NO EXIT

This album was my exposure to progressive metal and something a bit more complex than 4/4 verse chorus verse chorus bridge chorus hair metal I'd been previously exposed to. As the first track started (an almost a capella piece by Alder), I thought I had made a mistake. Once the album began, I felt at home.

Disregarding the overtriggered drums and low mix guitar, this album rocks hard. Ray Alder's vocals in many places are piercing (good that he toned it down a bit in the future) in many places, but he's on target 100% with his delivery. Track 5, Shades of a Heavenly Death, is one of my all time metal favorites. The riffs and changes and vocal melodies in this song are excellent.

The epic "The Ivory Gate of Dreams" is a mixture of ethereal acoustic guitars, harmonic guitar tones, and odd time metal with some recurring, haunting themes. The music here is quite soundscapish in a way. I'm always reminded of a warrior riding off from his home for some reason. The biggest problem with this track is how some of the sections are blended together as they don't really flow (one section had to be faded out while the other faded in).

Each track on this album is quite memorable and unique unlike a lot of current metal. It's not for everyone, especially those that don't like the classic Iron Maiden metal sound.

In my opinion this is among the best progressive metal albums ever recorded. It has a very rare combination of energy, hunger, originality, and masterful songwriting and arrangement. It roars like a powerful metal album yet is layered with unpredictable drumming and complex textures you just don't hear anywhere. I prefer Ray Alder's voice to John Arch's - although I'm sure those were great albums - Ray's voice is a sonic powerhouse that rivals any opera-class vocalist, and is a formidable force in itself, probably the most talented musician in the band. The album is a bit raw but for me that just adds to its effect. I am a huge fan of Fates Warning, and I would say this belongs up there with any of their best. This, Perfect Symmetry, and A Pleasant Shade of Grey should all be at the top of the list. I find every song to be very good or excellent, and the album overall to be rock soild start to finish. No Exit, Anarchy Divine, Silent Cries, In a Word, Shades of Heavenly Death - all are excellent tracks, and The Ivory Gate of Dreams is an unheard of underrated masterpiece. As far as a reviewer commenting that progressive metal should be left to Queensryche, I totally disagree. These are two different bands who I have seen on tour together along with Dream Theater. All are outstanding performers, and all are favorites of mine. I own every album from each group. Queensryche remains untouchable and rightly so, but in my opinion, so does Fates Warning, and also Dream Theater. This album rocks as hard as anything you've ever heard and has haunting melodies to boot, combined with an aggressive complexity that does not wear over time (I've had this one 15 years.) Queensryche is great but there is nothing this heavy in their catalog. This one is unstoppable.

4.5 stars actually!

Fates Warning, to me, is the first truly progressive metal band. Queensryche is a great band, but I only see them as progrelated, because on Mindcrime, the only thing that really makes it "prog" is the concept and the few overly long songs, and trust me, many bands have done both on the same album without being "prog" (undeniably an influential album though) This album has its historical value though, although being not very well known. This was the first album where Fates Warning took their Rush influences to a new level, with rapid shifts in songs like Shades of Heavenly Death and the massive Ivory Gates of Dreams, the first progmetal epic (although one could argue 2112). This is pivotal in that Dream Theater toured with them around this period, and was a vital step in influencing their evolution from When Dream and Day Unite to Images and Words (although coming out before the former) , the pivotal and most influential progmetal album arguably to date, which thus spawned the whole prog metal movement. Hate it or love it, it's here for a while. Anyways, enough history lessons, onto the review.

1. No Exit- essentially, an intro to the next track/rest of the album. Why they would choose to name the album after an intro track is beyond me, but at 42 seconds, there isn't much to be said about this, other than the fact that it marks Ray Alders' vocal debut, and can have many comparisons drawn between he and Geoff Tate of Queensryche.

