Dream Theater is one of modern progressive rock’s most noteworthy bands, having released albums every several years with a distinct and memorable sound more accessible than similar bands Opeth or Porcupine Tree. According to Ryan Reed’s early streaming article hosted by “Rolling Stone,” “Dream Theater have helped carry the torch of modern progressive rock for nearly three decades.” Dream Theater carries that torch again as it releases its self-titled 12th studio album today.
Over the years, Dream Theater has gone from a group of music school graduates giving voice to their virtuosity to a polished and meticulously practiced monument. Chris Epting of “Loudwire” said this album is the culmination of the long buildup of Dream Theater’s reputation.
“There may be other prog metal outfits that blend dazzlingly crunchy riffs with swirling, dramatic strings and keyboard textures, but nobody does it quite like the supreme lords of the genre,” he said. “Now, with this thunderous and confident new album, musical promises are delivered in the form of a blistering effort that throttles, dazes and exhausts in all the right ways.”
The album starts off loudly, announcing the band means business and this album will not be nearly as contemplative or conceptual as previous albums “A Dramatic Turn of Events” or “Scenes From a Memory.” The album continues churning in the band’s usual metal sound for the next two songs, showcasing the band’s new drummer, Mike Mangini, who successfully replaces the seemingly irreplaceable Mike Portnoy.
The album’s beginning prepares the listener’s ears for the album’s fourth song, “Enigma Machine,” which is nothing less than an epic instrumental. The combined efforts of all five band members amalgamate to create a doom and gloom symphony lasting nearly six minutes.
In the middle of the album, the lyrics start to pick up and begin a cry for help that will set the remainder of the album’s tone. James LaBrie has arrived at his full potential after so many years, and the symphonic backing of the rest of the band greatly adds to the harmonic tapestry he weaves. The rest of the album is an outcry for social recognition in a chaotic world of outcasts, working from minor key keening to beautiful piano and organ explorations of peace and joy.
The album’s last three songs tie together the material showcased earlier in the album, completing ideas put forth in earlier lyrics. The album never rests in one place but follows a consistent flow of instrumentation and melody. The music is a sort of composition that laments hardship in life and the ultimate resolution we can find in faith and leaving hopelessness behind us, which are topics Dream Theater has covered before with less intensity.
“Along for the Ride” comes as a melodically and lyrically refreshing wave of catchy, almost pop music before the album ends. The band would hate to be accused of trying to write a pop song, but for this occasion it serves as an island among a sea of instrumentals.
The album ends in one of progressive rock’s finest epics yet, a 22:16 orchestration that reminds the listener of Dream Theater’s previous masterpieces, “A Nightmare to Remember” and “Octavarium.” To describe the song would do it injustice, so I can only suggest one take the time to find a copy of this album and give it a listen. It is well worth one’s time to follow the album’s progressive journey as Dream Theater explicates and expands its own sound as “Dream Theater” unfolds.
