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Since on a couple occasions I have noticed that there are some Dream Theater fans here I thought I would share my thoughts on their newest album, Train of Thought.
Well, it has been just over a week now since Dream Theater released their latest album Train of Thought. I am usually much faster at forming my opinion about new music, but this album took some work. It took some work to finally wrap my mind around it sufficiently to come to a conclusion about what I think, and it took some work to listen as objectively as possible to give the album a fair shot. One week ago I was ready to post something about what a disappointment it was, to enumerate the ways in which I think they went wrong with this latest release. But I held my opinion in check (for once!) and listened a few more times. Then a few more. Than just a couple extra to be sure.
Train of Thought is amazing.
Really, it is. It will be interesting to see what the album does to the DT fans, and from early readings of Usenet groups and other sites it already seems apparent that this album will be a very polarizing release. Seven days ago I was on the side of the naysayers. But, for some reason (most likely because I had already spent money on the CD!) I decided to reserve passing judgment. And wow, I am glad I did.
First off, this is a heavy album. Sure, it isn’t up there with extreme, thrash, speed or some death metal bands. But it is without a doubt the heaviest Dream Theater has ever sounded. And after several listens I have decided that is a good thing. No, for this album that is a great thing. For the first time in DT history John Myung is obviously a great bass player. I wouldn’t rank him up there with my all time favorites, but we can finally really hear and feel his bass coming through. It adds a bottom to the sound that DT has been lacking since their first album and I love it.
And Jordan Rudess has reigned in his keyboard wanking to a manageable degree, certainly an occasion to rejoice. Don’t get me wrong, I am amazed at his technical abilities but far too often he has just really overplayed. While there are still plenty of finger acrobatics going on with him they fit the music much better on this album. And John Petrucci, what can I say? He is really a wanker, but for some reason it just doesn’t seem to be out of place on this album. His guitar work is really the centerpiece of this album. James LaBrie doesn’t overdo it too much either and is solid on all the songs. And Mike Portnoy, well, I don’t think he comes close to Neil Peart or Mark Zonder when it comes to rhythm, creativity and drumming genius, but the many can play an insane number of beats in any given amount of time. All in all, very solid performances from all, perhaps the most solid and consistent work ever.
And the songs really are strong. Pounding drums, driving bass and insanely quick guitars and keys. The pretentiousness that dominated Six Degrees of Inner Turbulence is thankfully toned down; the songs have much more of an edge and really pack a lot of power. No synthesized symphonics this go around, just very good progressive metal.
As I Am-Dream Theater writing and playing a song just to help remind Metallica how to play the game. Very “in your face” and definitely the “radio friendly” song of the album. A solid single to start the disc off, and lyrically it sets up nicely the introspection of the rest of the record by juxtaposing it to a defiant, take me “as I am” attitude that falls apart as the record moves on to explore more personal themes.
This Dying Soul-A continuation of the theme first presented in the SDOIT song “The Glass Prison”. Mike Portnoy has used these two songs (and will presumably continue with some forthcoming ones) to explore the 12 steps used in Alcoholics Anonymous, something that is very close to him. The song is both haunting and brutal at times, as the process of this type of self-discovery and mastery can be.
Endless Sacrifice-It lulls you to believe that this will be one of the ballads of the disc, beautiful and chilling. Then the chorus hits you in the face, hard, and you realize there really are no ballads on this album. The requisite (this is DT after all) long instrumental part is very heavy. At the time of this writing this is my favorite song on the disc. Powerful and beautiful in balanced measures.
Honor Thy Father-Wow. Mike is lashing out with this song. It begins with pummeling drums and gritty, raw, buzz saw playing from Petrucci. The song explores a failed and faulty relationship between a father and a child. And the child is certainly releasing with this one. A monumental expression of anger.
Vacant-Piano, bass and cello combine to create what I assert is DT’s most beautiful work ever, and one of the most moving songs I have heard. Short, sweet and the perfect segue into . . .
Stream of Consciousness-A meandering stream of musical thought that builds and crescendos into one of DT’s better instrumentals. Certainly not up to par with YYZ or La Villa Strangiato as far as instrumentals go, but a great song nonetheless.
In the Name of God-A worthy closer to a fabulous release. Emotional and thoughtful, tackling the idea of killing “in the name of . . .”-something that I believe horrifies all of us. The uneven, disturbing, unresolved arpeggio at the end of the song leaves you feeling just a tad unsettled.
Yeah, long post, I know, but with as much work as it took for me to finally come to a conclusion about this album, I figured my review of it should at least show a little of that.
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