METROPOLIS PART 2 - SCENES FROM A MEMORY

'Scenes from a memory' is, to prog-metal, what 'Close to the edge' is to symphonic rock. That means SFAM is the most important album its sub-genre. Concetually, it's perfect: one story becomes a piece of poetry; and then, the music completes the atmosphere. It's difficult to evaluate every track. Each one of them were well placed. Music and lyrics follow a line. There are some ideas ('melodic drawings') which constitute the structures of the complete work. Maybe, we also can say the five musician have got their best performances (IMO, they couldn't overcome it yet).

SFAM begins with 'Regression' and the 'Overture 1928'. These pieces introduce us to the story and musical concept. Then, from the third track, the story is developed. Music accompainment is excellent in every song: there are strong parts (like 'Beyond this life'), and softer parts (like 'The spirit carries on', which is a song that makes me move).

Guitars and basses still sound like classic metal instruments (not nü-metal influence yet). Drums sound has got the tipical reverbs of early 90's (some years later, Portnoy's sound is 'drier' than this, like in 'Train of thought'). Keyboards are awesome: Rudess shows he is much more than a classical pianist. Vocals are great, too: LaBrie was irreplaceable in that moment of DT. Evidently, SFAM isn't a classic-metal album. Harmonies and rhythms are very complex, really: some parts have got mathematical relations in the number of measures (I don't know if I'm clear).

I've tried to choose my favourite songs but i couldn't. I love the complete album because, really, it's a conceptual work. I don't like very much when DT plays some songs but not the complete work (in live shows).

There is nothing out of place: the cover art is in the highness that this kind of albums deserve; Theresa Thomason and the Gospel Choir are amazing, too.

SFAM is the number-one, not dude.