PROGRESSIVE METAL

The concert footage is fantastic! Playing their debut album in its entirety, and featuring guest appearances by Derek Sherinian and Charlie Dominici, this is excellent stuff, and well worth watching. The sound and picture are great, and as expected, the performers are all on top form. As well as rehearsal footage and behind-the-scenes commentary, this is all great material for Dream Theater fans.

Then the icing on the cake, a 70-minute "home video" documentary compiled by Mike Portnoy, featuring concert footage and the band discussing their album, all in their early days. This is super interesting to watch, especially seeing them at such a young age. For an "official bootleg", this DVD has an absolute wealth of material, and is truly a must-have for Dream Theater fans.

Hansi Kürsch (vocals), André Olbrich (lead guitar, acoustic guitar, rhythm guitar) and Marcus Siepen (rhythm guitar and acoustic guitar) were all there back in the day, so it is only newbie (he joined in 2005) Frederik Ehmke (drums) who was recording them for the first time, but given that "The Bard's Song (In The Forest)" is the band's most well- known song he has certainly played at least some of them many times in the live environment. It is always hard to review a re-recording of an album which is so well-known, but what I can say is that any fans of Blind Guardian will be glad to have this as the power metal has additional finesses and lightness, along with plenty of crunch, as originally this was recorded by a band yet to make a significant difference to the metal world, while now they are a very known entity indeed.

This is available in multiple versions, and the audio I have is the two-disc set which also includes 'Somewhere Far Beyond ? Live' which is compiled from two different German festivals in 2022 when the band did indeed play the complete album in order. I have not seen the Blu-ray (which is the three-disc version) but I can only imagine Hansi Kürsch stood at times with a massive smile on his face, as at times there was no need for him to be there as the crowd wanted to do his job for him. It is unusual to hear a crowd singing a whole song and not just a few lines, but Hansi gave them the nod and they were more than up for it. It is impossible not to be buoyed by the reaction of the crowd, as they are obviously having a blast hearing a classic album being played in its entirety, and most of them would have been too young when it was initially toured.

I am not always a fan of a band going back and re-recording old material, but there appears to have been a genuine reason behind this and there is no doubt that both band and fans have enjoyed the experience. Classic power metal with Blind Guardian still very much a force to be reckoned with.

The concert is spot on. The picture and sound are fantastic, the camera angles capture everything perfectly, and the set list, while no doubt being somewhat "dated" now, is still incredible. As you'd expect with Dream Theater, the performances are all breath-taking, not only in the songs themselves, but all the extra jams, solos and whatever else they might throw in during the near-three hour set.

On top of that, there's a whole wealth of incredible extras that should please anyone who's ever considered themselves a fan of the progressive metal pioneers. A look at John Petrucci and Jordan Rudess' gear, a Mike Portnoy drum solo that goes beyond mindless bashing, but fully entertains the audience, a highlights video, a multi-angle version of arguably the most insane instrumental song you'll ever hear, and the true highlight, a 30-minute documentary of the Japanese tour.

I got this when it first came out, and it totally blew me away back then, as much as it does now. Without any doubt in my mind, this release is absolutely perfect, and definitely one of the all-time greatest live concert DVD's.

Included is a 25-minute documentary, an hour of "deleted scenes" (basically, more songs!), as well as a photo gallery and a hidden video, this is an excellent release brimming with material. And while the band would go on to perfect this formula with later DVD's such as 'Live At Budokan' and 'Score', 'Metropolis 2000?' is still an essential addition to the collection of any prog fan.

For first-time listeners, Wheel offers a musical experience reminiscent of renowned bands like Karnivool and Tool. This comparison arises mainly from the intricate way their rhythms are crafted and the dark, introspective atmosphere that permeates their compositions. Like the two mentioned bands, Wheel employs complex time changes, contrasting dynamics, and a deeply emotional depth in both their lyrics and arrangements.

