but after being blasted with briljant stuff before this tracks it falls on the wayside for me. Symphonic power metal in case you wonder with nice keyboard work.

8. Subliminal delussions

As mentioned at track 7 another track which doesn’t make it for me although i have to admit i do like the guitar solo’s on this track.

9. Bending the violet

Orchestral bombast with a bit of a horror-movie music woven into it. Weird track but it fits in perfectly with the rest of the songs.

10. The piano plays at last

Easy starting progressive metal track influenced by Helloween (Kiske period) with symphonic influences.

11. Alteration of the ivory

Metal with a saxophone. Not always liked by metal lovers but Suspyre knows exactly where to put the instrument and above all where not! Influenced by Ayreon and Helloween the track travels from a small streaming creek into a fast flowing pountain river.

12. Blood and Passion

Hearing a needle being placed on vinyl when the song starts makes me miss the vinyl-period of music carriers. It changes quiickly in a power metal track with near the end a spark of Beethoven’s fifth moven into it. A great way to end this album.

To conclude: this album is a fine balance between Progressive metal, classic rock and orchestral bombast. And yes i said that in the first paragraph too. If you have the time and the money grab this album, you won’t be sorry if you do. If you don’t have the money start saving up because it belongs in every progressive metal lover’s collection.

by Ginfress


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Let me start by saying that I actually enjoy this album. I've probably spun it forty times and it's always an enjoyable experience. At the same time I can't give it an objective review filled with overwhelming praise. It took me a while to realize what my problem with the record was as it seemed to have a lot of the elements of prog metal that I really enjoy. After some contemplation, I realized that ultimately, the album is a perfect example of the bloat that plagues a good deal of modern music. 11 vocalists, nine instrumental musicians (not counting Arjen), 102 minutes of music, and a concept worthy of a novel.....That's quite a recipe for disaster.

It has to be mentioned that Arjen controls the expansive nature of the music with skill. Few other individuals would be able to make this type of album listenable, but at the same time, few would be foolish enough to try. The album comes off as disordered and superficial. There is a lack of real emotion and energy past some solid attempts by three or four of the vocalists.

The final negative element of this composition is the lyrics....dear god. Normally I could let it slide, but in a concept album/metal opera? The music is very lyrically based, and unfortunately, each song stinks of cheese.

Now on to the positive points. The concept is interesting on the first few listens, the instrumentation is top notch, and the skill of the vocalists ranges from above average to spectacular (Devin, Mikael). Despite this, I can't, with good conscience, give it more than a three. Its as flawed a masterpiece as I've ever seen. It seems to me as if ambition got the best of Arjen....maybe he can hold back a bit more next time and really produce a fantastic album, but then again, he may never learn (cough*01011001*cough).

by Wowbagger


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A nice combination of heavy and melodic, Master of Puppets mirrors Ride the Lightning very closely, but at the same time it manages to maintain it's own identity. Opening track Battery is very similar to Fight Fire With Fire, starting with a nice clean guitar harmony, followed by riffs of complete chaos that'll destroy all your senses. Welcome Home (Sanitarium) takes the ballad concept started on Fade to Black and pushes it further than anyone thought possible, and Orion is a nice eight minute instrumental that can go toe to toe against The Call of Ktulu any day.

However, this album shouldn't be compared to Ride the Lightning. Despite the similaraties, Master of Puppets shows a band becoming more mature with each release. The lyrics are even more grim and darker than before, and the song-writing, especially on tracks like Master of Puppets and Welcome Home, shows a band that has developed closer over the years to become as tight as they can be, with Hetfield and Hammett's guitars working in perfect harmony with Burton's basslines and Ulrich's (somewhat limited) drum skills.

For every heavy metal fan this album is a dream come true. Although the same may not be said for every progressive rock fan, prog metal fans should find that this album can hold its own against any masterpiece by prog metal giants such as Dream Theater and Ayreon.

by Valarius


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The production is spot on; powerful, crisp and the balance between instrumentation allows everyone to shine where intended. Clive Nolan as expected has a rich, lush and full Keyboard sound, something I have always enjoyed in the past but probably more so from his work with Arena. Nick Barrett plays some diverse guitar from heavy riffing to cleaner picking to Gilmouresque soloing. New drummer Scott Higham is a good choice for replacing Fudge Smith. He’s a powerful player yet reins it in when required and Peter Gee helps him keep the rhythm together with solid bass playing.

Indigo is a powerful opener and statement of intent. Starting with a dark sounding picked guitar riff, Nolans choral keyboards join in and the band pick really kick in hard on this diverse track lasting for nearly 14 minutes. It has a great, instantly memorable melody and despite the powerful nature of the track, it still has room for dynamics and on the second half the mood changes for a more laid back approach with some lovely fluid soloing from Barrett.

