Tag: Dream Theater

New concept album from Dream Theater?

On By Time LordIn ProgarchyLeave a comment

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And so the speculation begins…

Little information has been forthcoming about a new album from the band, but we are aware that a release had been pencilled in for 2016. In a recent interview with Prog magazine, guitarist John Petrucci told band biographer Rich Wilson “There’s been no shortage of ideas. Without going into detail, this is a huge undertaking, what we’re doing. We’ve been working really hard and probably longer on this than other albums in the past. But you’ll see why”.

This has given rise to suggestions that the new album might be a hefty concept piece in the mould of Metropolis Pt. 2: Scenes From A Memory or Octavarium. If so, then do the two different factions on view on the website might give a clue as to the nature of the concept?

Metal Mondays – 30 Years of Dream Theater – Metropolis Pt. 2: Scenes From a Memory

On By Bryan MoreyIn progressive rock music4 Comments

medium_ScenesFromAMEmoryAs Dream Theater quietly celebrates their 30th anniversary as a band this year, I bring you a look back at what is likely the group’s best album, Metropolis Pt. 2: Scenes From a Memory. Many might argue that Images and Words is their best, but I believe that Dream Theater reached unmatched levels of brilliance on their 1999 album. It is also one of the greatest albums ever created, in my humble opinion.

In the grand scheme of things, I’m a very recent fan of Dream Theater. I didn’t really “get into” the band in earnest until early this year. Somehow, though, I feel as if I have been listening to the band for years. Their music seems to transcend time and emotion, particularly on Scenes from a Memory. This album manages to capture so much emotion, feeling, and spirit through both the lyrics and the music itself. From the seemingly strange concept of a man discovering he is a reincarnation of a woman murdered in the 1920s to the blisteringly brilliant musicianship, Scenes From a Memory grabs the listener and doesn’t let go. The album also manages to reach back to the band’s first album with James Labrie, 1992’s Images and Words. As many of you know, Scenes From a Memory is an extension of the song, “Metropolis Pt. 1: The Miracle and the Sleeper,” and the album manages to include and build upon many of the themes and musical motifs introduced in that song. Continue reading “Metal Mondays – 30 Years of Dream Theater – Metropolis Pt. 2: Scenes From a Memory” →

Metal Mondays: Revisiting Dream Theater’s “Black Clouds and Silver Linings”

On By Bryan MoreyIn progressive rock music2 Comments

04blackcloudsAs Dream Theater celebrates its 30th anniversary this year, it seems only fitting to take an in depth look at some of their music. 2009’s Black Clouds and Silver Linings marks a huge turing point for the reigning kings of progressive metal, for it was Mike Portnoy’s last album with the band. It is clear that no one knew that at the time of recording, not even Mike, because this album finds the band at the height of their technical ability and creativity. In fact, this album was probably their best output since 1999’s Metropolis Pt. 2 Scenes From a Memory, which is one of the greatest albums of all time.

For all those that complain that Dream Theater “lacks soul” or “sucks,” I have a question for you: have you listened to Black Clouds and Silver Linings? I mean actually listened to it, and not just once, because this album has more “soul” than a gospel singer at a revival meeting! It also has enough head banging, window shattering, old-people enraging heavy metal to please even the most obsessive of metal enthusiasts. It has enough prog to fascinate the proggiest of prog fans. It has enough heart wrenching lyrics and moving solos to make a man weep, as I’m sure it did to those who wrote them.

Interestingly, the first time I listened to this album, I didn’t think all that much of it, apart from “The Count of Tuscany.” The whole thing seemed too overly loud and inaccessible. However, I soon became hooked by “Wither,” and then by the moving “The Best of Times.” Soon, I gave the whole album repeated, thorough, listens, and it was like a revelation! I finally realized this album for the brilliance that it is, and it is one that I now regularly return to.

The album gets off to a rather dark start, with the 16 minute long “A Nightmare to Remember,” a story about someone getting into a horrible car accident during a bad thunderstorm. The story ends well enough, with the band revealing that “its a miracle he lived; its a blessing no one died.” Supposedly, this song, which was written by guitarist John Petrucci, is based upon a childhood experience. Nevertheless, it sets the album with a dark tone, which only makes sense considering the circumstances. Mike Portnoy’s father was dying of cancer during the process of making the album. Mike wrote “The Best of Times” as a tribute to his Dad before he passed away. The band has never performed this song live, because it was too painful for Mike to play after his father passed. The song features what is arguably John Petrucci’s best guitar solo. Long, epic, and soaring, it is everything a rock fan could want in a guitar solo. It is like David Gilmour’s “Comfortably Numb” solo on steroids. He combines his technical shredding capability with the soul of the late, great BB King. It is awe inspiring to listen to. Petrucci also thrills the listener with a quiet, moving acoustic guitar piece at the beginning of the 13 minute song.