2. Anarchy Divine- first actual track, exploding with guitars, and already the time signature fun begins. Lyrically, one could link this song's theme to that of Mindcrime, and I'm sure they full well knew that when writing it. Still, fantastic track, reminiscent of previous albums

3. Silent Cries- seems like a continuation of the previous track, if I hadn't seen the track change on my CD player, I wouldn't have known the difference. This means its similar soundwise to the previous song. I find Adler's voice in the chorus somewhat annoying at times, and he on this album particularly sometimes tries to hit the high notes, and succeeds, but without being coherent. A more typical metal track, not too progressive, but stil a good song

4. In a Word- starts with haunting acoustic guitars, only to be somewhat ruined to a degree by the triggered snare and booming echoey bass pedal that seemed to plague the time period. A good song, somewhat ballady song with some haunting melodies

5. Shades of Heavenly Death- kicks off with almost a semi blast beat and a Slayerish type riff, which quickly changes, and the prog fun begins! For such a short track, this song cycles through many parts, all different in time signature and tempo. Great track, second favorite off the album

6. The Ivory Gate of Dreams- amazing song, and arguably the first sidelong progmetal song (again, discounting 2112, as the progmetal genre did not exist yet) Starts with beautiful guitar and a great recurring theme that comes back in the middle in piano form, and finally at the climactic end in guitar solo form, before going back into the same part acoustic part that it started on. Very highly overlooked in the progmetal community, this track set the basis for all progmetal epics to come, which, in some way or another, reflect the ideas used in this song, particularly Dream Theater's A Chang of Seasons.

Overall: Lyrically, the band seems to have evolved, with Aresti and Matheos seeming to veer away from the fantasy themes that they seemed to dabble in in John Arch's presence, particularly in The Ivory Gate of Dreams, which seems to be almost Rush like, although apparently is based off of Greek mythology in some way or another.

Soundwise, there are ups and downs. The bass can barely be heard in this album, 4.5 stars actually!

Fates Warning, to me, is the first truly progressive metal band. Queensryche is a great band, but I only see them as progrelated, because on Mindcrime, the only thing that really makes it "prog" is the concept and the few overly long songs, and trust me, many bands have done both on the same album without being "prog" (undeniably an influential album though) This album has its historical value though, although being not very well known. This was the first album where Fates Warning took their Rush influences to a new level, with rapid shifts in songs like Shades of Heavenly Death and the massive Ivory Gates of Dreams, the first progmetal epic (although one could argue 2112). This is pivotal in that Dream Theater toured with them around this period, and was a vital step in influencing their evolution from When Dream and Day Unite to Images and Words, the pivotal and most influential progmetal album arguably to date, which thus spawned the whole prog metal movement. Hate it or love it, it's here for a while. Anyways, enough history lessons, onto the review.

1. No Exit- essentially, an intro to the next track/rest of the album. Why they would choose to name the album after an intro track is beyond me, but at 42 seconds, there isn't much to be said about this, other than the fact that it marks Ray Alders' vocal debut, and can have many comparisons drawn between he and Geoff Tate of Queensryche.

2. Anarchy Divine- first actual track, exploding with guitars, and already the time signature fun begins. Lyrically, one could link this song's theme to that of Mindcrime, and I'm sure they full well knew that when writing it. Still, fantastic track, reminiscent of previous albums

3. Silent Cries- seems like a continuation of the previous track, if I hadn't seen the track change on my CD player, I wouldn't have known the difference. This means its similar soundwise to the previous song. I find Adler's voice in the chorus somewhat annoying at times, and he on this album particularly sometimes tries to hit the high notes, and succeeds, but without being coherent. A more typical metal track, not too progressive, but stil a good song

4. In a Word- starts with haunting acoustic guitars, only to be somewhat ruined to a degree by the triggered snare and booming echoey bass pedal that seemed to plague the time period. A good song, somewhat ballady song with some haunting melodies

5. Shades of Heavenly Death- kicks off with almost a semi blast beat and a Slayerish type riff, which quickly changes, and the prog fun begins! For such a short track, this song cycles through many parts, all different in time signature and tempo. Great track, second favorite off the album

6. The Ivory Gate of Dreams- amazing song, and arguably the first sidelong progmetal song (again, discounting 2112, as the progmetal genre did not exist yet) Starts with beautiful guitar and a great recurring theme that comes back in the middle in piano form, and finally at the climactic end in guitar solo form, before going back into the same part acoustic part that it started on. Very highly overlooked in the progmetal community, this track set the basis for all progmetal epics to come, which, in some way or another, reflect the ideas used in this song, particularly Dream Theater's A Chang of Seasons.

