Fans of Progressive Music are more then likely familiar with Star One, which acts as a side project for Ayreon's main member, Arjen Antyhony Lucassen. This project formed around 2002, releasing the debut full-length Space Metal that same year, as well as issued a live CD and a live DVD, Live on Earth. And then, there was silence. It's been roughly several years since that live album, and Star One return with their follow full-length, Victims of the Modern Age. Has this seven year silence from this act been worth the wait?
While Ayreon has also been a fantastic Progressive act, always astounding with each release, Star One is still some new ground, but essentially is same kind of band. Both a Progressive Rock and Metal sound are blended here together nicely to create a highly atmospheric album, playing into a cyber, modern day setting musically, and takes the listener on a journey, as if this whole release were today's heavier incarnation of a Space Rock album, though, sometimes the atmosphere does seem to change throughout the album, often for no real reason. Given the title of the album and many of the track names, one would expect a more modern approach to some of the songs. "Earth That Was" is a fantastic track that is both powerful and emotionally moving, but it's also the first example of the change in atmosphere, utilizing a keyboard sound that comes off more as that of an organ that you would sometimes hear in classic Rock albums from bands like The Doors and Pink Floyd. This follows the song "Digital Rain", which is set up by the introduction "Down the Rabbit Hole", which is essentially just the start of the song seperated into a track of it's own, which showcases a more digital, modern, and space-like atmosphere. Of course, there are moments on "Earth That Was" that do present this, such as the keyboard solo that hits during the middle of the song, but, by then, it just doesn't quite fit in, though sounds far from being tacked on.
In the end, though, the atmosphere all winds up working together, though it winds up being a slightly rocky at times, but given the impressive musicianship and vocal performances on this album, there's no denying that it doesn't hurt the album at all. Each track on here stands out on it's own, whether it be from it's Spacey musical approach and atmosphere with a moden sound, or the harder hitting songs that are beautiful through the vocalists performances and the keybords, all being pushed into a very heavy output. "Human See, Human Do" is perhaps the most impressive, jaw dropping track on the entire album, as it fits into the latter of those two. The music features both male and female lead vocals, both matching the music perfectly and have a very energetic performance against some hard, driving guitars and atmospheric keyboards. However, out of nowhere, gutterals kick in, and the music amps into some of the most intense Progressive Metal a fan of the style can possibly hear, fitting perfectly in not one, but twice, the last time to close out the song, leaving the listener absolutely speechless.
Each song on this album stands out nicely, but the only one that doesn't quite have the same impact as the rest of the release is the song "It's Alive, She's Alive, We're Alive". This song works with the release, but the music just doesn't quite have the same bite as anything else on here. It also doesn't help that the first thing that comes to mind during the start of the album, and the driving march-like guitar riffs that occur throughout between the richer, rather beautiful music, is a strong similarity to the simple riffs, practically even down to the distortion, of the guitars utilized on the track "Du Hast" by the Industrial act Rammstein. It's honestly so out of place with this release that it's enough to make the listener's heart just sink and not even want to finish listening, returning to six tracks (excluding the introduction track) that came before it. However, the final track, "It All Ends Here", does make a suiting closing to the album, acting as the perfect climax to this musical odyssey.
Victims of the Modern Age doesn't necessarily disappoint the listener, though "It's Alive, She's Alive, We're Alive" certainly does leave the listener wishingf or more. Outside that one guitar progression, the album is fantastic. If you're a fan of Arjen Lucassen, Ayreon, or enjoyed the last Star One album, then you clearly enjoy your Progressive music, and obviously know what awaits you, but just be prepared for some of the most moving and powerful music he's worked with. If this band is completely new to you, there's no denying that this release puts plenty of other acts in the style to shame, and features some cheesy Space Rock effects and an overall approach, but the music itself is so well done that you will be swept away by it right as "Digital Rain" begins.
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