I think that Outcry's instrumental section, while enjoyable, doesn't compliment the rest of the song as well as I'd want it to for it to be among my most listened to DT songs - compare with say Breaking All Illusions, if I get a notion to listen to a part of BAI or I hear a single bit of it I know I want to hear the whole thing.
Interesting that you mention those two songs, because I have always felt like they are good representations of two of DT's major approaches to writing instrumental sections for their longer songs.
The instrumental section for BAI, although it does a lot of things and has a lot of changes, has pretty smooth transitions that feel very logical, even if the change is a huge one. And I think that, arguably, you could take any of those sections in isolation and they would feel like something that would go with the main parts of the song (verses and choruses). They use a similar approach in LTL. Some of those instrumental sections are just crazy and out of nowhere. But the logic to why they are there and how they fit into the song just feels easy to bridge to most listeners' ears.
Outcry is more in the Metropolis vein. It similarly pieces together a lot of disparate sounding parts. But the transitions feel a lot more harsh, jerky, and out of nowhere. And while there is a definite musical logic to how those instrumental sections build and flow, it is a lot less obvious to the ear. And I think that is on purpose. They
want to be, metaphorically, blasting forward at full speed, careening toward the wall, only to jam the breaks and throw you into a full skid and take a 90-degree turn from where you thought you were going.
I think either approach can work well. But the second is often going to get the strongest reaction and either turn people off or blow their minds.
Topic: A Dramatic Turn of Events is so underrated (Read 2522 times)
