Artist: John Arch
Label: Metal Blade
Release Date: 6/17/03
Rating: 5 Skulls
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Title: A Twist of Fate Artist: John Arch Label: Metal Blade Release Date: 6/17/03
Rating: 5 Skulls |
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Death's Review (6/10/03):
Lineup: John Arch (Vocals), Jim Matheos (Guitar), Joey Vera (Bass), Mike Portnoy (Drums)If the best metal music were better appreciated by the mainstream media, the hype machine would be out of control for this one. In my world, this is a big fucking deal. John Arch is one of the greatest power/prog metal vocalists of all time. He is one of my personal favorite vocalists, period. And he has been almost completely MIA from the music scene following his classic three album run as frontman for Fates Warning in the 1980's, which produced some of the best albums of all-time including The Spectre Within and Awaken the Guardian (Arch was replaced by Ray Alder prior to the recording of No Exit). To me, the idea that Arch would be returning to sing on an album also featuring drumming from Dream Theater's Mike Portnoy on drums and former Fates Warning cohort Jim Matheos on guitar was a big fucking deal. I couldn't wait to hear it.
The end result is the two-song EP, A Twist of Fate. Two songs? Right. Except each are over twelve minutes long. The result is everything I had hoped for and more (except that I want more material!). Arch sounds awesome. Vocally, he is right there - it is almost like no time had passed at all. He sounds exactly like I remembered. Seriously. Like a older NFL running back that should be washed up but sat on the bench for years and didn't take a pounding so he still has something left in the tank, Arch's current sound defies time and traditional notions of aging vocalists. I'm sure he had to work to get back into shape but this stuff just sounds great. Musically, it is modern-sounding but still absolutely conveys the feel and spirit of those classic Fates Warning records. "Relentless" is one of my favorite songs ever - at least at this stage in my listening cycle. Not only is Arch in fine form, his melody lines have that same signature darkness and unique structure. Arch always seems to find that magic note that gives the song a unique feel and a darker yet melodic vibe. It is like he plays by his own scale that only he has in his head, but it works beautifully, creating memorable songs full of passion and emotion. The drumming is outstanding - you can almost tell it is Portnoy even if you didn't know it, and even though overall his performance is understated enough to reasonably fit the music and not overshadow Arch. Matheos rules too. Track two, "Cheyenne," is moodier and less immediately catchy but is probably deeper and more heartfelt overall. It still is classic stuff and totally kicks ass.
All in all, this is probably a record that few will notice. Reports are that Arch is not interested in touring and other aspects of the music business that will take him away from his family life. That is fine, I can respect that, although the fan in me would love to see him join Fates on the upcoming Dream Theater/Queensryche shows - not to take over for Ray, who himself is a great singer and an integral part of Fates Warning - but maybe to come out and do "Prelude to Ruin" or "Kyrie Eleison" or something like that. I know it isn't happening. A club tour with Arch, Portnoy and Matheos would be a dream, but again, we know it isn't happening. With no touring and an aging fanbase, the commercial prospects for a two-song EP from a guy who hasn't been heard from in fifteen years are slim. But do yourself a favor and buck the trend. Check this one out. Years from now, I think these two songs will be viewed amongst those in the know as undeniable classics. I already think of them that way. Despite the length issue, there is no way this EP doesn't find itself on my year-end list of the top metal albums of 2003.
There is at least one person out there who is going to notice; this "Ode to John Arch" was sent to the Metal Update editor...-----Original Message-----
From: Dean Loftis
Sent: Monday, April 14, 2003 2:48 PM
To: editor@metalupdate.com
Subject: Ode To John ArchDear Metal Update,
In anticipation of the triumphant return of the singer-king of progressive metal, John Arch (former Fates Warning singer), I'd like to offer this somewhat lengthy (but I hope insightful) mini-retrospective of Mr. Arch's previous work with Fates Warning and I what I feel is Arch's legacy in the music industry (not just the metal genre). I believe this will resonate with die-hard fans who admire and are entranced with his distinct vocal virtuosity, and perhaps be enlightening to those who have heard the "buzz" surrounding the impending release of A Twist of Fate, but are wondering, "John who? What's all the hoopla about, anyway?"
A quick aside, that I think is relevant to when I get into the "meat" of the retrospective. When evaluating an Artist and his or her work, I ask myself and attempt to answer: What effect - special and unique impression -- does his/her work produce on me? I feel it is the duty of the critic to distinguish and analyze this special impression, indicate what the source of the impression is, and under what conditions it is to be experienced. I must disengage that virtue - special impression --and note it, as a chemist notes some natural element. Strive to find what is unique and inspirational, thus noteworthy, about this Artist, relative to all other (in this case) music and musicians that have come before and/or after this Artist. I am not original in my critical methodology -- this comes directly from Walter Pater's school of Aesthetic criticism in the 1800s.