Eraserhead follows suit and is another powerful dynamic piece with an eerie dark vibe. Nolan’s keyboards range from orchestral strings to more modern sounding cutting synths and once again Barrett’s guitar playing is diverse.

The next 3 tracks actually make up a whole called Comatose. The first part, View From the Seashore gives the listener chance to catch their breath after the powerful first 2 tracks with a laid back piano dominated vocal section, but not for long as after 2 and a half minutes the band kick in with their heaviest riffing so far. It packs a lot into its 7 minutes 41 seconds and Higham contributes some powerful drumming. Space Cadet segues in as the second part of this trilogy and the standard of high quality melodic songwriting continues with dark overtones both musically and lyrically. The final part of Comatose, Home and Dry concludes the piece nicely, very laid back, melodic and beautifully and sympathetically played.

The Freak Show starts with a crunching riff before giving way to lush keyboards and fluid guitar soloing. It’s a simple, straightforward but effective song, once again strong on melody.

It’s Only Me is a great closer. It’s a lovely laid back piece with Nolan’s orchestrated keyboard work to the fore and perhaps Barrett’s best solo of the album as well as some of his best vocals.

Pendragon have obviously put a lot of effort into this album, as if it’s their last chance to prove what they’re capable of and crafted a masterpiece. Barrett has requested that people don’t illegally download this album, saying that it could be the final nail in the coffin for the band regarding releasing future albums if too much of this happen. Hopefully this will not turn out to be the case as Pendragon are playing more like a hungry new band than one that have been around for 30 years and I want a lot more of this excellent music. Easily worth 5 stars.

by Nightfly


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As this is my first post here, I thought it would be appropriate to talk to you about one of my favourite bands of all time. Ayreon is one of the musical projects undertaken by Dutch composer Arjen Anthony Lucassen. His music is often themed, story-based, and variable in style, with tracks ranging from operatic vocal driven sagas, to dark, heavy folk metal (and everything in between!).

The most notable aspect of the composition of the project is that Arjen does not rely on a set group of members; he brings in different musicians for different tracks and ideas, which really broadens the styles of music that you will hear whilst listening to the albums. This is particularly noticeable on the album The Human Equation with regards to the lyrics. As the album is a story, in this case the journey of a man trapped in a coma (with a separate vocalist for the different parts that you will hear, including the protagonist’s wife, best friend and all the many of emotions he experiences during his coma) as he wars with himself. You will find yourself getting involved in the moods the protagonist finds himself in, with the music really pulling you backwards and forwards through a treacherous emotional battleground, and you will be left with a sense of satisfaction after finishing the album, that you have experienced something quite profound yourself.

This album is one that requires you to listen to it all the way through. Although each track has the individual merits you would expect any piece of music to contain, you would be missing out hugely on the main emphasis in this album; it would be akin to watching a movie and skipping to the more exciting parts, and ignoring the story in its entirety.

The quality of the musicianship is extremely high, often showing great technical skill and branching out into the progressive side of music, but with an air of simplicity in some of the heavier tracks which really complements the story as a whole, the darkness of certain tracks really pushing the moods of despair. Equally the flute, strings and keyboards can create a very positive mood that can invoke the exact opposite.

Ayreon is no doubt an acquired taste, but I assure you, once you have acquired it, you will be listening for a long while. I have yet to find another band with quite the same knack for epic story-driven metal, with the dynamic, not only in the songs themselves, but in the entire album that Arjen has managed to create.

From The Human Equation
Day Two: Isolation - (MP3, 8 MB)

As this is my first post here, I thought it would be appropriate to talk to you about one of my favourite bands of all time. Ayreon is one of the musical projects undertaken by Dutch composer Arjen Anthony Lucassen. His music is often themed, story-based, and variable in style, with tracks ranging from operatic vocal driven sagas, to dark, heavy folk metal (and everything in between!).

The most notable aspect of the composition of the project is that Arjen does not rely on a set group of members; he brings in different musicians for different tracks and ideas, which really broadens the styles of music that you will hear whilst listening to the albums. This is particularly noticeable on the album The Human Equation with regards to the lyrics. As the album is a story, in this case the journey of a man trapped in a coma (with a separate vocalist for the different parts that you will hear, including the protagonist’s wife, best friend and all the many of emotions he experiences during his coma) as he wars with himself. You will find yourself getting involved in the moods the protagonist finds himself in, with the music really pulling you backwards and forwards through a treacherous emotional battleground, and you will be left with a sense of satisfaction after finishing the album, that you have experienced something quite profound yourself.

This album is one that requires you to listen to it all the way through. Although each track has the individual merits you would expect any piece of music to contain, you would be missing out hugely on the main emphasis in this album; it would be akin to watching a movie and skipping to the more exciting parts, and ignoring the story in its entirety.