The entirety of the album contains the best elements from all of Dream Theater’s previous albums. The album contains conceptual pieces, driving metal songs, and heartfelt rock ballads, something Dream Theater is incredibly gifted at crafting, albeit underrated. “Wither,” is the shortest song on the album, at 5:26. It is a ballad written by Petrucci about his personal process of songwriting. “A Rite of Passage” is, strangely enough, about freemasonry, and “The Shattered Fortress” completes Mike Portnoy’s twelve-step suite spread across several albums. The twelve-step suite is about Portnoy’s earlier struggles with alcoholism, and it references Alcoholics Anonymous’ twelve-step program. The songs in the suite are: “The Glass Prison,” “This Dying Soul,” “The Root of All Evil,” “Repentance,” and “The Shattered Fortress.” In their entirety, all the songs were originally supposed to create a single concept album across multiple albums.

When listening to the album, “The Best of Times” seems like the natural end of the record. However, as soon as that song ends, Dream Theater blows us away with the nearly 20 minute long “The Count of Tuscany.” This song is like Rush’s 2112, in that it is both brilliant, conceptual, and around 20 minutes long. While the concept is nothing like 2112, and it didn’t have nearly as great an effect on Dream Theater’s career (at that point, DT were firmly established, while it can be argued that 2112 was a make-or-break album for Rush), it contains many similar elements of musicality. The song is supposedly about an actual encounter Petrucci had while visiting Tuscany, in Italy. I won’t make an effort to describe the song, because I would never be able to do it justice. All I can say is, it is brilliant.

Black Clouds and Silver Linings finds Dream Theater at their musical best. They perfectly balanced their heaviness with their technical skill. At many points in the album, the band utilizes the jazz staple of members performing individual instrumental solos before passing the solo off to someone else. It is almost as if they are playing live on the album. The band shows off their thundering bass, outstanding drum work, blistering guitars, and wizardly keyboards, and it is a thrill to listen to. Portnoy’s drums are just so good that words cannot describe them. It doesn’t seem humanly possible that he can be doing so much at one time, but he does it! Outstanding.

James LaBrie’s vocals are good, with some points stronger than others. His voice is definitely better on their 2013 album, Dream Theater. It is remarkable how long it has taken for his voice to completely heal from that incident in the 90s. He stated during their last tour that his voice feels better than it has ever felt, and it showed on their last album. On Black Clouds and Silver Linings, there are points where he chooses to sing in a more violent manner, rather than his more natural high notes. That can likely be attributed to the heavier nature of the music, along with his lack of confidence in his voice at that point. Never fear, though, because it doesn’t detract from the album at all. If anything, it simply adds to the heaviness of the music. I must add that Portnoy and Petrucci offer excellent backing vocals to the album. They are probably more involved vocally than on any other album.

Black Clouds and Silver Linings sadly marks the end of the Portnoy Dream Theater era, but he went out in style. The album finds the band on a musical high note. They created one of the best records of their career, demonstrating the maturity of their musicianship and the creativity of their songwriting. It is a long album, but it never drags on. Everything is just as it should be, and the hidden nods to Rush throughout the album are a treat for the careful listener. This album demands repeated listens, and it demands them loudly.

Rock on, Progarchy, and enjoy your metal Monday.

Remember 1992? The Cure or Dream Theater as the Future of Prog?

On By bradbirzerIn progressive rock music1 Comment

For me, the only great thing to come out of the Mike Portnoy/NHS controversy (which doesn’t seem like it should have been a controversy, at least to this American) was that it re-awakened my interest in Portnoy’s time in Dream Theater. I’ve followed him almost religiously in his non-DT efforts (Transatlantic, Neal Morse Band, Flying Colors), and I think the world of him—as a person and as a drummer. Yeah, he’s got a bit of a temper—but he seems to let it run wild only when life calls for it to run wild. I can’t really blame him. Plus, the guy is so outstanding in what he does, I can’t help but admire him. I would give a lot to have his restraint, frankly.

dt images words
The first prog metal album, IMAGES AND WORDS.

But, my point in this post is not about that “controversy.” Instead, that moment in England caused me to pull out all of my Portnoy-era Dream Theater, 1992. I’m not what you’d call an intense fan of Dream Theater, but I have purchased every single album (studio, live, ep) as it’s has come out since IMAGES AND WORDS.

When I first got IMAGES AND WORDS, I was impressed with it. I listened to it with fervor, but, even then, I really loved side two and I really didn’t love side one.

Remember 1992?

1992 was a great year for music, but it was an uncertain year for prog.

cure wish
Half prog (in a Traffic kind of way), half wacky pop. WISH.

At the time, The Cure’s WISH seemed as likely a candidate for inheriting the mantle of prog as did Dream Theater’s IMAGES AND WORDS. In hindsight, it’s easy to give the award to Dream Theater, but not so easy in 1992. Go back and listen to “From the Edge of the Deep Green Sea,” but also listen to “Open,” “Cut,” “To Wish Impossible Things,” and “End.” There’s a LOT of prog on that Cure album. Plus, I would consider DISINTEGRATION a prog album. My point: if you listened to Dream Theater (metal prog) and The Cure (pop prog), it was impossible to determine who was more prog.  At least in 1992.

Add the albums from Phish, Pearl Jam, and U2 that year.

A lot could’ve happened.

Well, here we are 23 years later. Thanks, Mike. You paved the way then and you continue to do so.