Overall: Lyrically, the band seems to have evolved, with Aresti and Matheos seeming to veer away from the fantasy themes that they seemed to dabble in in John Arch's presence, particularly in The Ivory Gate of Dreams, which seems to be almost Rush like, although apparently is based off of Greek mythology in some way or another.

Soundwise, there are ups and downs. The bass can barely be heard in this album, but the guitars are the heaviest they've ever been with FW. As I mentioned earlier, there is still that triggered snare that seemed to work its way even into Images and Words, which was done in the nineties. Ray's vocals are very operatic, but he has a tendency to try to go too high, and as a result, it occasionally blocks out the music and you can't understand what he's saying

Overall, a must have for any prog metal enthusiast, and a great addition to any progressive collection, if not for The Ivory Gate of Dreams and Shades of Heavenly Death alone!

Enter new vocalist Ray Adler but that's about the only major change from their previous release "Awaken The Guardian". Like it's predecessor "No Exit" is punishingly heavy and quite dark. The band thanks WATCHTOWER and QUEENSRYCHE in the liner notes, and it wouldn't be such a stretch to say this release is like a cross between these two bands.

I have to agree with heyitsthatguy that it seems strange that this record is named after this 41 second opening song, that is a slow paced vocal and guitar piece that is rather forgettable. The first two songs do not do anything to make fans forget about John Arch as the vocals in both are not his best by a long shot. I actually find them almost annoying in the second song "Anarchy Divine" but the guitar throughout is great as the drums and bass provide a good rhythm. "Silent Cries" is one of the best songs on the album and the faster paced sections sound similar to the previous song but it's the quieter, atmospheric passages that make this song so amazing ! "In A Word" is another incredible tune with passionate vocals and wild guitar moments. Great song ! "Shades Of Heavenly Death" opens with pounding drums and guitar that is on fire in this uptempo rocker.The vocals get better as the song goes along. Nice guitar solo 3 minutes in and at 4 minutes the song gets even heavier and darker.

"The Ivory Gate Of Dreams" is a side long track that consists of 8 sections beginning with "Innocence" an acoustic guitar track that is just over a minute long. In "Cold Daze" the power is turned up. Here we go ! This is a melodic, uptempo section with scorching guitars. In "Daylight Dreams" Ray's vocals are at their best even singing in the same style as Mr.Arch. The ending of this section is heavy duty. The "Quietus" section is one of my favourites on the album. Opening with piano this is pastoral until things start to pick up with some good guitar melodies and pounding drums.This all accellerates even more and it sounds awesome ! The section ends as it began with piano. "Ivory Tower" rocks out really good, with guitars galore. "Whispers In The Wind" opens with acoustic guitar as the vocals and drums are added to this slow paced tune. "Aquiescence" is hard, fast and heavy. The ending section "Retrospect" is a minute of acoustic guitar.

This may not be as good as "Awaken The Guardian" but if you liked that record i'm sure you'll like this one as well. I highly recommend this beast !

I don't know what was going on with Fates Warning at this point in their lives...but I sure like it! When I let friends listen to this CD, they are blown away. Well, until the vocals. "Enter Young Man...Welcome". Ray Alder's voice is enough to scare away most people, but lucky for me I had been listening to King Diamond for months at this point. I kept listening to the cd over and over until I had memorized most of the lyrics and then I started buying the other albums starting at the begining. WOW! In those few years, Fates Warning had come from Night on Brocken to this masterpiece. I didn't know how they pulled it off, and I really didn't care. But after this CD another change took place. A horrible one as I see it, and I have no clue as to why. This cd was definitely the heaviest Fates Warning ever put out. The more I listen to the CD as a whole, the more the grand concept FW may or may not have been going for reveals itself as well as the brilliant musianship and (now that I"m used to him) Ray Alder amazing metal voice.

"No Exit" is the 4th full-length studio album by US progressive metal act Fates Warning. The album was released through Metal Blade Records in March 1988. There´s been one lineup change since "Awaken The Guardian (1986)", as lead vocalist John Arch has been replaced by Ray Alder. "No Exit" is also the last album to feature original drummer Steve Zimmerman.

