Dream Theater - Octavarium
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Free Music Notes for Octavarium
Free Music Review: One Of 2005's Best!
Hit: 5 Stars
After releasing their heaviest album to date, "Train of Thought," what would the men of Dream Theater follow it up with? Another heavy album would be predictable, so they released their LIGHTEST album to date. James LaBrie is in top form on this album. Mike Portnoy's drumming isn;t as fast and frantic as it normally is, but it shows a great more mellow side to his skills. John Petrucci's solos are not as fast and hyper as before, but his solos are still soulful. John Myung's bass has never sounded better. However, Jordan Rudess basically OWNS this album! His keyboards sound MUCH better than any other album the band has done with him. Also the last album to be recorded at the Hit Factory, Dream Theater's latest album also is their highest charting album to date, and still proves that they still are the best band in the world!
1. Root Of All Evil - The third part of Mike's Glass Prison series (or fifth if you count "The Mirror" and "Lie.") While not as heavy or fast as the last ones, it is still a heavy, great song. John's Guitar solo might not be very complex, but it still rules! This song is about steps 6 and 7 in the Alchoholics Anonymous 12 Step Program. 5/5
Nuggets:
-This song starts with the same piano key that ended "In The Name Of God."
2. Answer Lies Within - A ballad. It took some time for me to like this song, but it's a beautiful song. This might NOT be their best ballad ("The Spirit Carries On" and "Space-Dye vest" anyone?) but it is still good. 5/5
Nuggets:
-The bell at the beginning tolls 8 times, the same note as "The Glass Prison."
3. These Walls - The intro is John P. doing pickscrapes on the guitar while using wah, whammy bar, and occasionally striking it. Besides the intro, this could be DT's most simplistic song. The guitar solo even is simple. But it still is an amazing song! 5/5
Nuggets:
-The heartbeat at the ending is beating at 58 bpm.
4. I Walk Beside You - Holy smoke, this song sounds a LOT like U2!!!! But don't listen to the naysayers, this is a great, fun, and catchy song! Simple, but damn good! 5/5
Nuggets:
-The clock ticking is a possible reference to SFAM.
5. Panic Attack - Oh my god! Who could have thought this and "TALW" were done by the SAME band!!! This song is FREAKING HEAVY! Could EASILY have been on TOT and not feel out of place! From the shredding bass solo to the fast drumming to the amazing guitar solo ,this song is one hell of a monster! 5/5
Nuggets:
-The piano in the pre-chorus is similar to "Fatal Tragedy."
6. Never Enough - Another fast, heavy song. This song is Mike's rant on particularly ungrateful DT fans who keep wanting more no matter what he give them. The arpegiated instrumental section is neat! 5/5
Nuggets:
-The melody of the chorus is reminiscent of one of Gilmour's solos from the Live at Pompeii version of Pink Floyd's "Echoes."
7. Sacrificed Sons - A 9/11 tribute song. Amazing. At almost 10 minutes, this is the longest and best song so far. No matter what the others say, this song has an AMAZING instrumental bridge. It's NOT a jam session! Anywho, this song has a great guitar solo, and neat keyboard solo. 5/5
Nuggets:
-There are 8 different voice clips at the beginning of the song.
Now for the moment we've all been waiting for...
8. Octavarium - Did I say "SS" is the longest and best song here?? Scratch that, THIS is the longest and best song here (and over twice as long as "SS.") Lord, this song is too brilliant for words. From the keyboard intro, to the bar chord section, to the...god, words escape me here. To TRULY appreciate it you have to hear it yourself! The guitar solo at the end ALONE is worth this album's purchase! All else I have to say is I really, just love this song. If you don't like this song, you deserve to die. Rating: Infinite/5
Nuggets:
-A LOT but here's my favorite: Toward the end, James sounds a LOT like Megadeth's Dave Mustaine, and Mike will in the background say "Root" before each stanza and play a clip from each repsective past song. It continues to get heavier and heavier until James screeches "TRAPPED INSIDE THIS OCTAVARIUM!!!" The ending lyrics "This story ends where it began" is so true since this ends with Oct' Part 5, and ROAE started with Part 6, it adds more to this album's theme.
So, regardless of what anyone else says, the men of Dream Theater have proven they still got it! A must for ALL music fans.
