Black Clouds & Silver Linings - Dream Theater

So, this is it! I've been waiting about 6 months for this album, and it's finally out. Black Clouds & Silver Linings is the 10th studio album by one of my favorite bands: Dream Theater. Was the album worth the wait? Did it live up to my high expectations? The answer is interesting. I can't fully say that what I got what I expected. Some things were better, some worse, and some... well, they were just different. Allow me to elaborate:
As the album is only 6 tracks long, I'd like to say a little bit about each one.
"A Nightmare to Remember" starts out with some thunder and lightning sounds, which give way to some really heavy guitar riffs. It's very reminiscent of Train of Thought. The first 5 minutes rock pretty hard. What a great way to kick things off! Then, we get a slower groove that reminded me of the second section of "Octavarium" on their eighth album. By now, I was really getting in to the album as it jumped back into the hard-rocking first section again. Then, after some solos and complex unison parts, there comes a section I don't really understand. Similar to parts of other DT songs, there's a section where Mike Portnoy speaks/shouts in rhythm. It's a cool effect, but the words just don't make sense. "It's a miracle he lived, it's a blessing no-one died. By the grace of God above, everyone survived." This is immediately followed by a growl. Why should these words be spoken in Mike's "angry voice"? Wouldn't it make more sense for James LaBrie's tenor voice to carry these uplifting passages? On that note, all of the lyrics in this song are very, very straightforward. It's about a car crash, yes, but do the lyrics need to be a step-by-step description of the events? Why can't they include some of the wonderful imagery used in Scenes from a Memory? Overall, though, I'm nit-picking. This song is really great, and might even be my favorite on the album.
Secondly, "A Rite of Passage" is a good (8-minute) single to follow up with. It's a bit more radio-friendly, with fewer time signature changes, and less twist-and-turn than the average DT song. It's still got that prog feeling to it, but it's definitely accessible to a wider audience.
"Wither" is very similar to most of DT's ballads from the past. It's got a little more of an edge to it, but overall, you won't find anything too new here.
"The Shattered Fortress" is the conclusion to Mike Portnoy's (now) 5-song AA suite. It's a very odd song to hear if you've never heard the other parts of the suite, because it's nearly entirely composed of sections, passages, lyrical comparisons and riffs from the other 4 tracks. Overall, though, it's a good closer to conceptual series of songs.
"The Best of Times" was written for Mike Portnoy's late father, and is a wonderfully written and performed tribute. You'll notice a lot of Rush influence, specifically in the guitar parts. One passage is nearly lifted straight from "Spirit of the Radio". The song is 13 minutes long, but as with many great songs by this band, it seems to fly right by. Definitely check this one out!
I'm going to come right out and say this: I don't really understand "The Count of Tuscany". I'll start by saying that the music is wonderful. With a lot of time signature changes and tempo swings, this song will keep you on your toes. I really like the gothic metal influence in the main refrain, too. What I don't understand is the idea. The song is about a count who takes the narrator on a ride and frightens him with his stories and actions. However, I, as the listener, found nothing frightening about the lyrics. They tell the story in a very straightforward manner, like "A Nightmare to Remember", but the narrators frantic refrain and pleading verses don't seem to connect. To be honest, (and this is actually very hard for me to admit) I thought the lyrics were absolutely awful. Also, as much as I love prog epics, this didn't feel like one. The sections of the song felt disconnected and inconsistent with the current mood of the song. Many sites are saying that this song ranks up there with "Octavarium" and "A Change of Seasons". I very much disagree. Don't get me wrong. Everything about this song is awesome, except how it pulls together (and those really bad lyrics).
All in all, I think there are very few Dream Theater fans out there that will reject this album. It holds its own just fine. Don't mistake my comments for dislike. I really do enjoy this album, I just was surprised by some of the elements given Dream Theater's discography up to this point. Black Clouds won't make a convert out of anyone, but it is a great entry in a wonderful line of albums despite its few hiccups. Happy listening!

Free link to the album on Napster:
http://free.napster.com/view/album/index.html?id=13237325

An afterthought:
I feel like this album is just... different somehow. Maybe this is because it's the first new album since I came into Dream Theater fanhood... maybe it's something else. I compared it earlier today to Black Sabbath. With Ozzy, they were great. With Dio, they were still great, but they were just... different. Maybe I just need to keep listening to it to make it more familiar...

Gitarooman Soundtrack - COIL

No, this is not another April Fool's joke; I have actually chosen a soundtrack as my album of the week. Most of you reading this blog will know that video games are a big passion of mine, along with music. That's why this week's selection is the soundtrack from one of the most creative music games I've ever played: Gitarooman. If you've heard of this game, pat yourself on the back. I'll wait...
So what makes a video game soundtrack worthy of my review? How about the fact that it's not just a soundtrack, but an album full of 14 unique, wonderfully performed tracks.
Good luck finding the band COIL anywhere on the internet, I've tried. However, I'll do my best to describe the music to you:
Throughout the game, you encounter many different bosses wielding different instruments. By using your magical guitar weapon, you trade solos with them, playing during your part, and defending during theirs. The actual logistics are difficult to describe, so I'll let you look it up on YouTube. I'll wait... See? Isn't that cool? The best part about the game, though, is the variety. In order, the levels you encounter are of these styles:
(I've starred my four favorites in case you're short on time)
Boogie*
Stadium Rock
Techno
Blues/Jazz/R&B*
Drum and Bass
Reggae
Acoustic Ballad
Latin
Metal* (with pipe organ!!!)
Classic Rock
Rock version of aforementioned Ballad
Hard Rock*

Whew! What a list, ya? I won't go into the details of the stages or anything, but their all pretty solid tracks. The solos are very well done, and the songs are extremely catchy. If you've never heard of this game, I can't blame you... however, I will blame you if you don't go look it up on YouTube. I think you'll really like what you hear/see. This is kind of a short review, but I think the game speaks for itself, so go check it out and Happy Listening!