Dream Theater: “The Looking Glass”

On By Time LordIn ProgarchyLeave a comment

Dream Theater – Breaking the Fourth Wall – ♫♫♫♫♪

On By Bryan MoreyIn progressive rock music7 Comments

37885Dream Theater have shown, with their latest live album, Breaking the Fourth Wall, that they are the kings of progressive metal. This album, recorded live at the Boston Opera House on March 25, 2014, brilliantly embraces all aspects of the band’s incredible career. I purchased the Blu-ray version of the show, mainly because I am completely enamored by their latest studio album, Dream Theater. Breaking the Fourth Wall goes further beyond their last album.

I am relatively new to Dream Theater, being introduced to the band by their latest album. I am still sifting through their back catalogue, and I am certainly enjoying it. It seems that many long-time Dream Theater fans disliked their latest album, and I’m not really sure why. Yeah, Mike Portnoy isn’t a part of the band anymore, but Mike Mangini is a more than capable drummer who brings his own heavier style to their music. For those that say the new album is missing soul or heart, just read the lyrics. It is probably the most personal and spiritual album that the band has ever made. Do I miss Portnoy? Yes and no. I have become a massive Mike Portnoy fan in the past year, and he has been making some incredible music outside of Dream Theater – music that probably wouldn’t have been made had he still been a member of DT.

Alright, enough of my defense of Dream Theater. Their music can stand as a defense.

51SzQGn9PaLAct 1 of the album begins with a rocking rendition of the grammy nominated “The Enemy Inside.” We then bounce back to music from Black Clouds and Silver Linings, Falling Into Infinity, A Dramatic Turn of Events, and Dream Theater. While it is all awesome, especially enjoyable are “The Looking Glass,” “Trial of Tears,” and “Enigma Machine” (instrumental). The first two songs have clear Rush influences, with “The Looking Glass” sounding like a Rush arena rock song such as “Spirit of the Radio,” and “Trial of Tears” beginning and ending like “Xanadu.” As usual, the musicianship is in top form, and the concert gets off to a rousing start.

Act 2 begins with several songs off of 1994’s Awake album. It was really nice to hear the band play the older music, and it was interesting to hear the differences in drumming styles throughout the concert. Mangini Dream Theater is definitely heavier (in a Bonham way) than Portnoy Dream Theater. It isn’t particularly noticeable until music from across their catalogue is played together at once. The Act ends with the emergence of the Berklee College of Music Orchestra and Choir to aid in “Illumination Theory.” Wow! I’m often skeptical of orchestras and rock bands, but this combination was perfect. The melding of the band with the choir and the orchestra creates a full and beautiful sound.

The Encore consists of portions of Scenes from a Memory, on which the orchestra and choir continue to aid. I found this choice of music for the encore interesting, considering the tour was for their latest album. At the end of the show, you are left wondering if you saw a tour for Dream Theater, or DT playing some of their favorite overlooked music from the years. This isn’t necessarily a bad thing considering how good the show sounded as a whole.

I think my favorite part of this show is Jordan Rudess. He clearly loves what he is doing, and he is a true wizard on the keyboards. At some points, I wish he had been playing a Steinway because it would have sounded so much better and much more epic. For me, what truly distinguishes a good band from a great one is their keyboardist. What do Genesis, Yes, ELP, Queen, Muse, and Dream Theater all have in common? A pianist who can play anything from Brahms to hard metal and do it with such virtuosity as to make the most elitist music connoisseurs stand in awe.

Particularly nice is the quality of James LaBrie’s vocals. He sounds good at this show. Either he was in fantastic form, or they did a bit of adjusting in the studio… or both. Either way, it makes for a great show to watch. Whether or not he actually hit those high notes live doesn’t really matter to me since I am watching the Blu-ray, and I paid to see a great show.

My disappointment with this live show comes not from the musicianship, but from the production and mixing. Overall, the mixing is pretty good, especially for the drums. The drums sound great with surround sound – so great that you almost feel like you are sitting in the middle of the drum set. The biggest annoyance is John Myung’s bass is far too low in the mix. On the album, Dream Theater, his bass is front and center, but here he often seems to blend into the background. The overall sound still has a heavy bass feel from the combination of Myung’s bass and Mangini’s bass drums. James LaBrie’s vocals are also too low in the mix, which can make it difficult to understand what he is saying sometimes. Annoyingly, the crowd is up too high in the mix at some points, especially early on in the show.

Further disappointment comes during the middle of the Awake set, in which the editor felt it necessary to play some weird, indiscernible background image over the footage of the musicians. It makes it so that you can’t clearly see the musicians, and it pulls you out of the music. It is needlessly distracting. Other than that, the rest of the show has beautiful HD footage, from many different camera angles. What I especially like is the footage doesn’t jump around every 1/2 second (like on ACDC’s Live at River Platte concert). They give enough time to each shot before moving on. Unfortunately, John Myung is not shown nearly enough in the footage, which I don’t understand at all. Everybody else is shown quite a bit, with John Petrucci shown a lot, but not enough of Myung.

I also wish the entire Dream Theater album had been played, especially “The Bigger Picture,” my favorite song from the album. For me, an inclusion of those songs would have pushed this show over the top.

