Author Topic: [Music] Dream Theater - Black Clouds & Silver Linings  (Read 2736 times)

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Offline Dream Team

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[Music] Dream Theater - Black Clouds & Silver Linings
« on: May 25, 2010, 02:43:55 PM »
This is my first review guys, let me know what you think. I apologize for the length and wordiness, but I really wanted to "cover all the bases".

DREAM THEATER:  BLACK CLOUDS & SILVER LININGS - review by Dream Team 5/25/2010

    With much anticipation, hype, and marketing, Dream Theater's 10th full-length recording was released on
June 23,2009. This was an important recording for the band, for several reasons: Reason One; it could help
address or answer some of the criticisms that have been leveled at the band regarding specific aspects
of their recent material. For example -  incohesive song structures, less focus (seemingly) on vocal
melodies, too much of a "modern metal" approach, and a declining emphasis on lyric quality. Reason Two:
most bands would naturally consider a 10th album to be something of a milestone and would therefore
want it to be a strong recording. Reason Three: with strong support from their record label (Roadrunner),
this album could help continue their gradual rise in popularity and recognition.
 
     I feel Black Clouds & Silver Linings has mostly risen to the challenge in the face of the above. As with any
music with progressive elements, the SOUND of the recording can be critical in how it is received by the
listener. Subtle details and nuances, background effects, etc, can be lost or buried in an overly-compressed
mastering. Thankfully, Dream Theater (mostly Mike Portnoy and John Petrucci as the producers) were well
aware of the "loudness wars" issue and took steps to preserve the dynamics of the music. This is clearly
noticed in several places, such as the "peaceful agony" section of the opening track. Probably the only
major flaw is the distorted bass sound.

    Let's look at how the three major facets of DT's music is represented on this disk: metal, prog, and melody.
DT first gained notoriety as a progressive band, so let's start there. While there are odd-time signatures and
complex arrangments throughout, the other aspect of prog (as it relates to boldly experimenting and trying
new things) is not indulged in very much. Guitar/Keyboard interplay consists mostly of 16th-note lead unisons.
To me, this is one of the least "proggiest" DT records along with Falling Into Infinity and Octavarium.

    For many reasons (some I agree with, some I don't) DT has definitely been modernizing their sound on
recent efforts, and this is most evident in the "metal" aspect of their sound. Riffs are often down-tuned or
played on a 7-string to appeal to today's young metal audience who are fans of watered-down death metal
styles like metalcore and deathcore. The opening track A Nightmare to Remember is Exhibit A, but thankfully
Petrucci mixes in some good thrashy and traditional metal riffs as well. Double-bass drumming is abundant
as well (virtually non-stop in Nightmare) but also rears its head in places where it's not necessary and could
have been replaced with some double-time or skank beat instead. The one place I feel the bass drum is
spammed too much is at the end of The Count of Tuscany, where it drowns out Rudess' simple but effective
3-note piano melody. Labrie continues to use his "metal" voice frequently.

    Speaking of melody - Dream Theater manage to incorporate some decent melodies in each song, even if
it may be a recycled one as in The Shattered Fortress. By far the best ones are contained within the intro to The
Count, which is reminiscent of Images and Words when it comes to beautiful melodies. I hope DT continue to realize
that melody is the most important aspect in constructing a song that is both memorable and of high quality.

    Despite what may sound like some negative views in the preceding paragraphs, I feel that the 3 elements of
DT are well-balanced and the songwriting is generally very strong, usually avoiding abrupt transitions and shoe-horned
sections that occasionally mar modern DT's approach. The Best of Times and The Count of Tuscany are beautifully
crafted songs, regardless of their length. Those tracks are the 2 highlights of BC&SL to me, with the only flaw possibly
being the perceived (to my ears) lack of emotion in the vocals during the first verses of The Best of Times. 12-step suite
closer The Shattered Fortress may appear to be jumbled together, but re-visiting many of the themes and motifs from the
previous steps sort of serves as a trip down memory lane. Overall the strong material on this record overcomes the obvious
flaws, resulting in a definite "hit" rather than "miss".

    The performances: Mike Portnoy, due to his hectic schedule, freely admits he has little time to practice
and refine his drumming chops. This is evidenced by the fact that he mostly resorts to double-bass flurries
as a way to spice up his playing, rather than the very creative and more cymbal/tom-oriented work he used to
use to augment his beats and fills. Bass player John Myung seems content to rumble along underneath, and
doesn't do a lot that grabs your attention. This is unfortunate, considering his talent.

    James Labrie's vocals may or may not be controversial, depending on your preference. Those who love
the soaring high-pitch singing from yesteryear will no doubt be a little disappointed. However, while mainly
using his mid-range or lower register, Labrie delivers a strong performance and always does what is needed
to fit the song or the mood of a particular section. Some strong vocal melodies were written for him, and he
takes advantage of those opportunities to showcase the soft, emotional aspect of his voice. Notably on
Wither, the middle section of A Nightmare to Remember, and the end of The Count of Tuscany. Mike Portnoy's
vocals are unfortunately an unwelcome instrusion in several songs and in my opinion he should stick to
picking his spots for harmony and backup, and avoid lead vocals.

    Keyboardist Jordan Rudess' main fault has always been his tendency towards un-melodic leads,
especially in DT's more "metal" songs. However, when called upon to provide ambience, supporting harmony,
or piano, his contributions are stellar. BC&SL is no different and he has several great moments that prove this.
On a technical level of course, JR has few equals and effortlessly plays those crazy unisons with the guitar that
are one of  the hallmarks of DT's sound. Speaking of guitar . . .

   Once again, the amazing John Petrucci is the highlight of a DT record. Whether called upon for moving
melodies, rocking riffs, or fret-melting leads, he always delivers. His riff quality is best heard on The Shattered
Fortress, some of the best he has written (also some previously use riffs that are tweaked). Certainly he recorded
one his greatest solos ever as the ending/outro of The Best of Times. Importantly, he mostly avoids
over-playing, which is one of the few faults his fans have complained about. I suppose the shredding solos
of A Nightmare to Remember come out of nowhere, but fit in with the overall mood of the song. His ridiculous chops
are most evident on the A Rite of Passage solo, while he shows great restraint on the Wither lead. The other
highlight of his playing is on the last track, the epic The Count of Tuscany, where he pretty much uses
every weapon in his impressive arsenal.

   The one area that remains weak is the lyrics. JP simply does not write using colorful metaphors anymore,
but is content with literal depictions of his ideas & stories. While not as poetic, this approach at least
allows the listener to identify more easily with the subject matter.

   Summary: Two of the best tracks the band has ever written, a couple of pretty good "metal" numbers, and
a couple of solid and catchy but unremarkable singles.

   Final Score:  88/100
« Last Edit: May 25, 2010, 03:32:22 PM by Nick »

Offline setrataeso

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Re: [Music] Dream Theater - Black Clouds & Silver Linings
« Reply #1 on: May 25, 2010, 10:14:07 PM »
A fine review.
Fix up the middle paragraphs. They're spaced out, and its hard to read them.

Aside from the fact that this review is coming almost a year later, its still well-written. You seem to know what you're talking about when it comes to what you're looking for in an album. :tup
NEW REVIEW: Lady Gaga - Born This Way
https://www.dreamtheaterforums.org/boards/index.php?topic=25343.0

Setra, I think that is the best statement I have read on this forum.  Very well said.

Offline Nick

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Re: [Music] Dream Theater - Black Clouds & Silver Linings
« Reply #2 on: May 26, 2010, 06:15:39 PM »
Read the sticky threads.
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