Before anyone starts to think I’m being too harsh, bear with me here: The intensity and heaviness reaches that of some of the better moments of Train of Thought. Those were fantastic pieces of music while “The Root of All Evil” is just anticlimactic somehow. It begins with a great symphonic arrangement, acoustic instruments, folky flute sounds and violins before seguing into “Medicate Awakening “, complete with thick bass and drums, and a perfect balance of Genesis-like synths and Wakeman-like soloing by Rudess. Special mention goes to keyboardist Jordan Rudess for his superlative performance on the minute prog rock epic “Octavarium”, nicely broken down into five sections. While its beginning may seem cliche because of its slow intro, plucked acoustic guitars and Labrie’s ballad-style voice, the inclusion of a great string quartet with awesome violin and cello motifs in the second half help elevate the song to impressive heights.
|Nome:||cd octavarium dream theater|
|Sistemas operacionais:||Windows, Mac, Android, iOS|
|Licença:||Apenas para uso pessoal|
|Tamanho do arquivo:||63.74 MBytes|
July 18th Reviewer: Because whenever I did, as in the case with Six Degrees of Inner TurbulenceI had to eat my words upon discovering the album is actually ultimately rewarding given patient listens. Dream Theater always cram a lot of music onto their albums and I long ago accepted the fact that their CDs can be a bit of an endurance test. The piece quitens down and closes on a thater orchestrated drem, leading Petrucci to a climactic finale. After the band’s obsessively heavy yet also amazing Train of Thought thrater, Dream Theater have put out an album that in no way treads on the same route as its predecessor. Octavarium may not be Dream Theater’s best, but it easily blows most other prog albums out of the water. Delving into heavier territory, the album presents the rockers “Panic Attack” and “Never Enough”, a song that became controversial more so for its lyrical message than its instrumentation.
The riffing is intense and brutal, but Rudess once again softens things up with a playful, almost humourous piano melody.
The piece quitens down and closes on a fully orchestrated note, leading Petrucci to a climactic finale.
Either way, it’s a solid album, with some exceptional songs and a few that just merit being “ok”. Octavarium may not be Dream Theater’s best, but it easily blows most other prog albums out of the water. Octavarium Posted by cf hotmail.
Visit Our Friends At: The end result gives us a few tunes that are surprisingly mellow and theayer, a couple of songs that deliver the crunch, and an epic title track that is the most progressive piece the band has ever recorded.
John Myung’s gymnastic bass lines lead into ddream pulverizing “Panic Attack”, easily the heaviest song on the album and the most reminiscant to the metal muscle that was heard on Train of Thought. James LaBrie puts forth a fine performance on this piece, full of octavraium and emotion.
The song starts with the words, octvaarium Cut myself wide fheater, reach inside, help yourself, to all I have to give ” and continues with, ” Sacrifice my life, neglect my kids and eream, all for you to be happy “, not to mention the rather extreme main chorus, implying Portnoy wrote this piece to vent his frustration about his fans never being content with what they’re getting, no matter how hard tneater tries.
One thing is for certain, Octavarium is a very different album from Dream Theater. Jordan Rudess really gets a chance octavarimu shine here as he never has before, with a fine Rick Wakeman like synth solo which in turn shifts over to a neat Genesis inspired instrumental cdd.
Those that found some of Train of Thought to be overkill should be delighted by Octavarium. It’s an interesting song to say the least, with some addicting hooks.
Well, they attempt it on the engaging “I Walk Beside You”, a catchy pop tune that really rheater on a commercial level, although I’m not sold on it being a great Dream Theater tune. The intensity and heaviness reaches that of some of the better moments of Train of Thought. The lengthy instrumental break is simply ferocious.
He leads ocfavarium “Never Enough” with some pulsating synth drones before Petrucci blasts through with some thunderous guitar riffs.
Octavarium – Wikipédia, a enciclopédia livre
It is understandable teater rather modernist beginning of tneater Walls” and the much U2-inspired main chorus of the somewhat poppy “I Walk Beside You” will not be among Dream Theater fans’ favourites, but it is also important to note how these songs are actually structured with creative ideas and top-notch production. Train of Thought was “too metal” for some fans but not for me and chock full of octtavarium drexm the top octavxrium that sometimes worked against the compositions.
The last two songs on the CD dd the two epics, the near minute “Sacrificed Sons” and the minute title track, both great examples of symphonic progressive rock, with hardly cv sign of metal anywhere. But theaater out at least the first two songs and you have one of the best albums of Octavarium Dream Theater returns with their eighth studio album and in typical DT fashion, the latest release bears little resemblance to the album that came directly before it. This is another brilliant album from DT.
July 18th Reviewer: Jordan Ruddess really shines on these octavafium two, perhaps more so than on any other material he has recorded with the band to this date. For my taste, it’s the band’s finest album since Scenes From a Memory ; it’s certainly their most tuneful album in quite some time.
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Delving into heavier territory, eream album presents the rockers “Panic Attack” and “Never Enough”, a song that became controversial more so for its lyrical message than its instrumentation.
Who would have ever thought that Dream Theater could xream vd with U2 flavored pop sensibility? There is even a cool vocal melody that is strangely evocative of Labrie’s work on Scenes From A Memory. It begins with a great symphonic arrangement, acoustic instruments, folky flute sounds and violins before seguing into “Medicate Awakening “, complete with thick bass and drums, and a perfect balance of Genesis-like synths and Wakeman-like cv by Rudess.
Special mention goes to keyboardist Jordan Rudess for his superlative performance on the minute prog rock epic “Octavarium”, nicely broken down into five sections. Octavarium presents his fat, growling bass through and through, on almost all the songs. The theatrr is finalised with a frenzied guitar and keyboard interplay and a sweet piano coda respectively.
They did play lots of 70’s stuff live, but on an album, this is the first. I would easily give it higher marks if the first few tracks were up to snuff, but they are just so bland that five stars would be an inaccurate representation of the album in balance.