1031. Operation: Mindcrime / The New Reality. 2017. 1.5/5

I did promise I was going to steer clear of listening to future releases from Geoff Tate, a number of times actually. And I then also promised that I would stop reviewing those albums, mainly because it would give them an unfair skew giving that each time I listen to a new release it is poles apart from what I like. But here I am again, being sucked into the vortex, because there is always that chance that what I hear may again please me like Geoff’s original band pleased me back in the day.

The New Reality completes the trilogy concept plan that Geoff promised to deliver on the creation of his new band and name, which will apparently be mothballed once the tour behind this album is completed. Those that have listened to the first two albums – The Key and Resurrection – will therefore know what is coming on this album. I did too, but I still had to complete the journey just so I could say I gave it all a fair shake. So if you have listened to those two albums and you enjoy what has been offered then you can approach this album with open arms. If you found that the first albums were much of a muchness, and more tedious than experimental, then you can also steer clear of this album.
There are the odd moments when the Tate vocals come back into play, such as about halfway through “All For What?” where he sounds as though he means what he is singing and gives it some oomph. But for the majority of the album the songs crawl along in way that sounds like it should be 1970’s progressive rock, but without the rock part involved. The synthesizers dominate, and Tate’s saxophone becomes prominent in a number of songs, while Kelly Gray is back to offer some guitar and more producing of the album.
Yes, I assume there is more of the storyline that has been offered throughout, but as I’m sure I have suggested on reviews for the previous two outings, I just don’t have the inclination to find out exactly what it is about and what is happening. The story doesn’t matter a fig if the music drags you in, which is exactly what happened with the album that carries this project’s name. Unfortunately here, the music and songs do nothing to inspire me to search out what is happening within the lyrical content.

So I have satisfied my curiosity by wallowing through this release, and reached the end of what is the great Geoff Tate Trilogy following his exit from his previous band. Though none of it has tickled my fancy in the slightest, at least it is done. The next question will be, what is the next move by Tate, and will I feel as though I must continue to follow his music on the extraordinarily long off chance that he produces something that will rekindle his lacklustre appeal.

Rating:  There's light at the end of the tunnel.   1.5/5