Jun 30 2005
Octavarium
As many of you know, one of my favorite bands of all time is one by the name of Dream Theater. These guys are great. Their music is the pinnacle of the hard progressive rock scene. Their influences include bands like Yes, Rush, Pink Floyd, Queen, E.L.P, Elton John, Journey and Metallica, and their music reflects this vast wandering of influence. Technically, Dream Theater is the best I’ve ever heard. Each band member is a highly accomplished musician and can play their particular instrument with the fluidity and complexity of anyone else out there. In the spotlight are guitarist John Petrucci and keyboardist Jordan Rudess. John Petrucci has fingers so fast that you won’t believe that you are hearing a perfectly timed string of 128th notes on a perfect scale, live. The man can do things with a guitar that guitars weren’t meant to do. And, just to rub it in a little, he plays a seven string guitar! Jordan Rudess, the latest addition to DT’s quintet, is seriously one of the better piano/keyboard players I’ve ever heard. His addition to DT added a new dynamic and depth to all the music. His predecessors were also very good, but none of them had quite the skill level as Rudess. He can keep right up with John Petrucci in blazing jams of scales and 128th notes, with both players in perfect time to some unknown and incalculable time signature being maintained by the band’s front-man and drummer, Mike Portnoy (ever heard of 19/16?). Mike Portnoy has the talent and drive of all the great drummers before him. I would pay some serious bucks to see a drum dual between him and Rush’s drummer, Neal Peart. The enormously under acknowledged bassist for the group, John Myung, wields a six-string bass guitar and plays bass lines so rich, complicated, and alternate to the main melody, that each song maintains a smooth, melodic depth as the bass should always add to any song. Finally, lead signer James Labrie manages to keep time and melodic harmony with the rest of the band members sporting a vocal range from baritone to low soprano! This man can definitely sing. Portnoy and Petrucci have produced most of the DT albums and have proven with the release of their latest album, Octavarium, that they continue to reinvent themselves as musicians and that they gain their inspiration and insight from a very deep well that is far from dry.
DT has always produced a very unique and very progressive sound, which is why its fan base remains loyal and constant despite DT’s lack of mainstream appeal. The songs always feature long, complex, melodic, and avant garde riffs and dynamic and changing key and time signatures. They almost always have a good 2.5+ minute long freak-out session split by the guitar and keyboards and allow almost every member of the band to show off their talents. Well, the band has apparently become aware of the fact that they’ve been following this formula for nearly 20 years. Octavarium is a surprise, in every way. DT reinvented the way that they approach music with this album. Instead of concentrating on how much they can make each musician shine throughout the course of a song, they concentrated on the composition of the music. There aren’t any guitar solos in the entire album, all of the solos (which are very few in number) are performed by the keyboards. Also, they’ve employed a full symphony for several of the songs, something that I never thought that they’d do since DT has always prided themselves on being entirely self-sufficient to produce their sound. To top it all off, there is one track, “I Walk Beside You,” that is completely radio ready and pop-ish. Listening to it, it almost sounds like a U2 song, except that when you really listen to it, it is much more carefully composed and much more intricately played than the song appears. When any dyed in the wool DT fan first hears this song, their initial thought will be that DT has finally sold out, because the song sounds like a hit maker (something they haven’t had since their first album, Images and Words with “Pull Me Under”). But, I have to admit that I really like this song, and I listen to it all the time.
Octavarium features eight tracks:
- The Root of All Evil
- The Answer Lies Within
- These Walls
- I Walk Beside You
- Panic Attack
- Never Enough
- Sacrificed Sons
- Octavarium
There isn’t a single song on this album that I don’t like, but I’d say that my least favorite is the first song, simply because it doesn’t have the same careful layout as the rest of the album. Track two is a slow ballad that has a very positive and inspirational tone to it, and it is followed by “These Walls,” a fantastic mixed heavy/melodic progressive song. I’ve already told you about “I Walk Beside You,” and “Panic Attack” is composed as you would expect a song about panic attacks to sound, frantic, heavy, methodical, and very well put together. If you let yourself get into the song, you may actually start to feel a little panicked.
“Never Enough,” is a song for every man who’s marriage isn’t quite working out or whose employer takes all and gives nothing back, and it is also very heavy and progressive. Now, “Sacrificed Sons,” will give you chills. This is the first song that I’ve heard that is so directly about 9/11. The song follows in the footsteps of previous politically motivated songs like “The Great Debate,” and “In the Name of God,” but this time deals more directly with the religious fanaticism that lead to the World Trade Center attacks on 9/11/2001. This song is expertly composed and the words will bring a tear to the eye of anyone that was directly involved with that terrible disaster.
Then, finally, comes the title track of the album, the complete surprise, “Octavarium.” This is a 24 minute-long epic about various topics and is divided neatly into three main sections with eight subsections (probably has something to do with the title). The song starts with an extremely Pink Floyd like melody and then breaks into what I believe to be one of the greatest progressive rock songs ever written. The song is enrapturing and you won’t realize that 24 minutes have gone by when you get to the end of the song. Dan Solera reviews:
Then there’s the surprise. The 24-minute prog-rock title track. I didn’t know what to make of “Octavarium” at first as it was a complete surprise. It is a total departure from “A Change of Seasons” (the band’s other 20+ minute epic). It seems that Portnoy’s prog-rock experiences with Transatlantic have leaked out into Dream Theater. The metal is gone, replaced by a softer rock that sounds a lot like IQ and Spock’s Beard with synchronized guitars and keyboards, and a myriad of different sounds (like juxtaposing a solitary acoustic guitar for a few seconds and stomping on it with a catchy prog melody). After the first painfully long four minutes, the guitars kick in, paving the way for a truly memorable experience, headlined by acoustic guitars, soothing vocals, lots of piano, a curious flute (a surprise) and later a full symphony (a shock).
I’ve been a fan of Dream Theater since 1992, and I’m quite sure that this is my favorite of all of their albums. They’ve managed to continuously reach new heights of musicianship and out-do previous masterpieces while remaining true to their goal of being a unique band with a new sound and never ending up in the mainstream. Mike Portnoy writes:
The rock stardom thing and being on MTV and selling millions of records and being part of a trend has never been interesting to us. We’re just five musicians that like to play and write together, and luckily there’s this devoted audience that’s been behind us all this time.
This attitude and devotion has been what’s kept me a devoted fan over the years. Being an ex-musician myself, I fully appreciate the complexity and difficulty of all the music that DT plays. After this latest album, they remain to be my favorite band of all time. Give Octavarium a listen, I think you’ll like it.