In their third album, Charismatic Leaders, the band delivers a torrent of heavy and intoxicating melodies, filled with dynamism, technique, and diversity. The album stands out for its combination of intricate riffs, challenging rhythmic sections, and rich harmonies, all anchored by powerful vocals. Each track showcases the band's mastery of progressive metal and their ability to create sonic atmospheres that are both intense and captivating.

"Empire", the opening track, sets the tone for the album with its fiery sound. Featuring a brutal rhythm section, energetic riffs, and compelling vocals, its complexity and intensity reflect the band's ability to merge technical skill with emotion, creating a powerful and engaging listening experience. This impactful opener exemplifies the essence of what makes Charismatic Leaders a valuable piece of progressive metal.

"Porcelain" offers an excellent interplay between refined and beautiful instrumental lines and brutal, raw sections. This alternation creates a perfect dynamic, where moments of softness and delicacy are interwoven with explosions of intensity and force. The band's ability to balance these contrasts demonstrates not only their versatility but also their capacity to evoke a wide range of emotions. This track stands out for encapsulating the essence of progressive metal with its technical complexity and emotional depth.

"Submission" is the first of two tracks on the album that exceed the 10-minute mark. Characterized by multiple well-organized and arranged ideas, the piece alternates between engaging melodic moments and passages of aggressive, intense sound. The band moves seamlessly between these different moods, offering a rich and dynamic listening experience. The complexity of the composition and the precision of the arrangements contribute to the song's emotional depth, making it a central and impactful piece within the album.

"Saboteur" is the album's heaviest track, opening with an impressive, hellish guitar riff that immediately sets an aggressive and intense tone. However, despite its raw power, the track also features a captivating and engaging melody, striking a perfect balance between brutality and melodic accessibility. This combination makes it powerful and memorable, establishing "Saboteur" as one of the album's highlights.

"Disciple" stands out with its edgy guitar riffs, pulsating rhythm section, and clear, energetic vocals. The band delivers a dark yet metallic and captivating track. The blend of these elements creates an intense and immersive atmosphere, where every component contributes to a powerful and memorable listening experience. Meanwhile, "Caught in the Afterglow" is a brief acoustic interlude with a sinister vibe, lasting just over a minute.

"Freezer", the album's closing track and the second song to surpass the 10-minute mark, begins modestly with a melancholic melody that gradually evolves into something violent and destructive, maintaining a dark atmosphere throughout its progression. The track's gradual transformation from an introspective opening to an explosion of intensity showcases excellent narrative development, emotionally resonant and complex. It's a stunning conclusion to the album, leaving a lasting impression by blending delicacy and brutality in a breathtaking composition. A truly apotheotic end to the record.

Progressive metal can sometimes fall into the stereotype of overly technical musicianship that may deter listeners who perceive the genre as soulless or emotionally cold. However, Charismatic Leaders breaks this mold, avoiding excesses or showmanship and keeping the listener deeply engaged with impactful melodies. The album balances technical complexity with accessibility, crafting sophisticated and inviting pieces. This balance appeals not only to progressive metal aficionados but also to newcomers, who may be surprised by the album's dramatic depth and melodic clarity.

Noah Histeria's Hautefaye is a remarkable addition to the Spanish progressive rock scene, showcasing the band's ability to blend technical math metal with the lush soundscapes of neo-prog. This album is an instant masterpiece, characterized by intricate compositions and a refreshing sound that feels both innovative and familiar.

From the outset, Hautefaye captivates with its complex rhythms and emotive melodies, drawing listeners into a sonic journey that ebbs and flows through various moods. The peaceful landscapes crafted within the music provide a stark contrast to the technical prowess displayed, creating a dynamic listening experience that keeps audiences engaged.

Despite its diverse influences, the record maintains a cohesive identity, reflecting Noah Histeria's unique voice in the genre. Fans of progressive rock will find much to admire in this album, as it pushes boundaries while honoring the roots of the style. Hautefaye is not just an album; it's an exploration of sound that invites repeated.

But judging the album alone... I'm sorry, I can't get there. It's what Dream Theater sounds like to people who hate Dream Theater.