Needless to say - I'm sure many music consumers would agree - 99% of the musicians (from underground metal to boy-band pop) you run through this critical shredder will be...well, shredded, thrown away, not worth mentioning. Not that they aren't "good" or even worth buying (god knows I've spent $1000s on them), but simply that they aren't, in my opinion, influential Artists - with a capital "A." They are merely "artisans," entertaining serviceable, sometimes even refreshingly surprising genre- workers. Some who will never be anything but artisans hit the "E" string as fast as they can and scream about war, pain, teen angst, unrequited love, dead dreams, life's futility, and Satan; a very few such as Metallica (early career) and Slayer (from time to time, like on Reign in Blood) elevate that into Art, capital "A." Voivod, (specifically during their Nothingface period) is a sterling example of an Artist among artisans. However, their latest, self-titled effort is admirable, but imperfect, a somewhat pleasing, if underwhelming, shadow, echo or remnant of their best, vital work. But that is another review.
Thus, and this is important regarding my evaluation of John Arch, some bands over their career rise to produce what I deem is Art, but never capture or achieve that again in their work, either going off in new musical direction, or, just as hazardous, attempting to recapture by rehashing, and it is no longer fresh. Or... and this is the true challenge and duty of the critic to discern... perhaps within these bands, there is only one notable aspect or element worthy of being called Art... such is the case with John Arch's singing in early Fates Warning.
For those who have never heard John Arch, I feel both pity and jealousy. Pity because by now you've undoubtedly been exposed to and formed opinions about scores off lesser talented, "operatic" metal singers, and probably either equate it (operatic singing) to outdated, high-pitched "80s" music (including Glam metal), or some of the decent, yet exaggerated modern European "folk metal" singers, many of whom were directly influenced by Arch. You've heard and formed opinions about this genre through far less talented singers and, the saddest of all, you didn't hear it during its "heyday," when the genre itself was new and exciting. So even when you do hear Arch now, the genre itself won't be new, cutting edge, exciting, "pushing the envelope," like it was in the 80s.
I feel intense, raging jealousy because once you are exposed to and smitten by Arch and his particular music genius only he offers, it will be a transforming experience for you in regards to your opinion and enjoyment of operatic metal singing. But it will even transcend that narrow genre. Since Arch left the scene in the mid-80s, of course there have been many singers I liked, and some (such as Lane Staley on Dirt) that I consider Artists. And while I've matured, left the cave of adolescence and been exposed, via my wife and others, to other non-metal singers, whose talent I cannot deny despite the hated genre in which they sing, such as Celine Dion, Aretha Franklin, Josh Grobon (forgive my spelling on all of these), I can still say this: No single singer, regardless of the genre, has ever captivated and affected me and many others to the extent Arch has, and I wish desperately to be affected - influenced --that way again, like the first time I heard Arch.
Some of you might contend the King of the Operatic Singers is Geoff Tate of Queensryche in his early years; I too greatly admire Tate and consider him, at least in his early years, an extraordinary talent. And while I believe the quality of Tate's voice is second to none, Arch surpasses Tate and all others in imaginative ability in terms of melodies and harmonies, and the ability to use his voice not only to convey moods and words, but to enhance the music itself as a separate instrument, perhaps like a piano over an orchestra. In fact, as much as it pains me to say this as a Fates Warning fan (Jim Matheos, I love you, man), Arch's vocals are many times threatened to be mired in plodding, unpolished, distinctly 80s unmemorable, underground metal music, yet his vocals transcend and shine brilliantly in the murk created by capable, sometimes interesting, but distinctly lesser talents around him. You could listen to and be awed by Arch without musical accompaniment.
It also should be noted that if you went to any music supply store today and purchased a run-of-the-mill 4 or 8-track recorder, your recording quality would be FAR superior to the quality of Fates Warning's three early albums with Arch. Yet, despite all these negatives surrounding and threatening to dilute and obscure Arch, he was brilliant and nearly 20 years later (even before his new album deal with Metal Blade), his memory lurks on and homage is paid to him across the world on in the "underground" metal scene. Discussion boards. Modern singers who point to him as an influence. Certainly, a good portion of Fates Warning and progressive metal fans speak of him.
