Never Enough 3. Octavarium 4. Panic Attack 5. Sacrificed Sons 6. The Answer Lies Within 7. The Root Of All Evil 8. Cheeeek that out dude. Lead RIFFs:. Bad selection. Save Cancel. Speaking of great epics, a greater one follows. It is the title track. There are 5 passages with lyrics and i believe 8 all together.
Makes sense with what Romulus mentioned about the connection with this album. The first passage is the darkest section of the entire album.
Starts with effects ala Pink Floyd, explodes, then moves to really dark acoustics with flute. James' singing has never been better. The focus is mainly James and Petrucci's acoustic. The second passage begins with Myung with a great bassline which flows through most of the passage.
Melodies from this passage are heard throughout the album by the way. The 'chorus' of this passage is just so beautifully projected. Passage 3 begins the pickup of the song.
It is one of the 3 non-lyrical passages. A nice keyboard line that really caught my ear when I first heard it. The rest of the band just begins rockin out for a while. After that, it moves to the 4th passage which is the full circle section. James' vocal line follows the keyboard for a while. Another 'chorus' type part here which is really memorable as well. The fifth passage again more irony, being the fifth is the 'prog' section if you will.
This is where Petrucci, where he held back on leads and wankery on most of the album, finally gets his chance to fucking let loose and create one of the most maddening sections of a song I've ever heard from a DT song. There are moments where parts of other songs from past albums are used for a second. Finally, the song becomes so chaotic, you can't believe it's the same song as the first 2 passages.
From insane solos, to a part of Jingle Bells, to some Spanish guitar work for like, 7 seconds, this section is the most fun. The 6th passage the climax. It's chaotic much like the 5th, but with lyrics. This time, James gets to let loose, except he hasnt held back this album, he's held back for the past 4 albums. A final scream is held out while screaming "trapped inside this octavarium! They feature the orchestra but the 7th is with lyrics and a bit darker.
The 8th is instrumental and is the falling action of the song. I find this to be the masterpiece section and is so epic and chilling. I get chills everytime i hear this part. Being a classical fan myself, I enjoy the final notes with the whole orchestra, like the french horn thing at the end. The orchestra sounds like one youd hear in the 50's or something. Unbelieveable song and unbelieveable album.
Points off for I Walk Beside You. This is essential DT, no matter what anyone else says. This year has been quite the triumphant one for progressive music thus far.
The band we all expected the most out of, ends up delivering the least. There are specific characteristics that I have come to appreciate about Dream Theater, and those elements scarcely surface on Octavarium. As the disc touches briefly on some of the groups past offerings, this is unquestionably Dream Theater, yet there is something missing. I have news for them; there is no place in progressive music for reserve. Over the top and out of this world is the very essence of what this scene is all about.
Bluntly put, go all out or go home! There are also eight compositions presented, leading us into the proverbial track by track breakdown and album highlights segment of this chronicle. James Labrie even rehashes a few pre-chorus vocal melodies from the latter, but essentially fails to leave the same lasting impression. Packed with great melodic riffs and passages, this cut could have easily worked as the main theme for The World Is Not Enough.
Closing the album is the title track; a mammoth twenty-four minutes of nothing special. This behemoth of a song starts out exceedingly slow and never really picks up. Also the songs are not quite varied enough to host such lengthy run times. More than five or six minutes is too much, but most are around eight and above. You will do the same. There are some bands people just need to shut the fuck up about.
Even though two of my favourite bands are about as guilty of overhyping as Dream Theater are, no one shoves Roger Waters or David Gilmour's greatness down your throat, not like they do John Petrucci or Mike Portnoy.
People will shove the technicality involved with Petrucci's method and use it as an excuse to like their music, ignore a plethora of better bands like Spastic Ink. At any rate, I don't necessarily hate Dream Theater so much as I hate their fans. I enjoy them, just in relatively small doses. So, I get "Octavarium," their eigth release, with eight tracks Dur-hur magosh they am so smart , which I'm confident in saying is a mixed bag straight down the middle.
Even beyond that, I still have a few complaints about the CD. Can't get too hung up on being generally annoyed with the fans, though.
Dream Theater are without a doubt a band that has some massive technical talent, but regardless of what most people have claimed, I sense a very noticable lack of songwriting talent. Yes, they've had their moments of catchy hooks and memorable riffs, but I can barely listen to three songs from the entire Dream Theater catalogue in successive order without getting bored, and "Octavarium" is really no different.
It's all Progressive Metal that in the end goes completely nowhere, which doesn't really mend the fact that they're a band with relatively blunt teeth to begin with. I mean, there comes a point were Metal needs to have that aggressive edge. Twenty-five per cent of this CD isn't heavy, at all. So, what's so fucking Metal about it? Oh, right, Octavarium. Clever play on words. Let's not rule out the existence of the other gamete of songs that bore, "These Walls" falsely gives you a whammy-downtuned opening that makes any typical person think, "Metal.
Petrucci just gives you typical power-chord rhythm and let's the synth go into effect, which at least manages to be memorable. I didn't get to mention the relatively boring, "Let's attempt to be heartfelt, even though we've done the same sound several times before on our other CD's" verse that sounds like it was inspired by "Welcome Home Sanitarium ," ironically another overrated song.
