AYREON: 01011001 (2008)
1) Age Of Shadows; 2)
Comatose; 3) Liquid Eternity; 4) Connect The Dots; 5) Beneath The Waves; 6)
Newborn Race; 7) Ride The Comet; 8) Web Of Lies; 9) The Fifth Extinction; 10)
Waking Dreams; 11) The Truth Is In Here; 12) Unnatural Selection; 13) River Of
Time; 14) E = mc2; 15) The Sixth Extinction.
I am ashamed to say that, this time around, I
did not even bother looking up the basic contours of the story. It seems to be something of a cross between
the, ahem, «realism» of Human Equation
and the sci-fantasy of Universal
Migrator, all having to do with machines overtaking man, when everybody
starts thinking and acting binary (or, at best, hexadecimal), and somehow
conceptually tied in to every other Ayreon album ever released — you gotta give
Lucassen some credit, his megalomania never got in the way of accurately tying
together all the little loose ends.
The problem is, this time around the music
never really stimulated me into looking up any details. If the first half of Universal Migrator worked moderately
well as a «musical picture gallery» of sorts, and Human Equation, de-padded and properly filtered, had a
psycho-thriller sheen to it, then this follow-up, being every bit as large and
pompous, hardly offers a single fresh idea. Seventeen
singers in total show up for the project — at this point, it seems that
contributing to an Ayreon prog-metal-opera turns into an obligatory clause in
every power / symph / doom-metal band frontperson's contract, and they are all
standing in line on his front porch on a daily basis. (Gotthard, Blind
Guardian, and King's X are among the more notorious acts this time). And they
all blow it on this mastodont, quite mediocre even for Ayreon's usually
questionable standards.
Of course, there is no questioning the
technical side of it all. Every note is in place, all the acoustic, electric,
and electronic overdubs meticulously tested and adjusted to each other, each
singer and singerine wined, dined, coached and poached to perfection. We could
hardly expect anything less of a guy who has never sullied a single one of his
fantasies with overt sloppiness. Extract it from its context, forget about
every other Ayreon record ever released (better still, forget about every other
record ever released, period), and 01011001 will be a monumental
achievement in its own rights. As it is, it is about as exciting as the
sequence of zeroes and ones that constitutes its true title (the letter ʽYʼ,
short for either YAKETY-YAK or YARDBIRD YAWN, depending on your current state
of mind).
In utter frustration, I cannot think of a
single track here worth a specific mention. It seems as if Lucassen was so
overwhelmed by the sheer number of people he got to act in his next play that
he subconsciously fell back on his old musical stock, recycling all of his «meat-and-potato»
ideas (folk, metal, electronic) without bothering to find any new combinations.
Even the presence of one or two ʽLosersʼ or ʽShooting Companiesʼ could have
already made a big difference, but no, these hundred minutes run on without a
single ripple on the surface.
Obviously, this criticism makes little sense if
we are simply supposed to like Ayreon as a musical phenomenon. One does not
criticize something like, say, Haydn's symphonies for (frequently) sounding
indistinguishable from one another, so why should this be different with
Lucassen? Yet, first of all, it does not hurt to remember that 01011001 is Lucassen's first, and only,
musical offering in four years (how many symphonies could Haydn have come up
with in the same interim?), and even a hardcore fan could be entitled to
something that did not sound exactly
like a rearranged/restructured medley of past successes (and failures).
And second — this is where personal taste comes
in — Ayreon's music has always been cheesy,
humorless, padded, bloated, and emotionally monotonous. It was only during
those select, happy, cherished moments where Lucassen was able to break through
these walls that I felt like there was something to gain (and there really
was). «Generic» Ayreon material has no reason to exist in my world («poor man's
Rush» could be a good description), and I wouldn't want to recommend it for
anybody else's, either. Hence, decidedly a thumbs down here, and here's hoping that the
next Ayreon release will be more creative and let us learn something that we
didn't already know, and wished we never knew in the first place.
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