What do I and a portion of other fans think of current, and I think, popular Fates Warning singer Ray Alder? Well, we think he's a talented artisan, whereas Arch is an Artist. Perhaps, as with Tate, the quality of Alder's voice is superior to Arch's, but not what he does with it. Not his sheer imaginative ability. I have heard many times over, and in some case very much enjoyed, all the Fates Warning albums with Alder. I can play several of them from memory on guitar. I cannot think of another metal band from the 80s other than Metallica, Queensrche, and Voivod that I have listen to- in terms of their entire catalogues of music - more than Fates Warning. And sitting here writing this, I cannot recall a single "unique or special impression" Alder made on me during a song. That's why I went to great lengths at the first of this review to explain my critical method, what I mean when I say "special impression." Alder is by no means a "bad" or incapable singer; quite the contrary. He's very capable and interesting. I wouldn't have listened to the songs he was involved with so many times, if he weren't. But he's not Arch.
If I haven't already, here's the part where I radically depart from other reviewers and request - beg - you to interact with me, actively participate as I guide you through songs and point to and comment on this or that vocal section. How else can I get you interested or do something "fresh" with music nearly 20 years old? This is where I put my money where my mouth is and prove to you what I contend. If you disagree with this review, then take this as your opportunity to prove me wrong. What the hell, it will be fun. But it requires your lazy ass to participate; that means you must purchase and be prepared to play songs from the first three Fates Warning albums, Night On Brocken, The Spectre Within, and the masterpiece, Awaken The Guardian. Please purchase the cds and help the band pay their rent, don't download MP3s of these songs, which are readily available in several places online. Wink, wink.
Let's start with "The Apparition" on Spectre. It isn't Arch's best song (I'll tell you when I get to that one). Before you press play, remember what I said was one of the hallmark's of John Arch, one element that contributes to the "special impression," what he does, we believe, in a more original manner than any other singer we've heard within and outside the metal genre (many singers don't even do this at all): That is, use his voice as a distinctly separate instrument with or without words. And, remember what I said about his voice "transcending" and, perhaps, elevating very average/typical 80s, sometimes plodding metal music. Okay, listen to it, or at least the first two minutes. Then read on...
Surely, there are aspiring singers or musicians taking part in this "guided tour" of John Arch. Even if you're simply an avid music listener, you'll appreciate this and I think it will start to bring Arch's unique ability into focus: Now, while you're reading this, start "The Apparition" again and have it playing in the background. Try your best to tune out the singing and listen to the music and imagine, perhaps even experiment with, what vocal melody, harmony, pattern you would create over this music. Imagine if Jim Matheos and crew sent you a tape with just the music, and it was your responsibility to sing over it. What would you come up with? Read on once you've thought about it while the music plays...
I haven't even commented yet on Arch's lyric-writing ability. When I see song written by Matheos and Arch, I'm not sure who contributed what. Regardless, lyrically, I think Arch is masterful, but much of his mysticism, allusions to (and mixed) references to mythological figures, witches, pirates, giants, dragons and magic, are interesting - sometimes insightful and wonderfully poetic - sometimes vague and seemingly shackled together, like fragments of different poems that sound beautiful, spoken and sung, great alliteration ("Blasphemous black Bible, biased you betray bigotry") and always flowing beautifully, but conceptually - emotionally, intellectually --don't do much for me, at least in my post-D&D jaded middle age. But the beautiful way in which Arch intonates, strings them together in a wonderfully surprising and soothing singing patterns in the most unlikely ways over unlikely music, is all that matters. It matters not so much what he says, but how he sings it. "Deep the bowels of this black abyss compelled, I just can't resist it, take me."
Let's go to Awaken The Guardian. First track, "The Sorceress." Listen to the whole song. Then, let's focus on the part that most interests me for this discussion (plucking out an element to analyze): The middle section, when the music stops, then the ominous guitar begins playing. The lyrics go, "The children of the darkness dance in the coven of the lost... "Let's do this exercise again (last time I'll ask you to do this). Listen to the music, tuning out the vocals, and think about what you would come up with if you were required to sing over it. Really try to imagine. Now really listen to what Arch does. It's so unlikely, truly operatic, truly transforming, transcending the shackles of the music, elevating it into something special, a "unique impression," the performance of a virtuoso. Read the lyrics as he sings them, not so much for the meaning of his words, but his intonation of them, how he changes notes on during certain syllables, how he extends certain syllables, using his voice as an instrument. Yes, all other singers do this to a certain degree and in a certain manner -- just like all guitar players from, say, Bob Dylan to Malmsteen, can pick and strum. But, surely, you see how distinct this is to John Arch, and how special it is even among the narrow genre of progressive metal "operatic" singers.
