Dream Theater - Score: 20th Anniversary World Tour Live with the Octavarium Orchestra (2006) Review

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Dream Theater - Score: 20th Anniversary World Tour Live with the Octavarium Orchestra (2006) ReviewAs the previous reviewers have stated, this particular show was absolutely amazing! As a fan of the band since 1989 and having seen 37 DT shows to date, this show tops them all and I am proud to say that I was there!
However, unlike those previous reviewers, I've actually managed to get a copy of this DVD ahead of time, and after watching it, I can say for certain that this DVD *is* DT's best yet! Mike Portnoy pulls out all the stops in making sure that this DVD tops everything else they've done thus far. The picture quality is gorgeous - better than Live at Budokan, if that can be believed. I was told by someone who worked on the project that extra attention was put in the details to ensure that every single frame was perfect, and it shows! The sound itself is also a thing of beauty - even the stereo mix is not the traditional AC3 encoding, but rather the superior PCM encoding. The actual mix is very well done by Michael Brauer and is balanced nicely, allowing each of the musicians to shine throughout. It is quite evident that every bit of space on the DVD was used.
I won't go on about the actual songs themselves, as you can read many reviews of the actual show to learn about them. However, I would like to point out that while the song selection is not to everyone's taste (as is evident from the other reviews), Mike Portnoy continues to give the fans the most bang for their buck by not having the same songs on every DVD like many other bands do - the only "overlapping" songs on this DVD compared to their previous DVDs are some parts of the song Six Degrees of Inner Turbulence (as found on Live at Budokan), The Spirit Carries On and Metropolis pt. 1 (found on Scenes From New York) and Under a Glass Moon (on Live in Tokyo).
One other thing to add is that seeing the orchestra perform with the band is absolutely stunning - something to behold and the final song (Metropolis pt. 1) proves this beyond a shadow of a doubt.
The second DVD showcases 3 bonus tracks (Another Day, The Great Debate and Honor Thy Father) which are taken from older shows; they are nice to have to round out the collection, but it should be noted that the picture and sound quality are not to the same standards as on the first DVD. Still their inclusion is worth having seeing as live performances of these songs have previously been unavailable on DVD. Also on the second DVD is the animation that was played during the song Octavarium, so if you happened to miss watching it during the show you were at, now you'll have the chance to watch it in full.
The best part of the second DVD has to be the documentary showing the history of the band from the days of being at Berklee School of Music up to the present day. Definitely a good look into DT's history, and a great companion to the book that Rich Wilson is writing on DT (www.dreamtheaterbook.com). My only real complaint on the documentary is that it isn't long enough, but surely Rich's book will fill in many of the stories and details missing in the documentary.
All in all, this release is definitely a labor love for the fans. No DT fan's collection will be complete without it. Also, both the show itself and the documentary serve as a great way to introduce DT to those who are just beginning to learn about them. I give this DVD the highest recommendation I possibly can! Stop reading these reviews and buy this thing - you won't regret it!!!Dream Theater - Score: 20th Anniversary World Tour Live with the Octavarium Orchestra (2006) OverviewThis DVD features the grand finale concert of the "20th Anniversary Tour", recorded live at Radio City Music Hall on April 1, 2006. Disc One is footage of the concert, and Disc 2 includes bonus features. Track Listings: The Root Of All Evil [Set 1] I Walk Beside You [Set 1] Another Won [Set 1] Afterlife [Set 1] Under A Glass Moon [Set 1] Innovence Faded [Set 1] Raise The Knife [Set 1] The Spirit Carries On [Set 1] Six Degrees Of Inner Turbulence: [Set 2] I. Overture [Set 2] II. About To Crash [Set 2] III. War Inside My Head [Set 2] IV. The Test That Stumped Them All [Set 2] V. Goodnight Kiss [Set 2] VI. Solitary Shell [Set 2] VII. About To Crash (Reprise) [Set 2] VIII. Losing Time/Grand Finale Vacant [Set 2] The Answer Lies Within [Set 2] Sacrificed Sons [Set 2] Octavarium: [Set 2] Intro [Set 2] I. Someone Like Him [Set 2] II. Medicate Me [Set 2] III. Full Circle [Set 2] IV. Intervals [Set 2] V. Razor's Edge [Set 2] Encore: Metropolis [Set 2]