My disappointments with Breaking the Fourth Wall are rather minor, and they should not keep anyone from purchasing this album. It is probably the best live music DVD/Blu-ray/cd released this year. The music consists of a wide array of pieces from across the Dream Theater collection, and the package itself includes a nice booklet detailing everyone involved in the production of the show and tour. Dream Theater continues to show why they are the leaders of progressive metal and have been for over 20 years.

 

The prog dog - Snickers. She thoroughly enjoyed Breaking the Fourth Wall from the comfort of my lap. Metal puts her right to sleep.
The prog dog – Snickers. She thoroughly enjoyed Breaking the Fourth Wall from the comfort of my lap. Metal puts her right to sleep.

Bryan’s Best of 2014

On By Bryan MoreyIn progressive rock music2 Comments

Without a doubt, 2014 has been a great year for Prog. It seems as if we have been barraged by great music from all sides.  The string of excellence continues. This list is my arbitrary ordering of what I liked best from this year. I’m really not a huge fan of “best of” lists because I don’t think you can really judge art in that way. So, consider this a list of what I enjoyed. The order of numbers 10-3 is relatively interchangeable.

10. Dream the Electric Sleep – Heretics 8530215

I should have reviewed this album when it came out back in January, but I’m lazy. This was a fantastic sophomore release by the Lexington, Kentucky prog outfit. Their first album, Lost and Gone Forever, was an excellent concept album. These guys do a fantastic job of combining classic prog influences with a harder rock edge. The beginning of the album sounds almost Pink Floydian, and there are definite nods to The Wall. The singer also sounds a bit like Roger Waters. Heretics is another concept album, and it clocks in at over 70 minutes in length. Check these guys out – they are ascending as a band and are making some great music.

http://www.dreamtheelectricsleep.com

9. Cosmograf – CapacitorCapacitor

Robin Armstrong’s latest offering, combined with the efforts of such wizards as Andy Tillison, Nick D’Virgilio, and Matt Stevens, is a fresh take on prog rock. As of right now, I haven’t listened to any other Cosmograf albums, but this one is quite good. I’m sure there are others here at Progarchy that could tell you more about the band, and I’ll wager they would be more than happy to. Capacitor is definitely worthy of any 2014 “top 10” list.

http://www.cosmograf.com

8. Bigelf – Into the Maelstrom Into the Maelstrom

Three words – Mike freaking Portnoy. He teamed up with Bigelf to drum on their latest album, and it was insane. He has to be the hardest working musician in prog. This isn’t the last we shall hear from him on this list.

Bigelf’s breed of prog metal is unlike anything I have heard before. Maybe it’s lead singer Damon Fox’s awesomely bizarre vocals, or their fantastic combination of metal and classic rock, or maybe it’s Portnoy. Or all of the above. Whatever it is, Bigelf has created something special with Into the Maelstrom. They have been around since the early 1990s, have four studio albums, and have toured with Dream Theater, so they know their way around the business. Certainly worth the time for any Mike Portnoy fan, as well as any fan of prog metal.

https://www.facebook.com/bigelfmusic/info?tab=page_info

http://www.bigelf.com

7. The Gift – Land of Shadowscover

London’s The Gift masterfully combine prog metal with symphonic metal and Gabriel-era Genesis prog. This album is refreshing in its tonal clarity and its thematic prowess. It is definitely an album worth listening to over and over again through the years. Here’s my review of it from several months back:

https://progarchy.com/2014/07/20/the-gift-land-of-shadows/

http://www.thegiftmusic.com/index.php

 

6. Voyager – Vimage013

Australian prog metal outfit Voyager have released a very solid album this year. While I feel like it could have been more tightly constructed and some of the songs featured unnecessary repetition, there are some awesome riffs to be found here. This band rocks, and they rock hard. Many comment that the second half of the album is a let down, but I think it is just the opposite. Voyager ventures into the wonderful void of prog in the second half of V, including some softer songs. Time Lord wrote a very nice review of the album earlier this year:

https://progarchy.com/2014/07/05/voyager-v/

http://voyager-australia.com

5. Transatlantic – Kaleidoscope Kaleidoscope (Kaleidoscope)

I told you Mike Portnoy would be heard from again on this list. Supergroup Transatlantic cranked out a fantastic album this year. Made up of Neal Morse, Mike Portnoy, Roine Stolt, and Pete Trewavas, Transatlantic has several albums under their belt, and they continue to impress. Kaleidoscope was my first introduction to Transatlantic, and it was an excellent first impression. The cover songs found on the accompanying special edition are all excellent. Anyone who can cover Yes, King Crimson, Elton John, Focus, Moody Blues, and a few others while still sounding entirely unique deserves immense respect. The live album, KaLIVEoscope, that came out in October, was equally brilliant, with three hours of musical genius. The collective talent in this band is shocking, and it clearly shows on Kaleidoscope.