Free Music Review: New Directions with old Formulas
Hit: 5 Stars
I've been a huge fan of Dream Theater since around 1998, and since then, I've bought all of their albums, and at least enjoyed all of of them to a greater or even greater extent. One reviewer below mentioned that DT have two warring camps of fans: the progrockers, and the metalheads, and I couldn't agree more. I, myself, definitely fit more in the "prog" camp, though I love a good headbanger from time to time. I was also one of the few who thought "Six Degrees" was a complete masterpiece, due to some very healthy exploration of sonic variation (I'm also a big radiohead fan, so go figure). But I was completely uninterested by Train of Thought, and found it pining and repetitive and felt that the few "sonic explorations" on that album felt out of place and very contrived... and usually were in the forms of a split second sound effect between sections of a song, as apposed to finally integrated compositional elements.
Octavarium, on the other hand, follows as if Train of Thought almost never really happened at all (not completely though, there are moments when I can hear the existance of ToT, but they are work quite well), once again exploring more atmospheric and varied sound fields. It is clear to me that the band who did "Images and Words" (a masterpiece in it's own right, and the album that got me into the band in the first place), is no more, and you know what? I'm glad. Images and Words is gone, Awake is gone, we have them already, we don't need another one. So, if you're worried that Dream Theater have gone stale or stalled out from rehashing their previous glory, you have no reason to fret, Octavarium is on a different point in their evolution. SfaM was the band's final goodbye to their early roots, and they are at home pushing forward, not looking back on illustrious "golden days".
There's still the crunch: tracks like "The Root of All Evil" continues the epic life jouney of the band's drummer, Mike Portnoy, on his struggle with alchoholism, and is the third installment of what (I'm expecting) will be a possible future concept album. And the evidence of LTE shines through on the breakdown strack "Panic Attack". "Never Enough" has it's moments of heaviness, as well as the miniepic "Sacrified Sons". But most of the album falls along more the lines of progressive-melodic hard rock.
One auxillary note is that LaBrie's influence is much more prominant on this album than before. His singing, itself, is not really any more upfront or highlighted; if anything, he's slowing turning a bit more Emo, which bothers me. And they have also "allowed" him to pen more lyrics, all of which are horrid, insipid, and usually both. But the up-side of all of this is that there is deffinitely more evidance of his instrumental songwriting on this album, and in such a way that it works quite well. There are subtle (and not so subtle) strains of Mullmuzzler (his solo album) all over, especially the second section of Octavarium, which sounds a lot like "Shores of Avalon" (a Zeppelin influenced hard rocker that is the centerpiece of his first album).
Finally, the prog... lots of prog. You'll hear many reviewers spout off old 70s prog bands as influence to this album, and they're ALL correct; in fact, most of the bands named turn up in a satirical lyrical section in the middle of their epic. The most prominant are probably Genesis (lots of "Cinema Show"-like 7/8 sections abound the work) and Yes, though the construction of the lyrics during the particular section in question is a direct tribute to King Crimson's "The World's My Oyster Soup Kitchen Floor Wax Museum". DT have always flaunted their influences, love it or hate it, and there's no lack of that on Octavarium, but it's hopefully evident enough that most of the skeptical "rip off" critics will realize that these are more unstubtle "winkings" at the audience as apposed to stolen goods.
So, if you're a metalhead looking for a good headbang, look elsewhere: Dream Theater, for now, is exploring new territory. But for the adventurous listener, especially one that enjoys exploring new directions using the old progrock formulas, get ready: there are good times ahead.
Free Music Review: Eclectic, exciting, and progressive heavy metal
Hit: 5 Stars
It seems that the progressive heavy metal groups do not suffer from the same problems that plague their neo-prog counterparts (namely stagnation) and offer up one potentially viable direction for progressive rock in the 21st century. Dream Theater achieves this by fusing aspects of the classic 1970s progressive rock style with contemporary trends in heavy metal and other experimental styles - the fact that they favor more direct and relevant subject matter for their lyrics also helps. Indeed, Octavarium (2005) is a fresh sounding album that provides me with the same level of excitement that albums like Relayer (Yes, 1974) brought me many, many, years ago.
The lineup on this album includes three former Berklee College of Music (Boston, Massachusetts) students: John Petrucci (electric and acoustic guitars); John Myung (electric bass guitars), and the Neil Peart-influenced Mike Portnoy (drums, percussion, and vocals), along with James LaBrie (vocals) and Jordan Rudess (keyboards, Hammond organ, synthesizers). Joining the core group are various woodwind players (there is a nice flute solo on the Octavarium suite), a string quartet, and an orchestra on Sacrificed Sons and Octavarium. Dream Theater may very well be the most technically proficient progressive rock outfit currently active. Dense ensemble playing and Olympian scale feats of pyrotechnics on their individual instruments dominate - fortunately however, they backed off considerably from the frenzied shredding and riffs they used so heavily on Scenes from a Memory (1999).
