OCTAVARIUM

Previous to continuing with the review, let me start by avowing that my word is not the truth, or by any means fact, but merely a one-sided outlook in the world of music. What I might state in any review is based purely on personal and mostly biased views, except for when declared otherwise.

Track 01 - THE ROOT OF IT ALL.

"Proud enough for you to call me arrogant" is without doubt one of the worst introductory lines I have ever heard in a song; however, James LaBrie's almost brooding approach makes the entire verse intriguing. Of course, John Petrucci's continual riffs were irrefutably accommodating in that they smoothed the progress of amplifying the fragile yet "arrogant" disposition LaBrie was trying to articulate.

This song is nowhere near their best, but I found the chorus to be above all enchanting: poignant and alluring.

Track 02 - THE ANSWER LIES WITHIN.

This track's introduction might remind you of Bonnie Tyler's Total Eclipse of the Heart, or at least it did for me. Before I get too into this one, I'd like to issue a disagreement to those who have said this is LaBrie's singing yet, because it's not. It's great, mind you, but it isn't his best - for me, his best would either be Take the Time (I have my reasons) or A Change of Seasons, so you can imagine how much I like (or dislike) the rolling with his best vocal performance.

The string quartet on this song was thoroughly stunning, they really were. I can't get enough of Richard Locker's cello. . . every time I hear it, I melt away into a state of sheer mystification and delight. He's by far my favorite provider on this song, although without LaBrie, the song would never have gotten the emotional praise.

Track 03 - THESE WALLS.

The avid Tool fan might be familiar with this opening as a kind of "Prison Sex" resemblance, and rightfully so, because the two songs do sound familiar. But it's when Rudess' keyboarding ability take over that the song distinguishes itself from Tool's - speaking of which, I think this is one Jordan Rudess' best moments as a member of Dream Theater. Again, "This is so hard for me," is another awful preparatory line and I'm angry with Petrucci for writing it, but he redeems himself with the chorus because it's another uplifting one.

I really have nothing more to say on this song, so I'll advance to the fourth continuance.

Track 04 - I WALK BESIDE YOU.

I have to say, I enjoyed the right-left clicking, much like the one you can hear from Scenes From a Memory, through the duration of this pick-up jingle.

It's funny, 'cause -

"Through all that may come and all that may go,"

really reminded me of the good ol' Images and Words days, and I kind of miss that.

Aside from that little shred of nostalgia, I relatively enjoyed this song, especially when LaBrie sand, "When hopelessness surrounds you," because that's another Images and Words-like reference I love hearing whenever available.

Track 05 - PANIC ATTACK.

I really have nothing to say on this song, except for the last two minutes when James starts with -

"Run, try to hide, overwhelmed by this complex delirium,"

only because I absolutely love when - or how, rather - he sings it. Otherwise, the song isn't too great. It's good, don't get me wrong, but it's not great.

Track 06 - NEVER ENOUGH.

Mike Portnoy and John Petrucci make a great team together, and they - and them alone - are what make this song so good. I can listen to these guys jam for hours, and when you throw Jordan Rudess into the group, you have Liquid Tension Experiment. If you like Dream Theater, you'll love this band's instrumental basis. They're great. This song actually reminded me of a Liquid Tension Experiment reminiscent, at least until LaBrie came in on vocals, and the idea only made me eager for another release by the influential group.

Track 07 - SACRIFICED SONS.

Aside from being about the World Trade Center attack, I thought this song was somewhat influential as well as heartfelt, although the chorus could have been less predictable. I always love hearing something written by LaBrie, but this song wasn't as great as, say, Anna Lee or Vacant (lyrically, not musically), but it was still decent. I have to say, though, the orchestra on this song was phenomenal - my hats topped off to them for such a remarkable performance. Without 'em, the song wouldn't have been as good.

(MY FAVORITE TRACK ON THIS ALBUM.) Track 08 - OCTAVARIUM.

Well. . . all I can say for this track is "wow." Well, actually, it'd be more like, "F---in' wow," but you get my drift. I can imagine a lot of you naysayer listeners are ragging on this song's four-minute preface, but I, for one, love how the band decided to approach it. The calmness not only leaves me wanting more, but it also beckons me to follow down its twenty-minute (longer) path and see what's revealed. And finally, after that four minutes, manners alter into an almost The Lord of the Rings- like melody that liquefied my mind into absolute relaxation (mind the poetic truisms, please) until John Petrucci, again, dazzles the track with his fine acoustic skill, which is accompanied by James LaBrie, whose vocal technique was very helpful for this particular song (as if it isn't any other time, right?).

To put a highlight on this song, or to emphasize what I loved most about it -

"sailing on the seven seize the day tripper diem's ready jack the ripper owens wilson phillips and my supper's ready lucy in the sky with diamond dave's not here I come to save the day for nightmare cinema show me the way to get back home again,"

was unbelievable. Moreover, I enjoyed the reference to Nightmare Cinema, which, if you're a fan, I don't have to explain to you the significance - but if you don't know, read the Dream Theater biography on their homepage and you'll find out.

I also loved the mentioning of A Change of Seasons, Genesis's Supper's Ready, Jack the Ripper, and The Beatles' Lucy in the Sky with Diamonds, and it almost makes you want to know why the band fit these particular pieces of history in with the song.

Overall, this epic wasn't as great as A Change of Seasons, but it unquestionably warrants a slot for second best.

Well, there you go. I wish I could say more about this album, but the truth is, I can't. It's by far one of the greatest Dream Theater albums I've heard in a while, and I can't respect the group more for the approach they took to make it this way.