The change on the lead vocalist spot has a major impact on the band´s sound, which was more or less inevitable considering how distinct sounding and important John Arch was on the first three Fates Warning albums. When the change needed to happen, they couldn´t have found a better replacement than Ray Alder though. He is a significantly different sounding vocalist with a very different sounding voice and delivery to his predecessor, but still manage to fit in with Fates Warning´s music from day one.

It´s not only on the lead vocalist spot, that the band have changed. The atmosphere of the music is now darker and the music is at times pretty hard edged, almost bordering thrash metal rawness. The fantasy lyrical themes of the past are now also toned down considerably in favour of lyrics dealing with more personal emotional issues. "No Exit" is in that respect a landmark release in the band´s discography. It´s also a pretty unique release in their discography because already on their next album ("Perfect Symmetry (1989)"), they made significant changes to their sound again.

"No Exit" features 6 tracks. The opening title track is a short intro and the next 4 tracks are regular length (between 3 and 5 minutes long) tracks. The album closes with the 21:58 minutes long "The Ivory Gate Of Dreams". A multi-suite epic divided into 8 parts, and by far the most progressive oriented track in the band´s discography up until then. While there are reoccuring themes throughout the long track, it´s obvious that the 8 parts weren´t necessarily written to be played in succession, and some of the shifts between sections, are slightly awkward sounding. When that is said, it´s still a brilliant progressive metal track featuring memorable melodies, hard edged heavy/thrashy riffing, epic moments, and beautiful acoustic sections.

The sound production is more professional sounding and more powerful than the sound production on "Awaken The Guardian (1986)", so it´s definitely a step up in that department. There are still some production issues like the distorted guitar tone, which isn´t always that well sounding, and the reverb laden snare drum sound, but those are minor issues, and they don´t mean "No Exit" isn´t overall a well sounding album.

Upon conclusion "No Exit" is another high quality release in Fates Warning´s discography and a shiny example of 80s progressive metal (guitar/vocal driven progressive metal). The traditional heavy metal and thrash metal elements are still very dominant in the band´s sound, but they´ve incorporated more progressive ideas to their music and "No Exit" is generally a very intriguing progressive metal album with a dark atmoshere. A 4 star (80%) rating is deserved.

'No Exit' - Fates Warning (8/10)

Save for the twenty one minute long 'Ivory Gate of Dreams,' there isn't too much of a progressive theme to be found on this album. There is certainly some progressiveness to the other songs, but that's the song that gives this release such a ground breaking element to it. Until then, there really wasn't too much of a progressive metal scene going on. Having a song cycle of such epic proportions thrown into a genre that was generally (at the time) about drinking, women and drugs was quite a shock to the system.

However, everything considered, I'm still not a big Fates Warning fan. I find Ray Alder is a technically accomplished vocalist, but I simply don't like his voice all too much. This might be however, a result of my other major problem with the band; their lack of attention to actual melody. The vocal melodies on this album (and alot of Fates Warning's other work) seem like they were just put in for the sake of having a singer. Some of the acoustic parts of 'The Ivory Gate of Dreams' however offer an exception to this, which is always a refreshing change to listen to.

The aforementioned epic is a real journey through many different emotions; melancholy through rage. It's very surreal and while I didn't really think it worked especially well altogether on my first few listens, months after buying, I realized that there are so many recurring themes that weave their way through the music that make it a sort of song cycle you have to listen to from start-to-finish to really get a kick out of it.

The other tracks on the album range from very good to mediocre. The epynomous intro to the album segues into the most memorable 'single' track on the album, 'Anarchy Divine,' with some absolutely amazing guitar solos. 'Silent Cries' doesn't do much for me, but the other two songs have some very cool moments, especially the fifth track before the epic begins, 'Shades Of Heavenly Death.'

This album would probably interest metal fans more than actual prog fans, but seeing as I am both, it's definately not a poor addition to my collection. While I would certainly not compare it to the stands of Dream Theaters 'Scenes From A Memory' or Symphony X's 'New Mythology Suite,' it's definately a good listen. Think an American, more progressive version of Iron Maiden.

This album marks a transitional period for Fates Warning. Singer John Arch had left the band after their Awaken The Guardian album and tour so this marks the first album the band released with Ray Alder. I consider Alder to be one of my favorite vocalists in the prog metal genre (as well as underrated), but this album he seems to be singing in a higher range than his voice is suited for. Most likely this is due to the fact the bulk of the material (perhaps the entire album) was written prior to Alder's joining the band.

