The Self-Titled 12th Album
Has it really been a decade since Train of Thought? That was the last time I can remember the prog gods in Dream Theater sounding like Dream Theater. Even then, there were hints they were moving in a different direction. The band’s subsequent releases, Octavarium, Systematic Chaos, and Black Clouds and Silver Linings were varying in quality but it was clear that the band was tired, and running over the same ground with a lack of inspiration.
And then Mike Portnoy left. Many predicted doom and gloom for Dream Theater and felt the heart of the band had been taken out with his departure. This was greatly overstated. A Dramatic Turn of Events was released shortly thereafter, and there were signs of new life within the band, with tighter writing and more acrobatic musicianship. Maybe, just maybe Dream Theater was going in the right direction.
So this brings us to today, and Dream Theater’s newest release, Dream Theater. After twelve studio albums they finally decided to name a record after themselves, and it could not have come at a better time. Simply put, this is a rebirth for the band at the forefront of progressive music. Singer James Labrie, guitarist John Petrucci, keyboardist Jordan Rudess, bassist John Myung, and drummer Mike Mangini elevate their already lofty game to deliver a true masterpiece. They’ve not only examined their roots and their predecessors, but they’ve pushed the genre in directions that it’s never gone before.
The album plays like a theatrical release, starting with “False Awakening Suite,” a John Williams-esque score that’s over-the-top and has smatterings of bands like Symphony X and Trans-Siberian Orchestra with a bit of a video game boss battle feel thrown in for good measure. A fitting beginning to the album, as it conjures up images of the epic nature that Dream Theater hasn’t really captured since 2002’s Six Degrees of Inner Turbulence.
Following that, “The Enemy Inside,” is unrelenting, featuring Petrucci at a breakneck pace on a seven-string in full metal glory. There’s Petrucci’s first great solo (first of MANY on this album) at the end of the song, as well a great breakdown with one of Rudess’ more inventive Zappa influenced keyboard patches. And for once, the lyrics in the song are catchy and very fun to sing along to.
“The Looking Glass” is the next track, and feels like what the band used to be like, with a riff very reminiscent of Rush’s “FreeWill.” In fact, the entire track is very much in the vein of classic Rush and older Dream Theater – the second verse’s riffs sound so much like “Pull Me Under,” with a thumping double bass playing in unison with the guitar. The solo on this song, maybe one of Petrucci’s best, has a power trio feel to it, with an amazing bassline from Myung and a Mangini groove that is untouchable. I’m also a big fan of Labrie’s dreamlike vocal fills throughout this song.
Dream Theater decided to go with an instrumental track for the first time in a decade on the next track, and “The Enigma Machine” does not disappoint. A crushing riff right from the start, and the main theme in its shifting meter is stuff of DT lore. Analyzing this song part for part is nigh impossible, but there’s time for every single instrumental member to shine, with bass breaks, a drum solo, and of course copious amounts of mind-bending solos exchanges from Rudess and Petrucci. And that fugal section in the middle… wow!
“The Bigger Picture” follows, and is the closest thing the album has to a ballad. It has a soaring chorus, and keeps building towards an incredibly soulful solo and fantastic piano break. The song features some of James Labrie’s most inventive singing, especially towards the end of the song.
“Behind the Veil” kicks the album back into high gear, featuring a riff that harkens back to the Images and Words days of Dream Theater. The main riff is so crunchy, and Labrie finds another perfect tone singing for this song – he really kills it on this entire album. It goes from metal to clean to dreamy on the drop of a hat, and it’s another chorus that is begging to be sung with a battery of concert goers. The middle section, has the same sort of classic Dream Theater feel to it, I hear a lot of “Metropolis Part I: The Miracle and the Sleeper” in this song, but so much more advanced. Another brilliant Petrucci solo, and that sweep in the last chorus always sends chills up my spine.
“Surrender to Reason” starts with a red herring. It seems like another ballad, but very soon kicks into overdrive (or flanger, if you’re going by effects). It’s got another Rush-like vibe as soon as that guitar kicks in, with an organ flair from Rudess that’s unmistakable; the middle section makes me smile every time I hear the choral hymns. The lyrics in this song are a trip, but that’s to be expect from any lyrics written by Myung. The guitar solo at the end of the song is dirty, but the best part of the solo is Myung’s bassline.
“Along for the Ride” was intended to be anthemic for Dream Theater, this song has an arena rock feel to it and a catchy chorus, I can picture people holding up lighters in unison during this song. It starts with a beautiful acoustic guitar and keeps the mellow pace throughout the entire song. This provides balance that the album needed, and it gives the entire production a complete feel, yet never loses that prog sensibility.
“Illumination Theory” may just be the greatest track Dream Theater has ever produced. After hearing this, I asked myself “A Change of Seasons… what?” I don’t even know where to begin on this song. The opening overture is heavy-hitting and intense. The lyrics don’t disappoint, and deal with the way we cope with the human condition. The first vocal section is among Labrie’s best singing he’s ever done. And that guitar riff! So ballsy. The next section (it’s hard to keep track) is empty of the band’s instrumentation, opting for an ambient transition to a true treat: a string octet that gives me goosebumps. It’s a true beauty to listen to, and those not expecting it I think will surely be floored. And as soon as the strings fade, the bass kicks in, and we’re back into prog metal bliss, and this doesn’t give in until the song is over. And then there’s the hidden ending, which in keeping with the “theatrical release” feel of the album, feels like an encore more than anything else. A true masterpiece.
Enough good words cannot be said about this album. Every member is sheer brilliance throughout the entire album. Mike Mangini brings more acrobatic drumming and blast beats that I can handle. John Myung truly gets a chance to shine in every song, whether it be original bass grooves or bass fills that make me smile. Jordan Rudess is a little understated on the album, but he never disappoints and nails everything with razor-sharp precision. James Labrie is actually incredible on this album, and although many have a negative attitude towards his singing, he may win a few new fans with vocals that are inventive and catchy. John Petrucci truly outdoes himself this album. Not only are all of his solos impossibly amazing, but every riff in every song sounds like – as he wanted – “a slice of chocolate cake.”
Final Verdict: This is the single greatest release from the leaders of progressive metal. Do yourself a favor and have a slice of this rich, rich chocolate cake.
Rating: 10/10
Posted by bensmola 
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