There are
many things that may alter the dynamics, sound and general attitude of a band.
One of the most drastic of these would be the loss of a founder member and key
writer of the band’s music. When Drummer Mike Portnoy decided to leave Dream
Theater in 2010, the future of the entire band was up in the air; however, with
new drummer Mike Mangini stepping into the enormous shoes left behind, this
album is still very much a Dream Theater album in the style that fans are used
to.
The album
still contains all of the progressive touches that are associated with these
Prog titans: Odd time signatures, complicated modal keys, extended solos and
even some sound effects from Himalayan Shaman Throat Singers(that could be misheard
as burps) on the song “Bridges in the
Sky.” This album has been compared by others to some of the best albums in the
band’s 26-odd year existence. I agree that the album does sound “fresh and
frankly stunning” even with the obvious comparisons that would come with
changing line-ups, Mangini shows that he definitely has the ability, expertise
and know-how to achieve great things and help write the next chapter in Dream
Theater’s already epic tale. After such a great shake up in the ranks, however,
it is only natural that there is a theme of loss and change that runs through
the album. Especially as Portnoy was such a prolific contributor to the sound
of the band.
Everything
about the album is large, with big record label money behind them, being a major
recent signing for Roadrunner Records (2006), epic sounding keyboard sounds
which seem to soar, long songs, with only 1 of the 9 tracks on the album being
less than 5 minutes long. However there are no multi-section epics that are
commonly associated with the band are conspicuous by their absence. Having said that, there is nothing here that
resembles a standard song format. Even “Far From Heaven” (The album’s shortest
track) still sounds very epic, even with mostly a piano and strings backing.
John Petrucci’s
guitar riffs are, as ever, complex and serve to further to consolidate his
reputation as one of the best guitarists ever. His playing style continues to
astound and his skills only seem to improve with time. His solos remain
exercises in the impossible, flying round the fretboard at dizzying speed.
The Keyboard
wizardry of Jordan Rudness is as impressive as always, able to set the moods of
slower sections of songs or increase the impact of large, epic sounding
compositions. His backing on “Far From Heaven” is truly beautiful, less metal
keyboards, more Lounge piano. His
introductions seem to dominate most of the songs on the album, setting a calmer
mood before the rest of the band enters with big, metal riff-based sections.
Having been
voted the best bass player of all time in 2010 by readers of MusicRadar,
Myung’s lines have an understated power. Never treading on the toes of anyone
else, but definitely keeping a firm foundation over which the rest of the band
seem free to explore their own virtuosity.
Vocally,
James LaBrie is as strong as ever, the operatic tenor of his voice allowing him
to hit high notes that many singers would not dare to attempt. Unfortunately,
he is still the most underrated musician in the group, never really having been
voted as a great vocalist or front man. Which is a shame as his voice is one of
the best out there, with a range that easily encompasses both softer and
heavier styles.
Overall,
this is a very good album, despite the comparisons brought about by line-up changes
and complaints that people have that it’s not the same… It’s still epic
Progressive Metal at it’s very best.
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