Musically, it doesn't differ terribly from Awaken The Guardian. The first two tracks (album intro "No Exit" track aside), "Anarchy Divine" and "Silent Cries", are very thrash-metal inspired tunes, as is "Shades of Heavenly Dreams". Though in typical Fates fashion, with "Shades of Heavenly Dreams" in particular, the band break off into extended instrument passages that leave you wondering what direction the song will next take. "In a Word" is quite a memorable ballad that is a welcome break from the frantic riffing of the other tracks, probably one of my favorite songs off the album along with "Anarchy Divine".

The remaining tracks of the album form the "Ivory Gate of Dreams", probably the most ambitious piece the band has recorded at the time. While the indivdual parts are interesting, together they do not flow as well as some of their other longer pieces found on later albums. My favorite pieces of this "suite" are "Quietus", "Whisper on The Wind" and "Acquiescence", all of which lie in the second half of "Ivory Gate of Dreams".

Overall, this album is not essential Fates Warning, but it is still an interesting listen. In later albums, both Ray Alder would find his voice and as the band writes with Alder's voice in mind, the material gets much stronger.

There is truly No Exit...

The true tip of Fates Warning at their creative and progressive peak. This album is an onslaught of classic progressive metal, and by and far ahead of most their other releases in terms of pure aggression and bite.

Soft atmospheric opener No Exit betrays your ears as The blisteringly knotty and ferocious Anarchy Divine rips you apart. The playing is jagged and perverse in its powerful maddening complexity and sheer thundering force. The lyrics are thought felt, and the singing is more impassioned than ever before (or perhaps after). The solos are tossed in indiscriminately for this song, and each one smacks you hard.

Silent Cries doesn't let the fire go, and assaults you with another fierce shark slash. This one is more restrained and realized than the previous song. What it sacrifices in force (which isn't much) is supplemented by shifting times and vibrant alterations. The vocals are enthralling, to be sure. Fates Warning at their darkest and most venomous.

In A Word halts to a soft and enticing crawl. Well, that is until it smashes then jerking itself back. A lovable train crash. Shades Of Heavenly Death is utterly devastating. A raging stomp the likes of this band has never seen before. More excellent screeching from Ray, and with fine lyrical content. Nothing on this album fails to impress, and it does so in multiple ways. Flailing madly and unexpectedly, this is their most interesting release.

Then the rain comes. It arrives the shape of the 20 minute long epic Ivory Gate of Dreams. Possibly the overall finest moment Fates Warning ever crafted. It slowly builds from the first couple of minutes, before ti thrashes itself wildly amongst complex rhythms and melodies, riffing at a furious rate, and changing itself sporadically. This disjointed nature is fantastic, and highly unpredictable. It is almost as if the guitars laugh at you as they fly and stomp, crafting an angry and eerily dark, entrancing atmosphere. The jazzy trots that pop in, along with the fierce solos dripping in and out, as the song slowly progressive and alters itself over time. Both deep, complex, and metallic. This is the album peak, end, apex, and boundary crusher.

That's it. Half the album is fiery classic progressive metal, the other half a towering epic with many enjoyable facets. I can't cite much as a real negative aspect of the album. Perhaps the brash and raw nature of it all could turn some people off, but it is certainly a classic, and Fates Warning at one of their strongest moments.

Best Song - Ivory Gate Of Dreams

Worst Song - In A Word, but it is still great.

***** stars

Until the moment this album was released, I knew about Fates Warning and even I had some interest for them, but they wasn't a band of special interest for me. It was with this album that they took a giant step the become a favorite band for me.The adding of Ray Adler as lead singer is an importat element in that evolution, since he exceed widely John Arch, not only range of his voice, but in personality and sensibility too, opening for the band huge new territory. But it's not only the change of the voice, because the musical concept of the band got widened to limits unsuspected in previos records. Was it the Adler adding the definitive fact in the inspiration of the band to exceed themselves? I can't tell, but for sure this is one of my favorites prog metal albums ever. Despite the obvious influence of Iron Maiden and the main thrash metal bands of the moment, like Metallica, Testament and even Flotsam And Jetsam in same moments, Fates Warning turned into a first-rate band. I can't emphasize any track, all of them are wonderful and the full album is a masterwork perfectly balanced, not only the long and epic The Ivory Gates Of Dreams, that took up the full B side in the original vynyl release.