While the group favors the tone colors of heavy metal (high pitched vocalist, distorted guitar played at a crushing volume), there are also acoustic textures here and there. In addition, Jordan introduces elements of the classic progressive rock style (Hammond organ, mini-moog synthesizer) - which make a grand entrance on the 24 minute long Octavarium suite- and even some brief references to the sequenced synthesizer lines characteristic of techno. Unfortunately, I wish more had been made of his considerable abilities. Last but not least is poor John Myung - apart from 10-15 second solos here and there (to apparently remind the listener that a bassist is in fact present), he is virtually invisible. I really need to check out his side projects.
With a total running time of 75:58, Octavarium is comprised of eight tracks, with individual pieces ranging in length from 4:22 to 24:00. While thunderous heavy metal tracks dominate (Panic Attack is a great example), there are quiet pieces (The Answer Lies Within), catchy and highly melodic pop tunes (the U2 inflected I Walk Beside You) and the massive prog-rock rave up Octavarium. Although I enjoy the heavy metal tunes, the Octavarium suite has got to be the finest large scale prog rock composition that I have heard from the newer groups - even though the introduction is lifted directly from the spacey synth introduction to the Shine on You Crazy Diamond suite (Wish You Were Here, Pink Floyd, 1975). While the thrilling Octavarium suite has been compared to compositions by the neo-prog groups, I do not see (or hear) any parallels. I should note that I do not care for the neo-prog groups that much, so I am hopelessly biased.
In terms of the CD package it is pretty good and features the lineup and the lyrics. Unfortunately, the production quality is not so hot (Mike Portnoy and John Petrucci produced the album). Specifically, the keyboards are buried in the mix (save for the solo sections) and poor John Myung has all been mixed out of the album. As can be imagined, the drums sound pretty good and John Petrucci is, well, everywhere.
I think that some DT fans might not like this album as much because it draws more heavily on elements outside of heavy metal including progressive rock and prog/pop. Fortunately as a prog fan, I found a great deal to like here and really appreciate the fact that these guys "mix it up". Recommended along with Six Degrees of Inner Turbulence (2002) to heavy metal fans that do not mind prog rock, and prog rock fans that do not mind heavy metal.
Free Music Review: "The Story Ends Where It Began......."
Hit: 5 Stars
Dream Theater are back for their 8th studio album hence the title Octavarium. The lineup of James LaBrie, John Myung, John Petrucci, Mike Portnoy and Jordan Rudess still remain for 8 tracks of Art Rock madness not to mention being a more keyboard driven record this time around.
Track One: The Root Of All Evil (F).
Part 3 of Mike Portnoy's Alcholics Anonymous saga. Sounds more polished compared to The Glass Prison (Pt 1 off Six Degrees Of Inner Turbulence) and This Dying Soul (Pt 2 off Train Of Thought). Still it's a great track opener.
Track Two: The Answer Lies Within (G).
A slower number this time around and yet a very nice tune indeed.
Track Three: These Walls (A).
One of my favourites off this album. Petrucci's solo reminds me of Neal Schon's guitar playing in Journey. But he gets no complaints from me. Still a great track overall.
Track Four: I Walk Beside You (B).
A ballady type number. Still a great song if not perhaps the weakest link out of the 8. My opinion of course.
Track Five: Panic Attack (C).
Without a doubt the heaviest track on the album. It's been argued that this track sounds like something from the band Muse. Well I've never listened to Muse so I wouldn't know to be honest. Still a great hard out rocking track from start to finish while not forgetting the intensifying instrumental section.
Track Six: Never Enough (D).
Another one of my favourites off the album. Gotta love that instrumental section later in the track not to mention the arpeggiated section which kinda reminds me of something the Beatles did. Still the song is amazing. LaBrie is excellent on this track.
Track Seven: Sacrificed Sons (E).
A song that apparently attacks the Bush administration. A fantastic track this is. Beautiful chorus excellent drumming from Portnoy all of the above.
Track Eight: Octavarium (F).
This is it. The one you've all been waiting for. The one true highlight on the album. 24 minutes of melodically driven, hard rocking riffagy from start to finish. This track really has a Genesis kind of orchestral vibe even. But that's the way I envision it anyhow.