Dream Theater The song seriously sounds borrowed from an array of radio-rock bands. More pointless, witless lyrics. Solo I could play with my left nut That's the undeveloped one. Honestly, Portnoy manages to pull off some very catchy drumming here. What did most of those songs have in common? Most of them weren't Progressive at all. Aren't Dream Theater Progressive Metal? Yeah, 'Dream Theater just don't like being labeled!
Now, those aforementioned tracks and "Sacrificed Sons" pretty much make up the boring tracks on the CD, leaving you with the obvious ones left, even though a good portion of "Octavarium" is useless as well. It's a good deal heavier than most of what's on here, and has a fairly obvious theme.
Dare I mention Dream Theater's stance on music downloading and point out the hypocrisy, though. LaBrie manages to pull off some memorable and catchy vocal lines, although the chorus sounds a bit lacking. For instance, nearly the first four minutes of the song is a solo that's supposed to be heartbraking, depressing or whatever on top of some ambient synth.
Then, after it starts to bore you, Dream Theater amplify the volume, and build some fairly large momentum, and BAM. Nothing happens. Just like sex with a chronic masturbator, they popped their load a looooong time ago. Of course, that's not saying that the acoustic section is horrible, because it's not. It's actually the highlight of the entire CD, and sounds a lot like something I'd hear if Pink Floyd and Eric Clapton decided to do music together. I feel like it's all for naught afterwards, though.
Relatively boring rhythm while LaBrie goes back into pseudo-introspective mode. Myung then starts indulging himself in some funky bass moves, while Petrucci delivers some likable guitarwork in conjunction with Rudess providing continuous piano. Again, it starts to get repetitive and then Dream Theater mend it falsely with an unneeded electric section where the only thing that changes is the amplification.
Luckily, though, Rudess saves the day with a quirky, yet highly addictive synthesized section and Petrucci providing some finally competent rhythmic action.
Finally, Petrucci initiates active mode. A solo with Rudess's often weird, circus-y synth involvement. Petrucci manages to cover a lot of relatively wide ground here, constantly switching mood and sound, form electric to acoustic, from frenetic to beautiful, all without losing a single lick of momentum. Now, this is what all of Dream Theater needs. It's not even a real word, or feasible geometric concept. Could've at least done TesseracT a favor and mention something 4-dimensional, but he could've said it twice for added intelectual effect.
No, I'm not being serious either, but read some of the ravings about Dream Theater, it'd fit right in. Anyway, the CD ends on a fading guitar solo, adding to more of the excessive amount of music that could've spared me having to be so bored. Even then, though, I'm still bothered. Dream Theater are supposed to be Progressive. Where the fuck is the Progressiveness?
Not to mention, if they're so Progressive, why do I feel like I've listened to this exact same CD before? Y'know, John Petrucci might've wowed me for three CD's at most. Portnoy might've sounded like a complete monster for a few more; two at most. There's a point where so much technicality Which outside of the title-track seemed nowhere to be found on the CD would've fucked Dream Theater over by eventually not being that surprising, then leaving people to realize that as a songwriting unit, Dream Theater fail horribly.
Trying to headtrip us? Trying to create some momentum? Failure again. Dream Theater are Metal for easily entertained Metalheads when it boils down to it. This band has become uninteresting, and now they're just running on pretentious, false-intelligence so Metalheads with a superiority complex can have their flag-ship band, though they tend to think of Meshuggah as annoying, leaving Tomas Haake's obvious intelligence The guy is an English Dictionary, and he's Swedish unnoticed or never mention Ron Jarzombeck.
Maybe other people need the cohesiveness Dream Theater have as well. You may let in the sharks now. On June 7th, Dream Theater's Octavarium, their 8th studio album, was released to the general public for consumption.
Thanks to the magic of the internet, I found the leak of the album that appeared a little over a week before the release date. So, I've had the opportunity to digest this album in its entirety before most of the standard fanbase. In addition, I have purchased the official release, as the leak was not the final mix, and I have given that a full listen as well. Regardless of your point of view towards Dream Theater's newer material, I think that most would agree with me in stating that Octavarium is an important release.
The previous release, Train of Thought, put a lot of fans and critics on edge, as it seemed that the heavy, excessively long songs filled with long, arguably pretentious and borderline pointless solos were going to become the norm.
I don't agree with all the sentiments that the public expressed, but I do consider Train of Thought to be their weakest studio album. All in all, Dream Theater established a new set of fans particularly those with tastes in the heavier side of music , but alienated a good deal of their older fans.
This puts Octavarium in a position of "Do or die. They weren't deaf in fact, as the song "Never Enough" states, they were sometimes downright offended by the ignorant flak some fans spewed in their direction , and from listening to Octavarium it seems like they were eager to address the concerns the fanbase brought up. In order to prepare myself for reviewing this album, I went back to listened to each and every studio album released by Dream Theater, one a day, up until the official release date.