Essential for a full understanding of prog metal evolution.

"No Exit" is the title of a very important album in Fates Warning's history - first of all, it is the first album with Roy Alder on the lead singer's role; it is also the effort in which the FW sound that took a string of three albums to develop and endeavor finally achieved its definitive shape. Regarding the latter factor, this is where the band generated the capitalization of the epic metallic ambitions that the following two studio albums would epitomize in full splendor. The album opens up with a brief exposure of dark doom in the namesake prologue: the Gothic guitar textures and sinister singing properly elaborate a gloomy atmosphere with eerie undertones. Next is the first proper song, 'Anarchy Divine', which serves as the impressive presentation letter from the new kid in the band: Roy Alder shines right from the first sung lines, with the instrumentalists building a complex development of riffs and unusual time signatures. In fact, you can tell that the whole band as a unit shines more brightly than ever. 'Silent Cries' comes next, starting with a solid attack during the first thematic riff, but soon enough the track reveals itself as a more complex exhibition of prog-metal inventiveness. Just by listening to the sequence of these first 3 pieces you can hear the furious birth pains of the genre as a robust musical path, and let's consider that we are talking about material that doesn't even complete an 8 minute span altogether. By all means, it is quite clear that the progressive (and metallic) sub-genre was born as a mature being itself. 'In A Word' instills a more ceremonious mood in the album's framework. This piece is closely related to the band's earlier material, as well as Di'Anno-era Maiden and late 80s Queensryche: the final result bears a distinguished mood to it, although I can't help feel a bit frustrated at the premature arrival of the fade-out. This track surely deserved a more epic delivery? but what do I know anyway? The album's first half ends with 'Shades Of Heavenly Death', the longest piece comprised in it. Now? this is epic! With a sort of speed that equals anything done by Metallica or Megadeth at the time yet with a more polished approach and a more accomplished compositional drive, the FW guys move steadily and enthusiastically through various moods and motifs that merge passion and darkness in a most dynamic way. The dual acoustic guitar interventions some time after the 4 minute mark (plus a mysterious chorale) are spine chilling, not interrupting but complementing the overall explicit energy. Once again, a fade-out settles the score but this time I feel that the piece has been properly completed. The album's second half is occupied by the suite 'The Ivory Gate Of Dreams', which can be tentatively described as the "missing link" between Iron Maiden's 'Ryme Of The Ancient mariner' and Dream Theater's 'A Change Of Seasons'. The opening verses consist of a beautiful prelude on classical guitar. It doesn't take long before the full band stages a clever metallic attack (Zimmermann's finest hour, IMHO) divided in various series and featuring varying levels of rocking power. At the 6'30" mark, a slow section intrudes and states a reflective note for a brief moment before a new electric section gets in ? anyway, the reflective ambience remains intact. The suite's lyrics are also some of the best ever in FW's history: "Ivory towers appear beyond the gate / Invisible fortresses of escape / Traversed by ramparts made of hopes and fears / Impervious to reality" ? poetry!! Want some more poetry? Check this: "When reality obscures the dream / Makes the mind a grave of memories / That wander like the lonely breeze / Whose whispers echo through ruins rust / Of towers torn and dreams turned to dust". Lovely!! The magical introspection of the 'Whispers on the wind' section segued to the previous section's radically abrupt end beautifully signals the image of a person's awakening. There is also poetry in this sort of instrumental arrangements. In fact, at this point, the piece escalades toward an impressive climax that gives enough room to Alder's highlighted singing. The suite ends where it began, a classical guitar epilogue as serene as it is touching. It makes total sense: a lovely closure for a lovely groundbreaking album.

Prog metal at it's best

Fates Warning is one of those bands that stand tall after the change of orientation in prog during the middle 80's. I felt their music a lot more interesting and creative than Queensryche and they use to be overlooked by many people. Well, this album shows the quality of the musicians, the great concept of the merging in between metal and progressive rock. The result is a great album that deserves a better place here.