http://www.transatlanticweb.com

4. Chevelle – La GárgolaLaGargola

No, this isn’t a prog album. However, Chevelle released one of the best albums of their career with La Gárgola. Their heavy, yet not overly heavy, style of metal has been a staple of contemporary hard rock over the past 15 years. Their excellent vocals, steady bass, clear guitar, proficient drumming, and haunting lyrics makes Chevelle one of the most interesting metal bands of the 21st Century. I found this album to be an excellent return to their heavier beginnings, while simultaneously exploring new and more complicated territory.

http://getmorechevelle.com/home.php

https://progarchy.com/2014/08/26/chevelle-la-gargola/

3. Pink Floyd – The Endless RiverThe Endless River

Is Pink Floyd even capable of making an album that isn’t good? Their latest (and final) album combines extra recordings from The Division Bell with recordings from David Gilmour and Nick Mason, as well as studio musicians. Mainly instrumental (only one song has singing), this album hearkens back to the instrumentation found in Wish You Were Here and Animals. The one thing missing, in my opinion, is Roger Waters’ bass. I feel like his involvement in this album would have made it even more spectacular, as well as thrill millions of fans. Even so, this is clearly Pink Floyd, and any fan of psychedelic prog will love this album. The album serves as a worthy sendoff for Richard Wright.

http://www.pinkfloyd.com/index2.php

http://www.pinkfloyd.com/theendlessriver/

2. Vanden Plas – Chronicles of the Immortals – Netherworld397022

Vanden Plas’ latest album might very well be the best progressive metal album I have ever heard, with no disrespect to Dream Theater’s Images and Words. It is just that Netherworld so beautifully captures the intricacies of metal, “high prog,” and magnificent story telling. There have been some excellent albums released this year, but few reach the brilliance of Vanden Plas. Having listened to some of their previous work, this album is not out of the ordinary for them. One of the nicest things about this band is the vocals are not your traditional “metal” vocals – there is no screaming, yelling, whining, etc. Andy Kuntz’s voice is beautifully melodic and mysterious, and it is perfect for this album. Vanden Plas perfectly crosses over between the worlds of full-on head banging metal riffs and quieter, classic progressive rock. This album also has one of the best beginnings and endings of any album I have ever heard. There is a clear and definite start and resolution – you aren’t left hanging or wishing there was more. It is perfect just as it is.

Check out Gianna’s and Time Lord’s reviews of Chronicles of the Immortals – Netherworld.

http://www.vandenplas.de

1. Flying Colors – Second NatureSecond Nature

Mike Portnoy again. The guy sure does get around. Neal Morse again too. Go figure. Also in the band are Steve Morse, Casey McPhersen, and Dave Larue.

Second Nature is one of the best albums I have ever heard. Flying Colors combine prog rock and pop rock in a way not seen since the glory days of Styx and Kansas. Seeing them live merely solidified my position on the matter. Catchy yet complicated riffs abound, as well as thoughtful lyrics. If prog wants to become mainstream and popular again, then bands need to take note of Flying Colors.

Check out my review of Second Nature, as well as my review of their live show.

http://flyingcolorsmusic.com

***

Well, there’s my top 10 of 2014. A fair mixture of metal, prog metal, and straight up prog. Honorable mention should go to Ian Anderson’s Homo Erraticus, Fire Garden’s Sound of Majestic Colors (which I thought had far too much of a “garage band” mixing to make my top 10 list), Fractal Mirror’s Garden of Ghosts, Salander’s STENDEC, and Glass Hammer’s Ode to Echo. Special mention goes to Haken’s recent EP, Restoration EP. Had this been an album, I would have placed it in my top 5. Dishonorable mention goes to Yes’ Heaven and Earth.

Top concert of the year goes to Dennis DeYoung. His voice has not changed in 40 years, and his backup band and vocalists are better than Styx. He also has a singer who sounds better than Tommy Shaw did 40 years ago. Runner up for best show goes to Flying Colors, from their brief Second Nature tour. The reason I’m not placing them as best live show of the year is because of the audio problems they had during the show. The sound system for Dennis DeYoung’s show was superb, with no feedback issues during the show. I also had a wonderful time at the B.B. King concert, as well as seeing the CSO perform the music to Return of the King live. It was a great year for concerts!

I would also like to mention Dream Theater’s self-titled album as one of my most listened to albums of 2014. Everything about this album was fantastic, including the live album on Blu-Ray they released a few months back. From the metal virtuosity to the lyrics, this album will be on the rotation for years to come.

2014 has been another fantastic year for prog, and I look forward to more of the same in 2015. Neal Morse’s next project, The Neal Morse Band The Grand Experiment, comes out in February. Take a wild guess at who the drummer is. Muse will also be releasing an album in 2015, one which they claim will return to their rockier roots. There is also talk of a Rush 41st anniversary tour (I think there is, anyways). Much to look forward to in the coming year, and much to appreciate from 2014.

Prog on, Progarchy!

 

Dream Theater: A Metal Anomaly

On By Bryan MoreyIn progressive rock music5 Comments

full_DREAM_THEATER_SHOT-FINAL_02_046a

 

The second half of 2013 sucked. So did the first few months of 2014. I’d rather not get into the reasons why, but needless to say, one of the high points of last year for me was becoming a Progarchist. I say that because being apart of this awesome site has given me the opportunity to listen to music and bands that I otherwise would have never heard, and I have loved it. One of those bands is Dream Theater.