What I found interesting was how much their sound changes just from album to album, and how much Images and Words does not sound like When Dream And Day Unite, and that Awake sounds nothing like Images and Words, and so on and so forth.
Images and Words is magical and epic, like its not of this world. I did a lot of research on Octavarium before it was even released. I listened to the early radio edits. I read nearly everything the band had to say about this album. I knew what I was going to listen to. I understood the direction they were going to take. Guess what, I heard exactly what I planned on hearing. It helps to be informed, understand the direction the band is going in, and to prepare yourself for what you will hear.
It helps the appreciation process a lot. Let me be blunt. If you dislike all of Dream Theater's material after Images and Words and probably even Awake , you won't like Octavarium. Dream Theater is not going to return to that sound, and to expect them to do so is absurd. This record still sounds like the version of Dream Theater that was established on 's Scenes From A Memory after Jordan Rudess joined the band as their permanent keyboardist.
On the flip side, for the individuals that thought Train of Thought was one of Dream Theater's best albums, and that their earlier work is not as interesting, then I will say that they will probably be under-welmed by this effort. A lot of the elements from their past three albums are absent, and replaced with some sensibilities that haven't been seen since Falling Into Infinity. What is the point I am trying to make? Approach this album with an open mind. It is not supposed to be part two of any of their previous albums.
It is the next iteration of Dream Theater, and it takes some elements from their past, ditches others, and then introduces variety and influences that have not surfaced in Dream Theater's music up until now. Now that the stage has been set, how is the album itself?
I think that "variety" is probably the best word to describe this record. I haven't seen this range of variety since Falling Into Infinity. There are the metal songs, there is a ballad, there are a couple of hard rock inspired songs, and then there are a couple prog epics that the band is famous for. It essentially covers every base, meaning there is something for everyone on this album.
They wrote these songs in the studio over the course of a month and a half I believe, and given that they took their time and put constraints on themselves, the end result is diverse and focused. Dream Theater, for example, forced themselves to write some songs that weren't extended in length much like Rush did at one point in their career. This is the first song in the series that does not break 10 minutes. Unlike "This Dying Soul," it does not feel like the song meanders pointlessly.
Instead, it is a focused effort that continues the AA saga and references the past songs to produce a enjoyable atmosphere. Finally, the first seven songs are all written in different keys. In Octavarium, it once again starts with the key of A, and ends on A. This artistic idea is creative, and further serves to give all the songs their own identity. Now for the contributions of the band members. John Petrucci - I applaud Petrucci as he showed restraint. This is the first album since Falling Into Infinity where he crafted solos that did not blaze at a mile a minute.
It shows a sense of discipline, and the quality of the songs grew due to this. Petrucci also utilized some low tunings on this record to produce a soundscape that hadn't been explored previously. With all this said, shred-fanatics need not fret, as Petrucci really lets things rip on "Panic Attack" and "Octavarium. All around, a solid effort by Petrucci.
He and Petrucci are the main songwriting team, and it shows. The overall song-feel is the more modern, post-Kevin Moore sound that was "perfected" depending on how you view it on Scenes From A Memory.
He does some very nice bass kick work in the chorus of "These Walls. No big loss though, the drums are not supposed to overpower but to support the overall rhythms of each specific piece. Poor Myung has always been lost in the mixing process, and could only be appreciated in the live CDs.
What's changed is Dream Theater's commitment to carrying on their reputation as underground progressive rock's classicists, and it seems well-timed. This meant the band would play for almost three hours, with a different setlist each evening. Many of the shows would center around a tour of the band's history to that point, featuring a song or part of a longer song for each album before wrapping up the regular set with several from Octavarium.
Combined with interviews, rehearsals during soundcheck and meet-and-greet sessions with fans, the band became physically and mentally drained. Dream Theater performed two shows on consecutive nights both in Amsterdam and London. To celebrate the band's twentieth anniversary, the final concert on the tour was performed at Radio City Music Hall in New York on April 1, For the second half of the concert, the band was accompanied by a thirty-piece orchestra conducted by Jamshied Sharifi.
The concert was filmed and released as a live album and concert video named Score on August 29, by Rhino Records. From Wikipedia, the free encyclopedia.
Redirected from Octavarium album. This article is about the album. For the Roman Catholic liturgical book, see Octavarium Romanum. For the song of the same name, see Octavarium song. Dream Theater. Finnish charts. Retrieved Italian charts. Swedish charts. Dutch charts. Archived from the original on Norwegian charts. The Metal Forge. YtseJam Records. Dream Theater - The Official Site. Greatest Hit And 21 Other Pretty Cool Songs. A Change of Seasons.
Book Category. Recording Date November, - February, Track Listing. The Root of All Evil. Dream Theater. The Answer Lies Within. These Walls. I Walk Beside You.Title: Panic Attack Artist: Dream Theater Album: Octavarium () Tabbed by: o[email protected]onancribpassrefcu.gestsoulucurfeicompprettherstertemptawars.co Arranged for 5 string bass, standard tuning. John Myung uses a 6 string bass and you need one to get the opening to sound right but you can play it on a 5 string (see alternative 5 string opening below).