Well, the band kicked out the great singer John Arch, but even that was a bad choice, the new singer, Ray Alder, shows quite well why he took the role. More controlled but still aggressive and acrobatic, his vocals brought new life to the already creative and intricate music this band played at the time. It was 1988, the music world was changing, and they survived and evolved into a better band.

Jim Matheos is one of the most underrated guitar players in the history of rock. He is creative and his quality of songwriting is all there. The focus of the album is the epic song The Ivory Gates of Dreams, that last more than 21 minutes and it's an entertaining piece of wonderful music, full with energy, power, melody and time signature changes.

While the quality of sound is not the best, is quite good enough to enjoy. If you like metal or prog metal, you cannot pass this by. Give it a try. And for those who don't know yet this band, at least during this era, they were like a raw version of Dream Theater, a little less bussy in the technique department and more focus on the emotional-dramatic side of things. Music with energy and sense is what we need more often, and this kind of songwriting is not very common to find. Please, don't let this chance to pass you. This is an album to hear and enjoy. 4 stars is fair.

The start of the Prog-era

No Exit was the first Fates Warning album featuring singer Ray Alder and thus in many ways the start of a whole new era for the band - a more progressive era. Think Judas Priest circa Stained Class, but more progressive and without Priest's distinctive identity. Alder does indeed sound a bit like Rob Halford but again without Halford's distinctive identity. In addition to Judas Priest, one can also detect a Rush influence.

Like early Queensryche, the progressive ambitions of Fates Warning were not immediately apparent. The first half of this album consists of shorter songs that are quite conventional Metal songs not far away from the style of Queensryche. It is on the second side of the album that the progressive ambitions of the band become clear. The Ivory Gates Of Dreams is a 22 minute, eight-part epic with a nice acoustic guitar intro and a multitude of riffs. It toke many listens for me to sink in, but now I like it a lot. It is also featured on the very good live album Still Life.

A good start of Fates Warning as we know it, but it would get better on subsequent albums.

It was only to be expected that Fates Warning's first album after the departure of John Arch would be a rather transitional affair, but new frontman Ray Adler hits the ground running and the band do much better under the circumstances than many other groups would have. The first side of the album consists of a series of solid and entertaining enough songs which, despite being fun, have an air of "playing it safe" about them.

All doubts are dispelled, however, with the concluding side-long epic The Ivory Gate of Dreams, in which the band tackle the most complex and challenging progressive metal they'd concocted to date and come up with a true classic of the genre, a piece to rival Rush's 2112 in its importance to prog metal. The first side of the album is three and a half stars, the second is five, so let's say four and a half as a fair compromise.

3.5 really

With No exit released in 1988 Fates Warning beggins a new era, here appear for the first time the excellent vocalist Ray Alder who gives a new dimention to Fates Warning pieces from now on. I can say that I'm a fan of this band , collected almost everything they have across the years and love them for 20 years now. This album to me is a mixed between Queensryce and Watchtower, both bands appear in the liner notes on tanks section. The music is powerful with lots of guitar breaks, Jim Matheos must be one of the most overlooked guitar player in the history. A legendary album for sure with many great moments, but I can't say is on par with their next one Perfect symmetry to me their best album from first era. Very good songs here with a plus on ending track The Ivory Gate of Dreams - a 22 min sheer beauty. This song is among the best Fates Warning ever done, has it all, great guitars, piano, fabulos vocal parts, top notch druming from Steve Zimmerman , the last FW album where apper. Lost of tempo changes, time signature all meted ina heavy progressive way. This album is solid but I can't say is in my top 3 from them, still great to be discovered by younger genration , Fates Warning were considered and are considered the fathers of prog metal since late '80's. So to me only 3.5 stars.

Enter young man!

There is an exit. There is a way. A way for deliberate thoughts and unrestrained emotions. This record was among my first prog metal albums I got acquainted with, when I started my journey into the realms of progressive music. After two spins or even three, it seemed to me rather complex and a bit messed up. I remember, nevertheless, the waves of thrill during forth try. "Under the brooding sky and watchful eyes". It's quite dark and heavy music not crossing the borders with extreme styles. As on the most Fates Warning albums lyrics deal with painful and sorrowful issues nd as always are quite psychological with much sense put between the lines. Despair, melancholy, and even aggression a bit, are the shades of emotions that color the musical canvas of No Exit album.