The quality of the musicianship is extremely high, often showing great technical skill and branching out into the progressive side of music, but with an air of simplicity in some of the heavier tracks which really complements the story as a whole, the darkness of certain tracks really pushing the moods of despair. Equally the flute, strings and keyboards can create a very positive mood that can invoke the exact opposite.

Ayreon is no doubt an acquired taste, but I assure you, once you have acquired it, you will be listening for a long while. I have yet to find another band with quite the same knack for epic story-driven metal, with the dynamic, not only in the songs themselves, but in the entire album that Arjen has managed to create.

From The Human Equation
Day Two: Isolation - (MP3, 8 MB)

On the other hand, 'Infinite Symphony' is as often void of musical significance as it is filled with worthy material, tending to result in something made to be listened to but not carefully. To be appreciated more for its breadth, romance and stamina than compositional discourse, often slipping into a vast malaise that could be mistaken for easy listening if not careful, each of the six movements satisfying if forgettable yearnings of amethyst worlds, cryptic encodings, and distant time-space travels. Unfair perhaps, and 'Movement l' does pull you in to this flight over a shimmering alien landscape, Trevor Lloyd's electric violin mimicking the Adhan, the Muslim call to prayer, and is a fine 11-minute introduction that sets the tone for the rest of the session. 'Movement ll' begins flowery, sometimes trivial but still strong and builds to a furious rock finish, 'lll' a further thematic extension getting into some Floyd meets Lamb-period Genesis sounds at a stable twelve minutes. Pan's pipes lead 'Movement lV', Verdeaux straying into Liberace waters and 'V' is absolutely lovelorn with high-handed piano Romanticism and Toto-istic, Dune-like guitar harmonies.

A perfectly good and beautiful-sounding record but in the words of Dorothy Parker on a certain American city, "There isn't any there there", though perhaps that's too harsh an assessment of a rather good bit of music. Let's just say this one can be tossed back in the river till your taste for whitefish changes.

by Atavachron


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This is a side project from the man behind Ayreon, Arjen Lucassen. The sound is similar to the works he made with Ayreon before this side project (The Dream Sequencer), even though this one isn't as complex. This is more kind of space (power)metal with some progressive influenses. There is more place for heavy riffs (High Moon, The Eye Of Ra) and catchy tunes (Set Your Controls, Sandrider etc.) than in Ayreon.

This isn't an album that i would recommend any proghead before Ayreon. It's more an album to listen to on a car trip or when working out.

Highlights: The Eye Of Ra, Intergalactic Space Crusader (Russell Allen's song gives me the shivers) and Starchild.

Rate: 3

by Arnold


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First: Basically 'Ayreonauts Only' is a cold CD. I not know if this is typical of the music of Ayreon. But not this makes me love this CD.

Second: The guitar with grated sound. Ok, powerful. But abused in revival Classic Metal. Typical of Power Metal... But not, and I repeat not, Prog Metal. This sound penalized this songs (but in Power Symphonic Prog Metal is good).

Third: Too many singers that force Arjen writing songs in the style of the singers themselves. This is not a serious problem, it's all so similar. But he feels in this CD.

In conclusion. 'Ayreonauts Only' is a CD for die hard fans of Arjen and Ayreon. For the rest of listeners 'Ayreonauts Only' only plays a role of pure curiosity.

P.s.: Great CD if you listen to 'Ayreonauts Only' in a car stereo during a long journey!

by Mandrakeroot


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It opens on a very spacey and Floydian Bringer Of Dreams (indeed). It reminds me a Pendragon overture which borrowed to Floyd as well: The Walls of Babylon from their Window Of Life album. I like this ambient mood which is not common for the band. An excellent mix of symph and neo parts (which starts after three minutes).

They get back with a more traditional Warriors which is more on the harder edge. Pallas did experience some rock ballads as well, and to be honest Ghost Dancers is not bad at all. I particularly like the vocal job from Alan Reed and the great guitar one from Mathewson. Whether the Redbone like closing was necessary is maybe another story.

Messiah sounds a bit too much as a musical to my liking (especially when Reed plays the prophet's role). It is the weakest song so far but the long and previous Too Close To The Sun was not really thrilling either.

An ocean of tranquillity invades your body while listening to the instrumental Northern Star. It sounds almost as a TD track. And I like it. After this smooth passage, let's head into some heavier and ELP-ish sounds with Mr. Wolfe (at least during the intro).

I don't really like the second part of this album. It sounds more as an Ayreon work. A song as Invincible has it all: narration, metal riffs, heavy bass lines etc. This metal orientation is not an isolated case BTW, several neo-prog bands do this nowadays. It is just a musical evolution. Excellent closing guitar section.

In all, this album holds some very good tracks but others as well. Another very good part is the finale of The Last Angel.

Three stars.

by ZowieZiggy


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