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Octavarium Review

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Octavarium ReviewSince 1994, Dream Theater has followed an uncanny pattern in album excellence. "Awake" was unbelievable - "Falling Into Infinity" was pretty good - "Scenes From a Memory" is the best album of all time - "Six Degrees ..." has its creative merits - "Train of Thought" is an unstoppable beast. So, by this logic, their next album will be good, but not a towering sonic monolith.
So, is this a self-fulfilling prophecy? It's hard to tell.
"Octavarium", Dream Theater's ninth studio album, is definitely a change in direction from "Train of Thought", which was a guitar-heavy album. Dream Theater's newest release is an atmospheric composition that focuses more on symphonic keyboard textures than it does on meaty guitar riffs. This particular ambience (along with the addition of a symphony) has taken over the spotlight, making each song more structured, accessible and consistently catchy, which was not the case with their last release. Petrucci and Rudess' virtuoso deliveries (more commonly known as "shredding") are kept down to an absolute minimum on this album. One may suppose that the band realized that the songs on "Train of Thought" were following a decipherable pattern: intro, verse, chorus, long instrumental fireworks, chorus, finish.
So what do we have, exactly? We have an album that explores various areas of the progressive world. We have "The Root of All Evil", a continuation of Portnoy's multi-album suite (beginning with "The Glass Prison" and continued by "This Dying Soul"), which starts the album on a relatively heavy note. In it's 8-minute run, it re-visits riffs, rhythms and even lyrics from its predecessors (namely "I can feel my body breaking - shaking") and a shaky, unimpressive chorus that borrows from James LaBrie's forgettable experience with Tim Donahue. "Panic Attack" is a look back to Liquid Tension Experiment's rapid fire guitar riffs and blitzkrieg drums, never slowing down in its spectacular 8-minute duration. It is the fastest Dream Theater song to date and an explosive standout track.
Aside from those songs, the rest of the album is considerably slower and softer than anything we have heard from Dream Theater since the collection of ballads found on 1997's "Falling into Infinity". The serene "The Answer Lies Within" begins with the sounds of crickets and a lonely piano, leading into a soothing song where Rudess' delicate melodies journey alongside a quiet troupe of strings, which have a brief "solo" where Petrucci would normally show off. The song is very (and I mean *very*) reminiscent of "The Spirit Carries On" in its folksy, feel-good song construction and melodies. But it is nowhere near as poppy or infectious as the upbeat, radio-ready "I Walk Beside You", which is the closest Dream Theater has come to sounding like Hoobastank or the Goo Goo Dolls. It's still a great song, despite the predictable and sugarcoated rock riffs.
Speaking of predictability, Dream Theater have yet another politically interested song, following in the footsteps of 2001's "The Great Debate" and 2003's "In the Name of God". In fact, this album's 10-minute "Sacrificed Sons" is, most accurately described, "In the Name of God Part 2" with the same lyrical theme (religious fanaticism) and similar threatening atmospheres as its predecessor.
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).
The symphony is difficult to digest. Dream Theater have always proved to be masters of their craft by working wonders with their instruments - and their instruments only. Now we have a symphony adding a supporting fill to their already organic songs. Fortunately, it isn't ubiquitous (à la Nightwish's "Once") or thinly spread out (à la Pain of Salvation's "BE"). Instead, it's prominent and heavy at select times like an active volcano. The strings punch out in short bursts at the majestic end of "These Walls", subtly guide the keyboards of "The Answer Lies Within" and, with the help of some horns, bring "Octavarium" to a stunning finish.
Every song on the album is unique one way or another (except "Never Enough", which doesn't take off until its instrumental delivery 2/3 of the way into the song) and form the parts of yet another great Dream Theater release. Although the album may not survive the test of time like "Images and Words" or "Scenes From a Memory" have, it is still a delightful listen and an impressive creative output.
Sure, they *are* my all-time favorite band, so my standards are extremely high. Despite the surprises and occasionally awkward moments, "Octavarium" passes my intense scrutiny.
See also: Dream Theater - "Falling into Infinity", Dream Theater - "Images and Words", Transatlantic - "SMPT:e", Spock's Beard - "V"Octavarium OverviewDream Theater has maintained a rare combination of stellar musicianship and unwavering passion for over a decade, selling millions of albums and filling concert venues worldwide. The band once again confirms its status as progressive hard rock's standard-bearers on their latest studio epic, Octavarium.

