DREAM THEATER

A legacy that speaks for itself.

Here we are. Twenty eight years and eleven albums later, the kings of progressive metal deliver a new work. First of all here's the warning: do not expect anything new. This is Dream Theater being Dream Theater, with everything you've heard in your discography. Some songs may sound familiar? Yes, they can. But this does not detract in any way the merits of this album. Why change when you are on top, having influenced a whole genre?

This convenient self-titled album, their twelfth (as well as the twelfth album Genesis also received the name of the band) is a breath of fresh air for those who thought the band was going down. His previous release, A Dramatic Turn of Events, was a disappointment to many (myself not included), although you would not believe the note he received here on the website. But anyway. One of the major criticisms of ADToE were about simple-minded Mangini's drums in anything resembling the man who received the title of "world's fastest drummer", but we already know what happened - Petrucci had programmed the battery of the parties before the announcement of Mangini as Portnoy's replacement, and as a drummer say he is a great guitarist.

Now Mike is actually integrated into the process of creation. But the drum once again is the great defect. I do not know if it was the kit he used or the production of sound that did not help, but just hated the sound of it here. As a drummer, I have to admit that the feeling was that the sound was too artificial, like it was computer generated just like the previous album. Even sftwares Devin Townsend uses in some of his albums to emulate the sound of drums sound more organic. Hence the joke: "Mangini, return the can of Lars Ulrich!".

Fortunately this defect is compensated by the skills of the other members. These gentlemen are masters at what they do and owe nothing to anyone. John Petrucci continues to fry our minds with his explosive solos, and since he is the leader of the band is certainly the highlight here. Although still as intense as ever, is in the most melodic that it captivates me more (I speak of it later). Jordan Rudess keeps his powerful style and eclectic, as it has been since he joined the band. His dynamic with Petrucci are fabulous as always, and the fact that through it we are led to the more classic prog, with references to the giants of the 70s.

But I have to point out: I'm more than happy to see evolutions of John Myung and James LaBrie. The first has several shining moments, showing a groove that I swear never heard him before. Considering how the bass was inaudible in Black Clouds and Silver Linnings, is really a progress and both (or just a help output). And LaBrie is presenting a progression vocal quite good, especially because of how much his voice has been hampered by its food poisoning in the mid 90s. While he will never be like Russell Allen, Daniel Gildenlow or Devin Townsend I think that is as part of Dream Theater as the other members, and just watch your exciting performance in The Bigger Picture and end the epic Illumination Theory tell he is still dared to give some treble without sounding compromised.

Now, about the songs.

After ten years without an instrumental, are comforted with two in this album. The first is False Awakening Suite, which brings us to the days of the Six Degrees of Inner Turbulence, being quite effective in its purpose of being an "overture". The only defect is that it is too short, with only 2 minutes once when the album's setlist I left I thought it would be over 10. but oh well, still a great opening.

Next song is the single The Enemy Within, which is nothing other than what you heard in the band, with crushing riffs, masturbatory instrumental sections and chorus and addictive. I confess that the first few listens I was bored with that song by their appearance clich�©, but as I was listening to more it grew on me.

The song that follows is one of my favorite album: The Looking Glass. The opening riff is unapologetically Rush-esque - I can almost feel listening Limelight. This is a song that would come in handy, offering a dose of his genius in just under 5 minutes. Mangini brings interesting elements in the battery, but is hampered by production (or your kit, whatever) while Petrucci offers one of his most melodic solos, accompanied by Rudess' organ and Myung's groovin bass.

Enigma Machine is the instrumental by which all were waiting for, and does not disappoint in no time. The weight, as well as multiple bars and various melodies worked with each musician taking your time, make me instantly associate this song with epic The Dance of Eternity. we have waited for this for 10 years, and it's good to see that there are no disappointments.

I know most of you will choose to listen to the album Illumination Theory as a favorite, and I would do that ... but I'm honestly inclined to share this post with The Bigger Picture. This could be the most beautiful song from them "Disappear" Six Degrees and The Best of Times. There is a ballad itself, but somehow touched me in a very deep, emotionally speaking. The melody is majestic, and LaBrie is better than never. And Petrucci's solo ... My God, this solo. It is so beautiful it could easily lead me to tears.

Behind the Veil opens with a keyboard solo very atmospheric, quite unusual by the standards of the DT ... but behold, a killer guitar riff explodes in the style Metallica-esque. The rest of the song is quite normal for the patterns of band, although the guitar solo of Petrucci is a killer.

Surrender to Reason is one of the most dynamic songs here, showing several times and alternating heavy riffs with melodic passages enough. There are again quite influence of Rush here, especially in Petrucci's solo

Along for the Ride has attracted a lot of controversy, being rejected by the very fans. I heard it's because of the timbre of the keyboard Rudess, then I can deduce that these people do not appreciate ELP otherwise not complain much. Anyway I'm no fan of ELP and not bother with this song. It's just a ballad pros average levels of the band, and while the song is weaker disc is not bad as they are saying (nothing beats face Forsaken, learn it).

And then we come to the end. And by God, which order. Illumination Theory is certainly among the pantheon of the best songs they've composed. It's the epic we know esa band is capable of, and we are not disappointed in any moment. Here's everything a fan could ask for, as well as new elements that really please me. The introduction is quite cinematic, before driving for a demonstration of the skills of the members. LaBrie enters 4 minutes, and I have to say that this section verse-chorus-verse-chorus is phenomenal. After a brief instrumental music falls at a time totally atmospheric. When the orchestra enters at 8:41 minutes, my God ... I feel like I'm leaving this time and going to another reality. It is something divine, words can not write. LaBrie's vocals go full steam ahead on 11 minutes, and it rocks! You can see that he's excited to sing that way, it's really exciting and a slap in the face of those who denigrate his image. A new instrumental section comes up with amazing solos Petrucci and Rudess and then, after 15 minutes, the opening theme is played again, with another and most impressive Labrie's vocal performance, which is really exciting and beautiful. The song ends in a glorious manner, as is appropriate to an epic of this size, but wait a minute: there are still 3 minutes! And then, to our surprise, Rudess and Petrucci end with a beautiful and simple duet, which reminds me very State of Grace, from Liquid Tension Experiment I. A wonderful and touching way to end this perfect song.

5 stars, is all I say. A masterpiece, yes, a masterpiece.

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