Now to my favorite Arch performance (I didn't say HIS BEST or most popular), Fata Morgana (same album). Play and listen to entire song. Now that you've got a feel for my critical method, are equipped to evaluate in the Dean Loftis spirit yourself, the type of things I'm looking for, as far as plucking out and analyzing parts that are unique or best exemplified in John Arch, I don't think I have to say much. The song is full of uniquely Archian examples. Archetypes - hey, that would be a good name for John's second album. Throughout the song, especially the chorus, he sounds so inspired, so free, up and down the scale, painting a musical mural, enhancing the music, and the way he ends the song, rounds it off, concludes it with his voice - amazing. A "special impression." What sets him apart from Alder, Tate and others. Again, just to reemphasis and curtail some of the hate mail I'll receive, I think Tate and Alder in many ways have higher quality voices (unless new, advanced recordings prove that Arch was limited by technology back then), but John Arch exceeds them in shear imaginative vocal ability. Creativity with the vocal line. He has developed a vocabulary of singing patterns, all his own.
Now for his best and most popular singing performance, The Guardian (next song on album). I really need not say much here. Just listen to it. I've built you up, given you a little taste so far, but this is it - the crescendo. The climax. I can say from personal experience, on several occasions with different people, that this song is magical and has a magical effect on people, regardless of the type (genre) of music they listen to. And, to compensate for some backhanded criticisms of the other musicians, the music is incredible, emotional, heartfelt. This is not only the best Fates Warning, I believe this song is among the best progressive metal has ever produced. Arch is so somber, forlorn, his pathos, so touching, his cry out to and against God for allowing or inflicting this physical and emotional pain - the lead guitar echoing his vocal line (or vice versa) - truthfully, despite what a Fates Warning fan I am, I don't know exactly who he's talking about in this song - I think I read somewhere his brother, or relative, or friend was injured or crippled. Forgive my ignorance (I'm sure some of you will readily correct me). Regardless, if you listen to this song a couple of times, and cannot discern Arch's brilliance, his special, unique place in music, regardless if you agree with me that he is "better" than this or that singer, despite the fact that Evan Escence probably sold more alums their first week then Arch did in his entire career - if you do not agree Arch is an Artist, capital "A," then, how should I say... I pity you.
Now that the climax has ended, let's conclude, calm down a bit, and listen to "Damnation" on their first album, Night On Brocken, yet another reference (album title) to witches on the infamous mountain in Germany, I believe. I think this is Arch at his purest... his voice (perhaps because primarily accompanied only by quiet acoustic guitar) sounds here the richest. When Isay that Tate and Alder have a higher quality voice, this is the one example of an Arch vocal performance that approaches their richness. But again, his imaginative ability outshines them.
This concludes the "guided tour" of John Arch. I hope you enjoyed. Now, I'll conclude this lengthy review by pondering what John Arch will sound like on his new album - 15 years or so after his last effort.
I'm not sure, but inwardly I'm trembling with excitement and trepidation. The excitement part needs no explanation (who else would write such an obsessive, bordering on religious ecstasy, type of review). But as far as trepidation -
I think I've made it ABUNDANTLY clear how I, and I'm sure many other fans, feel about Arch's accomplishments and, for better or worse, we have enshrined him in the temple on Mt. Olympus, above most, if not all, other singers in this genre. For many of us, when we formed this opinion and perception of Arch during the heat of his career, we were young, impressionable and as I have stated, music has changed much. Expectations are different. Our standards are higher and more varied.
Arch is in the unenviable position of those few who have achieved (according to my critical sensibilities) the rarified title of Artist - which I stated earlier in relation to Metallica and a couple of other bands - of at one time having perfected a certain style, capturing something special, elevating the bar to perhaps a level he himself cannot outdo, without fear of simply rehashing, or totally switching musical directions to a different "proving ground", which is precarious, as far as maintaining that level of excellence that makes him so special. I have no doubt maturity has changed Arch, perhaps for the better, in the case of his lyric-writing. Talking less about Morgan Le Fey and witch finder generals and such, and more about real emotional issues would be, I think, a positive.
How has time affected his vocal ability? I suppose it could have (potentially) affected the quality of his voice, but I doubt it has negatively affected his imaginative ability. I also know he's playing with a progressive metal All-star band, including his longtime partner Jim Matheos, whose guitar playing (musical range and quality) has improved with Time.
So we John Arch fans await, anxiously, every morning desperately scanning metalupdate.com, Blabbermouth.net, the Metal Blade Web site, fateswarning.info for some snatch of a new song or any bit of new information about Arch and his album.
Dean Loftis
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