I first heard Dream Theater when my roommate was playing it towards the end of the spring semester of 2013. At first, I didn’t really like it, mainly because of LaBrie’s voice, but I couldn’t complain since I was the one that got my roommate into the “prog” genre in the first place. I didn’t think much of Dream Theater again until I became a Progarchist and received a review copy of their recent self-titled album. All I can say is, WOW. LaBrie’s voice grew on me, and I wondered how I had not discovered this band years earlier. What had I been missing? The technical skill of the musicians astounded me, and I found the vocals haunting. Little did I realize how their lyrics would profoundly touch me over the coming months.

As I said, the last several months haven’t been the best. Most of my family and friends wouldn’t (or don’t) understand it, and that’s ok. Regardless, I found myself drowning in music. I couldn’t/can’t get enough of it. It became an escape for me, and the go to genre when I’m really feeling down seems to be metal. I turned to the heavy metal albums from personal favorites of mine such as Avenged Sevenfold and Disturbed. I connected with the anger and the desperation, especially with Avenged Sevenfold’s 2010 album, Nightmare, featuring former Dream Theater drum god, the great Mike Portnoy (coincidence, I think not). Nightmare is dripping with anger and frustration, as the band struggled to cope with the recent death of their drummer, Jimmy “The Rev” Sullivan, who was probably one of the best metal drummers ever (you don’t believe me? Listen to the albums “Waking the Fallen” and “City of Evil”). I also was drawn to the punky pissiness (pardon my French, as it were) of the bands Three Days Grace and System of a Down. I soaked in the mysterious lyrics and awesome rock of Chevelle, which has been one of my favorite bands for a long time (their latest album, La Gárgola, is fantastic). I found myself being drawn into this world of angry rock, while simultaneously withdrawing from the people around me.

I actually enjoy the loud, obnoxious, sometimes screamy sound produced by many of these bands. It has always been a good release for me. But, something is missing, especially from Disturbed and Avenged Sevenfold. Hope. Hope is missing. The closest thing any of these bands have to hope is Three Days Grace’s song “Never Too Late.” The rest of it focuses on the darkness they think they find themselves in. That’s ok at first, but after a while, it can drag you down, if you let it. I let it.

This is where Dream Theater comes in. I listened to the their latest album, and I heard the song “The Bigger Picture.” I heard these lyrics and was blown away, as corny as it sounds:

Would you talk me off the ledge
Or let me take the fall
Better to try and fail
Then to never try at all

You look but cannot see
Talk but never speak
You live but cannot breathe
See but don’t believe

Wounds that never heal
A heart that cannot feel
A dream that’s all too real
A stare as cold as steel

I’ve listened to the stories of resentment and disdain
I’ve looked into the empty eyes of anger, fear, and shame
I’ve taken blood from every stone
And traveled every road

When I see the distant lights illuminate the night
Then I will know I am home

Those seemingly simple lyrics rocked me. Then I heard “Along for the Ride” :

I can’t stop the world from turning around
Or the pull of the moon on the tide
But I don’t believe that we’re in this alone
I believe we’re along for the ride
I believe we’re along for the ride

Then I heard “Illumination Theory” :

To really feel the joy in life
You must suffer through the pain
When you surrender to the light
You can face the darkest days

If you open up your eyes
And you put your trust in love
On those cold and endless nights
You will never be alone

Passion glows within your heart
Like a furnace burning bright
Until you struggle through the dark
You’ll never know the joy in life
Never know, never to know
You’ll never know
You’ll never know

I couldn’t explain it, but the lyrics spoke to me. I heard “Another Day” off of Images and Words, and that spoke to me as well. These songs offered hope, not despair. They did not wallow in the gloom, but looked forward to the light. Dream Theater may receive flack for not having deep lyrics or cohesive albums, but to me, it doesn’t seem to matter, because the band accomplished what I believe they set out to do. They wanted to reach somebody and share their hope with that person, and it worked. The best part: not once do Dream Theater sacrifice musical talent to get their message across!

Through the cold and endless nights, I felt alone. I had drifted from my faith in God, and I was in a dark place. Then I heard “Illumination Theory” calling me to open my eyes and to put my trust in love, and if I did, I would never be alone. Growing up, I was always told that God is love, and that He is always there for His children. It clicked for me, and I could finally see the light. It was a rough few months (where the only thing I could find purpose in was my studies, which thankfully I did well in), and I had a hard time relating to the world around me. But, Dream Theater was able to touch my soul in a way that the other metal bands couldn’t. Metal, on the whole, is rather devoid of hope and joy, and that is why I see Dream Theater as an anomaly. They don’t play by everyone else’s rules – they write their own, and for that, I am grateful.

It may seem lame that Dream Theater had such a profound effect on me during those dark days, and I really can’t explain why they did. All I know is that I believe I’m along for the ride, and it’s a ride I’m proud to say I’m now happy to be on. Thanks Dream Theater.