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Nightmare Review

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Nightmare ReviewOn Christmas 2009, Jimmy "The Rev" Sullivan handed in a demo for a song he had written entitled "Death" and proclaimed, "That's it, that's the last song for this record." Three days later, the Avenged Sevenfold drummer was found in his home, dead from a lethal mix of prescription drugs and alcohol. On Tuesday, A7X will release that record, now called Nightmare, which is not only the last physical recording of The Rev's legacy, but also his tribute.
Musically, Nightmare picks up where 2007's self titled release left off. The sonic maturation that A7X has shown on every disc continues not only instrumentally but also in the vocal timbre of singer M. Shadows. Long gone is the blood curdling screamer from Waking the Fallen; what remains in his stead is a hard rock voice with a strength and tone no less unique than the icons known only by one name: Ozzy. Halford. Dio. (Shadows? Perhaps, if A7X continues on the path they seem to be destined for.)
As Virgil led Dante through Hell, so Shadows leads us through the band's own descent into darkness, greeting us on the album opening title track, "Now your nightmare comes to life!" What follows is vintage Sevenfold: tight, syncopated guitars over a steady and churning rhythm section that veer off into chaotic but melodically fluid harmony guitar leads and blistering technical solos. Synyster Gates and Zacky Vengeance can arguably be called the greatest guitar duo since the turn of the century and certainly have earned the right to be named among such stalwarts as Downing/Tipton, Murray/Smith, and Degarmo/Wilton.
With such familiarity emanating from the speakers, it's easy to forget that The Rev isn't holding it all together, as he always had before. In his place is Dream Theater drummer Mike Portnoy, who along with the always capable Johnny Christ on bass make up the backbone of A7X on Nightmare and the subsequent tour. Considered by many (and also The Rev) to be one of the greatest living drummers in the world, Portnoy shows admirable restraint and respect for his late predecessor, remaining as true as possible to The Rev's written parts from the demo versions of the album's tracks. That's not to say his mark isn't on it however. "Natural Born Killer" is classic Portnoy with an extreme double bass section punctuated by his single signature splash hit. The rocker is also indicative of the album as a whole and most likely predictive of A7X's future.
While it starts out with an almost grindcore passage of metal brutality, "Natural Born Killer" is, for all intents and purposes, a hard rock song. And while also containing more than a few moments of metal brilliance, Nightmare is, in fact, very much a hard rock album. At this point it shouldn't really surprise anyone - the biggest stylistic change from metalcore to melodic metal happened between Waking the Fallen and City of Evil and all the "hardcore" fans who complained about the band "selling out" at that time are (hopefully) long gone. Since then, the band has continued to gradually evolve into what they are today.
Avenged Sevenfold haven't abandoned their roots though. Songs like "Buried Alive" and "God Hates Us" feature some Metallica inspired thrash that would make any metalhead proud. And these songs don't come off as bones thrown to older fans - they're very much a part of who A7X still is and probably, to some extent, always will be. But the majority of riffs and rhythms throughout Nightmare rely more on blues based progressions than ever before. A perfect example of this is "Tonight the World Dies," a dirty bayou blues rocker with some wicked slide guitar work reminiscent of a Louisiana voodoo version of STP's "Interstate Love Song."
There are a few missteps. "Danger Line" comes off as generic and uninspired and probably shouldn't have been programmed so high up in the track listing. The play-by-numbers metal ballad chorus of "Buried Alive" is a letdown after a wonderful opening filled with Zeppelin melancholy. And whoever mixed the album should be ashamed that Johnny Christ is buried so deep. But in the grand scheme of things, none of this matters.
The central and most important focus of Nightmare are the lyrics and the overarching theme of death as well as the guilt, bitterness, and doubt of those left behind. Equal parts diary and therapy, the album is unapologetically the bared soul of lives torn apart by The Rev's tragic ending. "Will you stay away forever? How will I live without the ones I love?" sings Shadows on "So Far Away," an intimate letter to The Rev; a song of all the things that remain unsaid, of the feelings that we all take for granted in our most precious relationships. It's heartbreaking - but not without hope as Shadows knows he will be reunited with his friend again admitting, "I'll see you...when He lets me."
It all culminates with the final song that The Rev turned in last Christmas, now called, "Fiction." Written before his death, the symphonic epic sends chills to hear the foreshadowing in The Rev's own words, "Left this life to set me free, took a piece of you inside of me. Now this hurt can finally fade, promise me you'll never be afraid." In the ultimate emotional turn, The Rev's own vocals were left in the recording and they are soul crushing as he sings, "I know you'll find your own way when I am not with you." His voice fades out and Shadows picks up his part, and his burden as the one left behind. The song is a masterpiece and the greatest gift The Rev could have left for us.
The album closes with Save Me, a perfect bookend to the album opener. Opening with a discordant instrumental symbolizing the attempted escape from the hour-long Nightmare, the song continues to chronicle the theme of being left behind and the pleas to join The Rev in the afterlife. The realization arrives that the "nightmare" of The Rev's passing may feel like a dream but they will inevitably awake into a reality where he is gone and nothing will bring him back. Although still angry and bitter, Shadows know he must go on alone and begs, "Help me find my way." And though he can't join his friend yet, he knows that they will always be connected as he repeats, "Tonight we all die young," until the album comes to its end.
For better or worse, Nightmare can only be judged in light of the tragic events that preceded it. Because of that, it's hard to critique an album where the listener transcends the musical experience to become a voyeuristic observer of the bands grief and recovery process. But while uncomfortable at times, it is ultimately hopeful, and needs to be recognized as not only an important addition to the A7X discography but also a powerful statement about losing the ones we love and living in the aftermath.Nightmare Overview

