Post by gary on Jun 23, 2009 9:46:31 GMT -5
I've finished listening to the album. And, to be honest, I didn't hate it.
I mean, most of the tracks are far too long, and they're far too long because of solos that are both distracting and unnecessary, but there are some parts that I really, really enjoyed. I may change my mind on subsequent listens, but some of it was cool, unlike Systematic Chaos which pretty much failed completely.
I scribbled some notes for no reason other than to keep myself focusing on the album when listening to it (it's easy to stop paying attention). And they're long so you may want to skip them.
That was far too long - I'll do a shorter version.
In short-
Mike Portnoy can't growl.
Too many god damn notes.
When Dream Theater used to do a track that was really long, it was for a reason. Scarred is 11 minutes and not one of those minutes is dull. Now it's more like they feel they're supposed to do long songs, so artificially lengthen everything with solos.
Opinions on each track:
A Nightmare to Remember-
Least favourite track on the album. Goes from spooky Hallowe'en sound effects, to something Cradle of Filth would do, to numetal. Mike Portnoy's vocals in this are so very, very funny. I think I know where I'd prefer to have had Mikael Akerfeldt guesting. HUUUUUUUAAAAAAAH!!!!!! OOH.
A Rite of Passage-
The intro reminds me of Tool (in the same way that Home from Scenes from a Memory reminds me of Tool). The verses are dull, but I really like the chorus. The solos are just there to lengthen the track and show off that Rudess and Petrucci have very well coordinated fingers.
Wither-
I can see why this is a lot of peoples' favourite track on the album, because it's probably the most flowing track on the album.
The Shattered Fortress-
Even though (or maybe because) most of this is copied and pasted from the last 4 tracks in the 12 step thing, after my first listen, this is my favourite track on the album. Also, Darth Vader does guest vocals. I've never been to Alcoholics Anonymous, but apparently the last step is MAY THE FORCE BE WITH YOU.
The Best of Times-
Most annoying intro so far. Just because you can pay a guy to play an over the top dramatic cello solo doesn't mean that you should. There's no way this should be 13 minutes long. The outro is copied and pasted for all of eternity for John Petrucci to solo over. And the part from 3 minutes to about 6 minutes sounds too much like The Spirit of Radio to me.
The Count of Tuscany-
I loved the intro - it reminded me a lot of the better parts of Falling Into Infinity, but then it abruptly changes into unremarkable riffing. James LaBrie is inviting me into his car and suggesting we go for a drive. I suspect foul play. "Sucking on his pipe / Distinguished accent" - best lyric ever. The choruses in the first section are cool, despite Mike's annoying snarls. James LaBrie and Snarly McSnarlington are offering me wine now. I should never have gotten into James LaBrie's car.
The instrumental section is long. Bring some sandwiches. More pointless soloing to lengthen the song, and long drawn out ambient part with swelling lead guitars. Then from 14 minutes to the end is the best thing on the album. It's nowhere near as great as the end of Scarred or Learning to Live, but I still really enjoy it.
I mean, most of the tracks are far too long, and they're far too long because of solos that are both distracting and unnecessary, but there are some parts that I really, really enjoyed. I may change my mind on subsequent listens, but some of it was cool, unlike Systematic Chaos which pretty much failed completely.
I scribbled some notes for no reason other than to keep myself focusing on the album when listening to it (it's easy to stop paying attention). And they're long so you may want to skip them.
That was far too long - I'll do a shorter version.
In short-
Mike Portnoy can't growl.
Too many god damn notes.
When Dream Theater used to do a track that was really long, it was for a reason. Scarred is 11 minutes and not one of those minutes is dull. Now it's more like they feel they're supposed to do long songs, so artificially lengthen everything with solos.
Opinions on each track:
A Nightmare to Remember-
Least favourite track on the album. Goes from spooky Hallowe'en sound effects, to something Cradle of Filth would do, to numetal. Mike Portnoy's vocals in this are so very, very funny. I think I know where I'd prefer to have had Mikael Akerfeldt guesting. HUUUUUUUAAAAAAAH!!!!!! OOH.
A Rite of Passage-
The intro reminds me of Tool (in the same way that Home from Scenes from a Memory reminds me of Tool). The verses are dull, but I really like the chorus. The solos are just there to lengthen the track and show off that Rudess and Petrucci have very well coordinated fingers.
Wither-
I can see why this is a lot of peoples' favourite track on the album, because it's probably the most flowing track on the album.
The Shattered Fortress-
Even though (or maybe because) most of this is copied and pasted from the last 4 tracks in the 12 step thing, after my first listen, this is my favourite track on the album. Also, Darth Vader does guest vocals. I've never been to Alcoholics Anonymous, but apparently the last step is MAY THE FORCE BE WITH YOU.
The Best of Times-
Most annoying intro so far. Just because you can pay a guy to play an over the top dramatic cello solo doesn't mean that you should. There's no way this should be 13 minutes long. The outro is copied and pasted for all of eternity for John Petrucci to solo over. And the part from 3 minutes to about 6 minutes sounds too much like The Spirit of Radio to me.
The Count of Tuscany-
I loved the intro - it reminded me a lot of the better parts of Falling Into Infinity, but then it abruptly changes into unremarkable riffing. James LaBrie is inviting me into his car and suggesting we go for a drive. I suspect foul play. "Sucking on his pipe / Distinguished accent" - best lyric ever. The choruses in the first section are cool, despite Mike's annoying snarls. James LaBrie and Snarly McSnarlington are offering me wine now. I should never have gotten into James LaBrie's car.
The instrumental section is long. Bring some sandwiches. More pointless soloing to lengthen the song, and long drawn out ambient part with swelling lead guitars. Then from 14 minutes to the end is the best thing on the album. It's nowhere near as great as the end of Scarred or Learning to Live, but I still really enjoy it.