The beginning actually reminds you of Pink Floyd's Shine On You Crazy Diamond but that's okay. Later in the track there's a really cool section with lyrical references to classic songs and certain personalities pasted together. For example 'Jack "The Ripper" Owens (former Judas Priest vocalist with the Owen Wilson reference moulded in) Wilson Phillips and my Suppers Ready (Genesis classic).' Jordan later plays a killer keyboard solo followed by a hard rocking instrumental section by the entire band not to mention a little jazz section. But the one true highlight for me is John Petrucci's heartfelt guitar solo during the closing minutes of this epic masterpiece. It's perhaps without a doubt the most beautiful solo he's ever played since Lines In The Sand, off the Falling Into Infinity album back in 1997 or the Fading Fast solo off Explorer's Club's Age Of Impact in 1998. The Octavarium solo very much left me in tears. It's not often that a piece of music does this to me. A truly moving solo indeed. Well done JP.
And so the last note is played and makes it so that it repeats itself back to the beginning. And you may even notice that each track is played in a certain key. The cover at the back indicates the keys by the way. You'll notice with the tracks I reviewed above that there are bracketed letters. These represent the keys in which they were used. Octave-arium. Get it?
Best album since Scenes From A Memory? You bet. Fingers crossed that DT comes downunder sometime soon. Please do. There are many New Zealanders and Australians eagerly awaiting the day you guys set foot in Australasia. Do come soon....
Free Music Review: A fine effort from a fine band
Hit: 5 Stars
I've held off on writing this review for awhile, simply because I wanted to savor the album, let it wear on me if it was going to do so, and just generally avoid coming to a hasty judgment on its merits. I believe that a proper album review should be from a person who's heard the album in question at least a dozen times, spun it again and again until it's sunk in properly.
If I had written this review after my first listen, I would have called Octavarium "masterful but slightly uneven". What's odd is, I did fall in love with it the first time I heard it. I can't say that about any of the other Dream Theater albums, and I've heard them all, extensively. Dream Theater, without exception, has always had to grow on me. I've had to take the time to comprehend everything that's going on in the album, to get a feel for the tracks and the lyrics. All that changed with Octavarium. Despite some parts that I couldn't get into, I loved most of the album the first time I heard it.
I've only grown to appreciate it more the more I've heard it. The parts I considered weak have grown on me, though I still don't like them as much as the songs I initially loved (with the exception of The Root of All Evil, which has become one of my favorites even though I was ambivalent about it on first listen).
Dream Theater almost always produces varied (some would say eclectic) albums, but Octavarium really pushes the envelope. It goes from emotional ballad (The Answer Lies Within) to pop-flavored rock (I Walk Beside You) to blistering metal (Panic Attack) to progressive epic (Octavarium) and everything in between. Some have accused certain songs of being derivative, saying that Dream Theater are wearing their influences too much on their collective sleeves. It's a valid complaint in at least a couple places, but the songs are so well-written--arguably much better songwriting than the bands that influenced them--that I personally find it a forgiveable offense.
A more distinct complaint is that drummer Mike Portnoy and guitarist John Petrucci have "dumbed down" their technical show-offery too much for this album. For me, it's a welcome change from the far-too-long solo sections on Train of Thought, and it only exemplifies stronger, tighter songwriting, and the willingness to service the song over personal pride. Dream Theater have already proven time and time again that they can play; perhaps it was time that they prove that they can suppress their virtuosity in favor of good songwriting.
The most apparent mark against this album is its lyrics. They range from terrible to to decent (and mostly mediocre). Is this the same band that wrote "Voices"? And what's so bad about giving bassist John Myung a shot again? The lyrics in this album are mostly simple and obvious, and they're occasionally ridiculous and somewhat nonsensical. There are some rare good moments, like in Petrucci's "These Walls", but they're few and far between.
It's fortunate, then, that singer James LaBrie gives by far his best performance to date. He demonstrates great versatility and the ability to adapt to different styles, and gives arguably his most emotional and convincing performance yet. So even when the lyrics look terrible on paper or when considering them afterward, it's hard to argue against them when listening to LaBrie sing them.
This is Dream Theater's most accessible album. You won't find many several minute solos here (though there are some long instrumental sections in the title track); if you want to introduce someone to the band, this is the album to recommend.
Octavarium is not typical Dream Theater. It's less about virtuosity than it is about simply good songs. But they're very, very good, and that makes this one of my favorite albums by the band.