The release of Fate of a Dreamer, from Arjen Anthony Lucassen's latest project Ambeon, was in May this year. Arjen's original intention was "to record an ambient instrumental album based on certain electronic patterns, chords and melodies derived from the recorded tracks of existing Ayreon songs." Figuring that featuring some female vocals (as history points out not always the easiest of tasks on previous albums, notably The Dream Sequencer) would add "a warm human touch", Arjen contacted 14-year old Dutch vocalist Astrid van der Veen. Even as most of the world was completely oblivious, Astrid had already recorded a 15-track album, Beautiful Red, under personal supervision. After creating a bombastic symphonic/progressive storm, expanding all over the world and working with an increasingly impressive set of artists, Lucassen now offers us the chance to get to know this exquisite young talent.
A preview of the Ambeon album in the form of the song Cold Metal was included on Ayreon's 2000 album Ayreonauts Only which was enough to raise high expectations.
Whilst Ambeon is labelled a project of Arjen and Astrid van der Veen two further musicians provide a solid rhythm section for the album. Walter Latupeirassa of Snowy White's White Flames band (also Steve Lukather, Pat Travers) plays bass and fretless bass and Stephen van Haestregt is heard on drums and percussion. John and Pat McManus of Celtus add folky atmosphere on flute and pipes, and fiddle respectively. Erik Norlander is around for some synth work and Lana Lane provides some backing vocals.

With the two Universal Migrator CDs Arjen took a gamble in departing from the usual formula of combining gentler and more aggressive material. With his original plans for Ambeon he again left himself open to debate on how his musical direction is evolving. Fate of a Dreamer turns out not to be the ambient instrumental album at first envisioned, but a rather vocal-orientated collection of symphonic, ambient and gothic styles. The lyrics, which were all written by Astrid reflect this mixture, often embodying dark, at times bordering on depressing, material, which evidently reflects a storyline (for which she is credited). If I may venture a guess, I'd say it focuses on a girl who can't come to grips with her emotions, her mixed feelings for family and an eventual confrontation with a strong incestuous character. Rather bleak material for a 14-year old, but brought with such conviction and skill in writing and vocal execution that's it's highly convincing.

The short, but chilling opener, Estranged, starts with beautiful Uilleann pipes. It's quite clear on which Ayreon song this track is based, but Astrid has provided a vocal countermelody. The absence of guitar and addition of flute works to create the ambient, though dark, feel of this opener, which Arjen probably sought after in his original intent with the album. Astrid's vocals have been given a familiar Ayreon vocal effect. Ashes is another track that betrays its roots, this time from a more recent Ayreon track. In some tracks the original material they're based on clearly shines through, but in a couple your guess is as good as mine. Arjen had to tell me which Ayreon song Cold Metal is based on, before I recognized it (while that's one of the more, though not the most, obvious). While taking some of the original's strong assets, Ashes again has Astrid adding her own touch, this time through clear and powerful vocals. Arjen is on a roll on guitar, while Latuperissa gets in some good melodic basslines. Drums sound pretty static a few times, but I found that's in keeping with the song's structure. Besides, Stephen van Haestregt also gets in some fine (rhythmic) work. Some samples complete the track and lead straight into High, which soon adds keyboards and Latuprissa's dominant bass, through which a familiar Ayreon tune flows on pipes. Astrid demostrates the wide vocal range she commands; impressive, considering her age.