The Dramatic Rock of Fire Garden’s “Sound Of Majestic Colors”

On By Kevin WilliamsIn progressive rock musicLeave a comment

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During the month of May, some of us Progarchists switched into “Rush Appreciation Mode” as we paid tribute to the group that, for some of us, forever altered our view of what music could be on the occasion of the 40th anniversary of their self-titled debut release. This very site is a reflection of our appreciation for a genre of music that, for so many of us, started with our first exposure to Rush. For so many, they were springboard into the world of progressive rock.

Of course, there’s another generation of progressive rock fans from the 1990’s who cut their teeth on prog through Dream Theater, while for some of us older folks, Dream Theater was the group that picked up the torch for progressive rock starting in the 1990’s, when iconic bands such as Rush and Yes had either changed their songwriting approach and/or gradually declined in popularity. Still other prog fans recently found their love of the genre through Tool’s and/or Steven Wilson’s works.

In the spirit of the more recent iconic, progressive hard rock groups such as Dream Theater, Chicago-based Fire Garden has released their first full-length album, “Sound Of Majestic Colors,” which follows their December 2012 EP release, “Prelude.” As is the case with most prog, repeated listens will reveal layers within the music, but the album is also accessible from the get-go.

Prog fans will have little trouble picking out styles and sounds similar to Dream Theater, but anyone who dismisses the group simply as a knockoff of DT does so at their own peril, for Fire Garden is very much their own band.

That said, the album opens with perhaps the group’s biggest nod to its Dream Theater influence in “The Joker.” Guitarist/songwriter Zee Baig channels John Petrucci’s guitar sound from “Train Of Thought,” there are echoes of the Derek Sherinian era DT with some nice organ work, some percussive keyboard patches that take from Jordan Rudess’ work in later years and even some fast kick drum work that might recall Mike Portnoy’s heavier playing prior to his departure from DT.  A vocal-heavy middle section breaks up the influences noted above, showcasing the group’s range.

Despite liking “The Joker” quite a bit over repeated spins, I was a bit fearful that I might be subjected to an album not unlike “Train Of Thought,” which is one of my least favorite DT albums, but oh, how Fire Garden quickly proved me wrong.

It’s rare that I’ll hear a succession of tracks for the first time and think, “This one’s my favorite!,” then say to the next, “No – THIS one’s my favorite,” but that’s exactly what unfolded during the first four tracks on “Sound Of Majestic Colors” as “The Joker” gave way to the soulful “Alone,” abandoning the bombast of the opening track for a slower, more atmospheric vibe. We then get a touch of “Images And Words”-era Dream Theater with the big-sounding “Time Machine,” but Fire Garden then shows us an altogether different side with “Endless Memories,” with bassist Barry Kleiber weaving melodic bass lines over acoustic/electric guitars, setting the tone for what is easily the most accessible track on the album. The track features a lovely, soaring chorus that’ll no doubt have audiences singing along.

This changing up and blending of styles that Fire Garden seem so comfortable writing continues throughout the album with a trifecta of big rtracks in “Redemption,” “Behind The Face”, and “Echoes Of Silence,” then broken up by the lovely, harmony-laden “Far From Grace,” and finally, the cinematic album ender, “The Last Step.” If rock radio was still open to progressive hard rock they way it was 20 years ago, tracks from “Sound Of Majestic Colors” would find a place in station’s rotation, to be sure.

It’s worth mentioning that throughout “Sound Of Majestic Colors,” singer Kevin Pollack does a fine job using his range – a bit lower but a welcome change from the wails of many prog/metal vocalists – bringing the proper measure of energy, emotion and, well, gravitas to each song.

The lyrics on the album tend to explore dark themes – battling demons both internal and external, sometimes literal – in “Alone,” “The Joker,” “Echoes In Silence” and “Redemption,” greed in “Time Machine,” love lost in “Endless Memories,” and finally, reaching for redemption/rejuvenation in “The Last Step.”

Half of the 10 tracks on “Majestic Colors” clock in between eight and nine minutes, giving the band plenty of space for stylistic exploration without falling into the noodling/padding trap that’s so often a cliche of prog.  They also avoid cramming as many time signatures into each tune as possible just for the sake of it, making the album quite accessible to those ears tripped up a bit by odd-meter shifts.

Fire Garden also gets it right with the album packaging and liner notes, very much reminiscent of Hugh Syme’s best work with Rush and Dream Theater, as each lyric is mated its own piece of artwork, beautifully complementing our listening experience in way that liner notes from the aforementioned bands do.

Knowing that the prog community is a tight-knit one, I would highly advise any reader with influence over any prog festival or cruise – as is the case these days – to quickly snap up Fire Garden as they’d be a worthy addition and sure-fire fan favorite. Better still, how’s about groups like Rush and Dream Theater consider the next generation of prog by dropping the well-worn “Evening with…” format and getting these guys out on tour to build as big a following as possible?

“Sound Of Majestic Colors” is more than enough evidence that Fire Garden has an extensive palette of talent and styles to “paint” with, making this release a more than worthy addition to prog fans’ libraries.  Dream Theater’s ridiculously, prodigiously-talented lineup may still have a tight hold on prog’s hard rock torch, but Fire Garden stands as a potential successor with “Sound Of Majestic Colors.”