Growing up I always heard that Dream Theater was boring, pointless technical wankery bereft of melody or structure--and I couldn't disagree more. Petrucci had a flair for solo lines that were technically impressive and memorable (Another Day, Voices, Surrounded), as well as the Yes-inspired prog metal that came to define their sound. And they used time signatures in the same way Soundgarden would a few years later on Superunknown-- not to be musically pretentious, but to make the flow of the song less plodding (see: Wait for Sleep).

I'm personally not a huge fan of Rudess, whose arrival seemed to trigger an arms race with Petrucci over who could cram more notes into a solo. Still, Dream Theater had some memorable songs and solid albums during this time-- even if they now heavily relied on influences like Muse, Rush, and Koji Kondo to get there. (Go back and listen to Panic Attack and tell me that Petrucci hadn't just marathoned Super Metroid before writing it.)

But on this album, the Rudess-Petrucci arms race crowds out every other musical idea. Myung is barely audible. Mangini continues to bring the slick professionalism that the band clearly aspires to, but the album is so overproduced as to feel like absolutely nothing. And the dissonant chords and time signature shifts now serve no musical purpose except to remind you, the listener, that Dream Theater are better musicians than you.

Sadder still is James LaBrie's diminished presence. You really start to notice what he once brought to the table that he can't anymore. LaBrie often gets a bad rap for not being as much of a virtuoso as everyone else in the band, but I would argue he's a different kind of virtuoso--one with a real knack for writing vocal melodies and giving exactly the kind of delivery each song calls for (in studio, at least--live is often a different story). I'm not a huge fan of The Astonishing, since DT don't even try to pretend they aren't rotely copying 2112 and Mindcrime anymore, but it really shows you what LaBrie can do even after the wear and tear of age, fatigue, and food poisoning.

But on this album you can barely hear him over the wall of sound that is the rest of the album, and he can't bring the same dynamism to his vocal melodies that he once did. This of course isn't his fault--no one feels the march of time more than the lead singer--but the music suffers nonetheless.

And yes, he wrote their Grammy-winning opener--but to be honest, I have similar trouble recognizing it on its own merits. The lyrics (when you can hear them under all that processing and bombast) often feel clunky and unnatural, like they were written by the Scorpions or Helloween--and at least they have the excuse of being German.

I have trouble even calling this album "progressive." Complex, certainly. Neoclassical, probably. And it's more metal than some of their earlier offerings. But how many times can you rip yourself and others off before the term "progressive" becomes an oxymoron?

"Shit guys! The annual fan club CD is due! Quick, chuck some radio edits of our new album onto a disc, that'll do!"

I mean, 'Six Degrees of Inner Turbulence' is a masterpiece, and so there's no faulting the music here, on which is essentially a sampler of said album. But radio edits? As if you'd ever hear of these on any radio stations, anywhere, ever!

'Four Degrees...' is probably one of the most pointless fan club CD's out there, but whatever. It's Dream Theater, therefore it's a must-have for any die-hard fans such as myself.

It is no surprise to hear that Thrailkill have toured with Haken, as here we have complex prog metal which is being taken to new heights. Animals as Leaders are another obvious influence while Protest The Hero also get a look in alongside Steve Vai. This is guitar-driven instrumental music with weird and strange time signatures which sees them take influences like Allan Holdsworth and ram them into a totally different mash-up. Unlike some bands, their take on mathcore is also highly melodic and they don't shred just for the sheer sake of it but when it makes musical sense, which means this is an album which is highly enjoyable and listenable to on the very first playthrough. Apparently, the trio first met when studying at Musician's Institute in Los Angeles back in 2013 and have played hundreds of shows together over the years, and it shows. They can be going down one musical path and then suddenly turn, and it feels like we are listening to a totally different outfit altogether, yet while Wes is dominating out front it is the work of Chase and Aliyar which provide the foundation for the twists and directions the band are undertaking. I am somewhat surprised to have not come across these guys before, and the lack of reviews on PA demonstrates that these guys are flying well under the radar ? hopefully that will soon be corrected and they get the attention they deserve, as this is some album.