There's no sense in praising abilities and skills of musicians or their consistency. You know, Jim Matheos has always known how to select right musicians. And Ray Alder, a newcomer for that moment of time, shows it perfectly. His voice range, emotiveness and mastery are just second to none (But don't forget - I'm a huge fan of yelling and wailing). There couldn't be better substitute for John Arch. Those screams on Anarchy divine are absolutely punching and striking. What an anger! On the other hand - that mellow flows in the beginning of Innocence part of The Ivory Gate Of Dreams.

Concerning songs. No weak points for sure. If you're not agree ? contact me. Joking aside, every single song (it means, little piece No Exit - too) is no filler. Elaborated structures, fresh riffs, stunnig solos and haunting melodies are all present song. And not to forget the atmosphere and emotional flow.

No Exit is short song, a kind of introduction or opener, if you like. Slow dissonant arpeggios topped with sinister voice. Lyrics are concise and rather reflective. In my point of view they're about vanity of existence.

The next song, Anarchy Divine is rather aggressive and rebellious. It demonstrates the heavier side of the band. That intro riff with shifted accents and reduced beats reminds of dark and heavy Iron Maiden. Solos are very accomplished, especially the ones by Frank Aresti with all his legato staff. Instrumental part is relatively ling. Although the song is only 3 minutes long, vocals enter at the 2 minutes point after fast riff. Lyrics deal with repression and resistance of a personality.

Silent Cries. Melodious yet heavy and progressive. There is plenty of time signature changes. Just listen to the riff after the chorus (and the chorus as well). On this song bass lines of Joe DiBiase really stand out. Some punches here and there. Verses and choruses have exciting contrast which intensifies the emotional tension. To my mind these quite psychological lyrics are about the universal neglect towards the opened, young and eager minds (which can be both harmful both for personality and society).

In A Word is a very melancholic piece. Gloomy and mellow at times, but the tension builds up to the chorus. Very nice acoustic Jim Matheos extremely contributes to such melancholy. Atmosphere is a bit similar to Iron Maiden's Remember Tomorrow. The choruses are kind of hanging over you with a lot of pressure. The sense of lyrics to my mind consists in searching for one's own way: is it real to make your life as you wish? Or you are doomed to struggle with cold and grey reality with no exit?

On Shades Of Heavenly Death the first man to stand out is Steeve Zimmerman. Really great drum intro. Then enters that thrashy riff. The song is the heaviest one on the record, and also one of the proggiest. It contains different riffs and rhythms, multiple time and time signature changes. Also you can check 3:50 point with Sabbatish riff. The comes that absolutely sinister part: abrupt distortion punches and classical inspired acoustic arpeggios with synthesizer making atmosphere in the background. There's no sense in explaining the lyrics, 'cause the last lines can do it really better: "Crowned voids forever rule. In worlds lived and learned of fools. Conformity's the teachers' tool."

Am I going to write a giant paragraph 'bout premiere d'oeuvre The Ivory Gates Of Dream? Just listen to that 22 minutes of grandeur. This piece has it all. The first real progressive metal epic. Lyrics? Is it good to be a dreamer or not? Daydreaming or planning? You're to decide. Magnificent musical journey.

So, to draw a conclusion I'll emphasize, that this record is extremely underestimated and deserves a special place in every progressive metal and metal collection.

While "Awaken the guardian" was still with one foot firmly rooted in heavy metal, on the simply titled "No exist", the music is elevated to another level, called accessible 80's progressive metal without excesses of the 90's prog-metal. Instrumental playing is robust, tight and heavy. Compositions are rhythmically varied, the drummer excelling in hitting irregular fills here and there. The guitar tandem crafting a lot off riffs, alternating between heavy, prog and trash but fortunately mainly heavy and prog. Unfortunately, the singer who sings as if he were crying at the microphone, ruins the performance. I liked the previous singer more and this one had yet to command his voice. My favourite song is the ultra-heavy "Shades of heavenly death" that really anticipates some dark 90's prog metal. The long epic is solid and remarkable mainly for its instrumental playing, less for the contents itself.

This album belongs to the top prog-metal releases by Fates Warning, however I doubt it would have had so much traction had it been released in the 90's.