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John Petrucci - Rock Discipline (2002) Review

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John Petrucci - Rock Discipline (2002) ReviewI've always been a fan of John Petrucci's playing in Dream Theater and Liquid Tension Experiment, and when I purchased his Wild Stringdom book, I thought the DVD wouldn't have much new information. That didn't stop me from getting it, and it turned out that I was wrong.
In fact, if you've read Wild Stringdom, this is the perfect supplement. There isn't much information overlap - most of the exercises are completely different and new. There's also new information that wasn't covered in the book.
Mr. Petrucci begins by showing some non-guitar warm-up exercises, and then proceeds to left-hand stretches on guitar. He also shows warm-ups for the picking hand, and then integrates the two. The warm-up section is very thorough, more so than that of most comparable videos that show only a lick or two for fast alternate picking.
The other sections deal with traditional technical issues such as subdivisions of time (very useful), working with the metronome to increase speed, and sweep picking. Petrucci also thoroughly covers the subject of inside picking, and how to get comfortable with it. Afterwards, he goes in-depth on lead construction by showing how to put together scale fragments - this also encompasses left-hand legato playing. Finally, there's a section on chords, in which common "progressive" chords are covered.
The examples of the techniques explained range from easy to hard for each section. They grow in difficulty bit by bit, not everything all at once. Also, Petrucci covers the considerations in coming up with your own etudes.
In-between each section, Petrucci talks about how he approaches composition, playing in the band, early experiences, and stuff like that. This insight is interesting - it makes him seem more human if nothing else.
Additionally, Petrucci goes over his pre-Ernie Ball setup. In the DVD section, he also talks about his new Ernie Ball guitar, as well as gives a backstage tour before a DT show. There's also a bloopers reel, where John is shows messing up several takes of various parts - such as the introduction. There is also G3 footage of John's band from the 2001 tour with Satch and Vai - these fragments are short, but the video is decent quality.
This has the bang for the buck - two hours of instruction, plus the extras. The explanations are clear, and the booklet is very detailed - there are no typographical errors or anything like that. If you're an intermediate player looking to spend $50 on an instructional video by a celebrity guitarist, this is probably your best bet.John Petrucci - Rock Discipline (2002) Overview

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