I’ve taken my time with D/T and ultimately have decided that it’s a damned fine record!
My first spin, a few weeks ago, brought to mind that time I tried on my second wife’s bra. A little loose at the top (hey, she had broad shoulders. She always told me her name was Tammy but I suspect she started life as Tommy), kinda tight around the middle, and twisted toward the bottom. I was tempted to drag the album down to the DT Custom Shops™ for some modifications, but as the weeks wore on I found that my first impressions faded. Now the album fits me to a tee.
Untethered Angel, Paralyzed, and Fall into the Light are all great rockers that are subtle in their complexity while still providing great sing-along moments. On my first few listens, I was anxious to get through these opening tunes (I’d heard them before) but pleasantly, the more I listen the more I savor them.
Unintuitive to its title, Barstool Warrior is a stellar throwback the softer side of DT prog that always seems much grander than its concise 6:43. Without a doubt, one of the real standouts on the album.
I really got into Room 137 from the start. The beautiful people, the beautiful people…sorry, could help it. Quite a different tune for DT and enjoyable. I really like that it’s very rhythmic…all the instruments and even the vocals stay locked into a percussive theme throughout.
S2N (I find it funny that the band preempted DTF to give this song an acronym from the start) is my favorite type of DT metal. I like it when the band uses the heavy “chugging” as accents rather than the focus. The chorus demands that I sing along at top volume (when I’m in the car only). Great riffs and JMX really steals the show on this tune but JP and JR aren’t far behind. Fantastic solos.
My favorite of the album, At Wit’s End is (to me) the best thing DT has done in a very long time. This is the only song on the album that the lyrics really stand out and grab me. Of course, JLB’s performance of them is quite evocative which helps a great deal. The frenetic opening really sets the stage and provides a nice contrast with the verses and chorus. MM really brings the thunder in this tune and without a doubt this is my favorite performance of his since he joined the band. The last half of the song, from 4:45 on just leaves me speechless. The piano, the vocal melody, the introduction of the chugging riff, the synth as it harmonizes with James, the build-up to JP’s mountain top lead, James haunting “don’t leave me now” that harmonizes with the afore mentioned guitar. All, sublime.
It took a while for Out of Reach to hit me. It’s maybe not fair that it was placed after WE…that’s just a hard act to follow. I like it though… and holy Satriani, does JP channel his G3 friend in that first lead break or what. The tone and performance sounds like a Satch guest spot.
I get the impression that I should like Pale Blue Dot more than I do. It’s great and all, a true showcase for DT’s angular proggy writing style, but to me it suffers because of my preconceived notions of the message of Sagan’s words. My bias keeps getting in the way. I tend to enjoy this song a lot more if I zone out and get more in Cygnus X1 frame of mind then Carl Sagan’s humanist poetry.
I absolutely love that DT wrote a Van Halenesque swinging-shuffle just for fun. I had a huge smile on my face the first time I heard it. It’s a great performance and all, but over time I’ve found that I prefer the album without listening to Viper King. Dozens of listens later, I tend to skip it now. I guess that’s why it’s a bonus song.
Anyway, what an accomplishment for the band. It’s astonishing that this far into their careers, and all these years later, they can still put out albums chock full of thrills. Overall, a consistently stellar record that feels ageless from this end. I guess we’ll find out…over time.
Topic: Official Distance Over Time discussion thread (Read 188801 times)
