Musically, however, goes first in less profound realms. DT popping us pretty rock-pop and quite catchy songs on the ears. There are more ballads, where you can not really decide whether this should be now cheesy or "quite nice". More than once, it does not sound to Dream Theater and why on earth James will now sound like Matthew Bellamy? Some ideas seem fresh and original (Panic Attack), but want so really do not ignite the material. But then imagine still my eavesdropper on: "sacrified Sons" starts with Samples, remember that immediately to the 11 September. The song begins quietly, with beautiful vocals and turns out later to be a real stroke of genius.
But then: Octavarium.
It all starts innocently enough. Rudess covert the intro of Pink Floyd's "Shine On You Crazy Diamond", followed by quiet passages that are as varying as the perpetual motion machine, lined up on the cover, where the instrumentation is constantly changing. Rudess conjures up very many sounds of the 70's influences and all sounds kind of nice and familiar. In the first runs it sounded even boring.
But after the sentence: "To be someone just like him" everything is suddenly completely different.
A musical roller coaster ride begins with a hot Bassriff and ingenious song. In an instrumental passage with Rudess solo followed by a tribute to the series of song names from famous pieces of Prog-models, with Hammond sound as background music, driven by Portnoy's great ride hi-hat work. After the obligatory Petrucci / Rudess duel follows the part "Intervals", where La Brie and Portnoy the Octavarium spanned, which in LaBries, geschrienen in staccato !! "Trapped inside this Octavarium", discharges (on something you're just not in focus). The orchestra intones it one of the most beautiful melodies that Dream Theater have ever written, and then the whole band then begins. As LaBrie finally matches his divine singing and Petrucci celebrates its typical chromatic descents, all barriers are broken: "We move in circles Balanced all the while, on a gleaming razor's edge ... A perfect sphere, colliding with your fate, this story ends where it began. " IT DOES NOT GET BETTER! Giant cinema! Who here does not get goose bumps, must be dead. But that's not all: Now Petrucci's is part and he solos with an even more beautiful melody in the history. It is simply amazing! The piece ends in a sea of bombast, supported by the orchestral instruments. Something must have heard before leaving the world!