If you're interested in what the gameplay looks like, I found this to be a good video:
http://www.youtube.com/watch?v=mOBz0TRhFyM&feature=related

Paranoid - Black Sabbath

Recently, I've been listening to a very new (to me) brand of music. After hearing the kind of power that's possible with heavier instrumentals and vocals, as in Train of Thought and The Divine Conspiracy, I started looking deeper into the kind of metal that scares parents: death metal. I started to do a review yesterday about my favorite album I listened to, but realized that I really need to listen deeper to give a fair analysis. However, last week I also revisited the birth of metal in Black Sabbath's Paranoid.
When the Sabbath set out to create metal, Ozzy said they wanted to create music that scared people, similar to how horror cinema was frightening, but attractive all the same. Black Sabbath (the album) really served that purpose. On their second album, though, they decided to kick things up a notch. Paranoid has more rock-style songs than the previous album.
First of all, you have "War Pigs/Luke's Wall", which makes a perfect opener. It's simple two-note riff and a cappella verse draw you in well. When the band does kick in, you might be tempted to listen only to the guitar line. Resist this temptation, because the bass and drums have a lot to offer on this track, and I'd hate for them to go unnoticed. The second part of the song is an instrumental section that really gives roots to the progressive metal genre. It changes the thought on a dime, and flows from theme to theme. Overall, this is a great song that EVERY metal fan must hear. Even if you don't like metal, maybe this will give you some perspective.
From there, you get an uncharacteristically straightforward rock tune in "Paranoid". The guitar is catchy, though, and the vocals will hold you.
"Planet Caravan" represents another side of Black Sabbath that comes out from time to time. It's a slow, mysterious composition with veiled vocals and limited instrumentation. Definitely interesting and worth a listen.
"Iron Man" is a slow, pounding with one of the most recognizable guitar riffs of all time. What you might not remember about this song are the great solo sections that pick up the tempo and change the mood. My very favorite part about "Iron Man" is the transition from that faster solo section back to the verse. It's flying along in fifth gear and suddenly just grinds down to that pounding riff we all know and love.
The other tracks are similar to what you'd expect after hearing the first few songs, but I do want to point out one more: "Hand of Doom". This has become one of my favorite Sabbath songs of all time. It doesn't start out as much. Just some bass and some light drum rims. Then, it explodes as the verse jumps up an octave with the guitar joining. Also, Bill Ward throws in some great fills on drums. The middle of the song is entirely different, but awesome all the same. Make sure you hear this one.
Overall, I just wanted to talk about an album that was one of the first on my journey to metal appreciation. I think even those of you who don't like metal out there will still find this album enjoyable. Sorry for the late post, but happy listening all the same!

No Napster for this one, but Amazon has a sampler:
http://www.amazon.com/Paranoid-Black-Sabbath/dp/B000002KHH/ref=sr_1_2?ie=UTF8&s=music&qid=1244741985&sr=8-2

In The Court of the Crimson King - King Crimson

Currently ranked #7 on progarchives.com's top 100 prog albums of all time, In The Court of the Crimson King is nothing short of a masterpiece. The year was 1969, and progressive rock was just starting to take off. It's no wonder that the genre gained so much popularity with albums like this one leading the way.
The first track is simple in composure, but a wonderful opener to the album. The main riff is a slow, concise guitar and sax part. This gives way to the megaphone-style vocals of Greg Lake (yes, THE Greg Lake). The vocal distortion was a perfect choice for the song, as it really gives it a unique flavor. Mixed in to the song are some free-form instrumental solos, and my favorite part: a few bars of a soli phrase where the bass and snare drum pound out the rhythm as the guitar and sax perform a noodly unison line. It's a really cool effect to put in the middle of a song which is dominated by rigid structure during it's verse.
Next is my favorite track on the album, "I Talk to the Wind". Taking away that pounding sensation of the first song, they replace it with very delicate, undistorted instrumentation (including some gorgeous flute parts). Just close your eyes, lean back and take this one in. After that, "Epitaph" kind of combines the two styles. It starts delicately, but with a firm and rigid drum part. Eventually, though, it passionately builds into fabulous ballad. I'm not sure why, but the use of synth backgrounds really makes this one come together; keep an ear out for them.
"Moonchild" is very psychedelic. It has a simple vocal part in the beginning, but soon becomes nearly 10 minutes of musical experimentation. I didn't really like it the first time I heard it, but now I LOVE it. I like to close my eyes and really see the music. Let the sounds transform into splashes of color in your mind. It's very "out-there", but you should give it a try.
Finally, it wraps up with the title track. This song, as the name implies, has a lot of majesty to it. It winds and weaves through sections and solos, but always keeps coming back to the broad refrain that always reminds me of Pink Floyd's "Eclipse".
I could listen to this album end-to-end over and over and never get tired of it. It's one of those enduring classics that you can always come back to when you get weary of whatever new kind of music you're listening to. Check this one out, and I guarantee you'll thank me for it. Happy listening!

This one's not available on Napster, but Amazon has a sampler for you:
http://www.amazon.com/Court-Crimson-King/dp/B00065MDRW/ref=sr_1_1?ie=UTF8&s=music&qid=1244093316&sr=8-1