Another instrumental bridge brings to the fore Cold Metal, which was included on Ayreon's Ayreonauts Only album. I have to admit to kind of neglecting this track in rating last year's large selection of great progressive songs, but hearing it again proves why I was so taken by it. Pure magic, this is in my opinion the best song on Fate of a Dreamer. The only difference with last year's preview version seems to be that Walter Latuperissa plays bass on this recording, while bass on the Ayreonauts Only album version was credited to Jolanda Verduijn (of whom no mention is made in the credits of Fate of a Dreamer.) This is one of two tracks in which Astrid approaches the vocals of Tori Amos very closely, but throughout the album she displays a range of vocal performance that makes it difficult or unnecessary to draw to close a comparison. Next, through some further samples comes Fate, the first of the two instrumental tracks. The overflow between the two tracks has a bit of a Welcome to the Machine quality, which shouldn't surprise anyone, seeing as how Lucassen is a fan of Pink Floyd. (Rumour has it he has asked David Gilmour to perform on his next album, but as stated, this is only a rumour. Considering Gilmour's apparent current disinterest in music, I would think it highly unlikely, though the very idea of a collaboration is enough to warrant some excitment.) Fate starts off rather quiet, but as the song progresses any thought of the Ambient style perservering is lost as the song turns drastically towards a sharp, violent edge.

Another overflow, a near repeat of the one leading into this track, now leads us to Sick Ceremony. The guitar-driven, riffed chorus again belies the original intent to focus on a more ambient style, while a more relaxed approach ís taken through the verses. Keyboards take us further as we come to Lost Message and a return to melody and pattern from The Final Experiment. Surreal has the least text, starting with a fine solo by Arjen, first on electric, then on acoustic guitar. (This is very remeniscent of David Gilmour in execution.) Use of keyboards remind me a bit of the use Supertramp made of them on their last studio album. On Sweet Little Brother Astrid again resembles Tori Amos (or, if you prefer, Kate Bush). The song includes some vocal (news) edits focusing on the murder and disappearance of the potential suspect. Backing vocals are apperent for the first time towards the end of this track. The last track, Dreamer, heralds a look back at Ayreon's Actual Fantasy period, while including some melodies that may be new, though I get the feeling I've heard them before. Astrid is far from absent from this, the second of the instrumental tracks, as she dominates the central section with a chilling chant.

Each track is accompanied by some poetic liner notes, which shed some further light on the song content. Instead of the usual grandiose artwork, the booklet is filled with photographs of Astrid (and one of Lucassen, almost as an afterthought). All this suits the tone and atmosphere of the album very well and gives us quite a few shots of this young talent. (The cover picture is a doozy.) The entire album is expertely recorded, produced and mixed by Lucassen. (Damn, I'd almost venture to guess that he didn't cooperate with Oscar Holleman on this venture on purpose, just to deny me the right to pay respect to his usual partner. Hey, I did just get his name in, didn't I!) But seriously, Holleman isn't really missed at all, as Arjen has done a perfect job. There's a constant element as most songs flow into each other through subtle bridges and the standard of sound quality is splendid throughout. Arjen must have really enjoyed working with his new hard disk recording system and throws in a fair smathering of typical Ayreon elements. (He is credited for "weird noises", after all.)

Astrid might have turned 15 earlier this year, she was only 14 years old at the time of recording. Yet she has a more mature vocal sound than many of her female collegeaus in the music business and certainly stands above her contemporaries. If she decides to pursue a career in music, both her vocal skills and writing ability will surely prove huge assets. For more information on Astrid van der Veen, turn to her website. Whilst at present only presented in Dutch, an English version is promised to be in the works.

Personally I liked Fate of a Dreamer from the first time I played it and appreciation hasn't diminished, so endorsement through a recommendation proves easy. It remains to be seen whether the Ambeon project will have the same appeal to others who've grown fond of Arjen's Ayreon-formula. Then again, it might reach an even broader audience. The avid Ayreonaut could at first be caught between accepting the songs on their own value and extrapolating the various patterns and melodies from the Ayreon songs which provide the foundations. While I enjoyed the album for its own merits on first hearing it, I kind of skippered in between these stands between the fourth and eigth listen. But the feeling fades and soon you might find yourself comfortably accepting these songs for their own sake, as I did.
Recommending this album to Ayreon followers seems superfluous; there's more than enough of the usual strong elements Arjen has build on through the years. But it is Astrid van der Veen, or rather the combination of these two talented musicians, which gives Fate of a Dreamer its distinctive merits. I hope it won't end with this one single collaboration.

Conclusion: 8 out of 10.