Fire Garden Band Photo 1

 

The Fire Garden of Infinite Delights

On By bradbirzerIn progressive rock music3 Comments

[The first of at least two reviews of Fire Garden, Sound of Majestic Colors (Fire Garden Music, Chicago, IL, 2014).  Official Website for the band and label: 

Home

.  Kevin Williams will also be reviewing the album.  Frankly, I’m not qualified enough re: prog metal to review this.  But, my love of the album kind of forced my hand.–BjB]

 

Fire Garden's SOUND OF MAJESTIC COLORS comes out, officially, tomorrow, June 10. Order now!
Fire Garden’s SOUND OF MAJESTIC COLORS comes out, officially, tomorrow, June 10. Order now!

***

With no intention of being jingoistic, I’m very happy to see a nice resurgence of progressive rock in America.  The English and the Scandinavians currently provide the touchstone, but I would hate to see the Americans not compete at all!

Of course, when it comes to North America, we’ve had some great prog bands and individuals in for the long haul: Rush, Glass Hammer, IZZ, Dream Theater, John Galgano, Kevin McCormick, 3RDegree, Neal Morse, Spock’s Beard, and a few others.  Recently, we’ve seen the rise of Hour of the Shipwreck and Astra as well.

Now, we have Fire Garden, a new progressive rock/metal band from America’s third largest city, Chicago.

The brainchild of professional photographer Zee Baig, Fire Garden will release its first full-length album, Sound of Majestic Colors, tomorrow.  This closely follows the band’s first EP, The Prelude, which came out at the beginning of the year.  Three songs overlap: “Time Machine,” “Far from Grace,” and “Forsaken,” though the former two appear in slightly different versions on the EP and the LP.  Certainly, each of these releases from Fire Garden is well worth owning.

When I first heard the Sound of Majestic Colors, I wrote my thoughts down quickly:

Confident, melodic, intense, moving, driven.  Fire Garden is the present and the future of progressive metal.  Sound of Majestic Colors is a triumph in every way.

Additional listens have only added to my wonder and astonishment regarding this album.

First, let me discuss the superficials, that is, the appearances of things.  Visually, Sound of Majestic Colors is an incredible package.  The CD case (very important to me) provides a fascinating mix and incorporation of black and white photography, psychedelia, Macintosh imagery (a play on the spinning beach ball of doom—at the center of the cover photo), and weapons of mass destruction.

If I had to compare it to anything, I would compare it to the best packaging Dream Theater ever produced—that for Train of Thought LP.  But, frankly, Train of Thought’s artwork tried to be a little too psychedelic., little too Floydish.  The eyeball on the cover has failed to age well, and it now appears far less creepy than it does derivative.  Fire Garden avoids the clichés, creating its own vision for the album.  Far from contrived, its psychedelia comes from the heart and the soul.

My copy of Sound of Majestic Colors arrived with business cards, bumper stickers, circle window stickers, a full-size poster, and bookmarks (see photo below).  All of this is done with absolute class, and I welcome such things greatly.  Indeed, I will be keeping these things in a very safe place accompanying similar items I’ve collected and received from Rush, North Atlantic Oscillation, Porcupine Tree, etc.

Second, instrumentation, performance, and ability of the musicians.  My first reaction to my even asking this is simply: “Holy Schnikees!  Are you kidding me?”

Though these guys are young, they sound so very, very good.  I am not a huge fan of Dream Theater, as I feel they really have little soul and more or less write music to chase notes, all of it trapped in a graceless cycle.  I have always, however, respected the talents and abilities of the individual musicians in Dream Theater.  Imagine that same ability, but augmented by and with real story telling strengths and melodic overrtones and undertones.  Combine Dream Theater’s skills with some serious artistic class, and you have Fire Garden.  Kevin Pollack—vocals.  Perfect.  Zee Baig—guitars.  Sheesh.  Beyond perfect.  Frank Lucas—keyboards.  Perfect.  Barry Keliber—Bass.  Perfect.  Chuck White—Drums.  Holy Moses.  More than perfect.

Production and mastering—perfect.  The depth to this recording is astounding.  Everything is clear, everything is deep, and everything is layered.  Again, imagine Dream Theater’s production, but even more top notch.

Third, lyrics.  I’m a huge fan of good lyrics, and I consider them essential to the success of any album.  Lyrically, this album is as layered and dark as its production.  Lots of angst, guilt, and questioning in the lyrics.  In the end, though, the lyrics exist for a real and meaningful purpose, a poetic one.   Song titles such as “Alone,” “Endless Memories,” “Redemption,” “Forsaken,” and “Far from Grace” reveal everything about the seriousness and intent of the album.  That Baig offers his greatest thanks in the booklet to Almighty Allah says about everything that needs to be said.  Baig is a serious man, and he takes his art as seriously as he takes his faith.  If you’ll permit some Aramaic—Amen, Zee.

If you’re looking for something well done, something taken seriously, and something that—in terms of style—varies from heavy to metal to prog to AOR to arena and back to prog metal, look no further.

Fire Garden is not just the present and future of American prog metal, the band is the present and future of all prog metal.

 

Fire Garden Extras.
Fire Garden Extras.