DREAM THEATER SURVIVOR 2016: Results -> A Change Of Seasons wins!

Satisfied with the results?

  • Total voters
    10
Take The Time
Glass Moon
Hollow
Lines
Trial
Regression
Through My Words
Through Her Eyes
One Last Time
 
I just updated the game guys, you should relisten before voting <_< Also, ballad hating not allowed in my games :P
 
Night Prowler said:
I just updated the game guys, you should relisten before voting <_< Also, ballad hating not allowed in my games :p
Click to expand...
:ok::ok:'

There are actually a lot of things special about those two tracks. Not only are they good songs, but they're really good examples of the clever arranging that went into this album (beyond just simply reprising themes and segues). But I'll get more into that in an unreasonably long post that I'll write while listening to the album. :devil2:
 
Can we at least get rid of Saap and keep on the DT survivor?!

;)

Look I know these songs are well written and fall into the storyline of the album and all, at the same time they're also a tremendous bore, so they get my vote.
 
from: Publius (anon.penet.fi)
to: Maidenfans

>>>>>>>> T H E M E S S A G E <<<<<<<<

My friends,

You have heard the message Dream Theater has delivered,
but have you listened?

Perhaps I can be your guide, but I will not solve the enigma for you.

All of you must open your eyes minds and communicate with each other, as this is the only way the answers can be revealed.

I have travelled far across the omninet to bestow upon you another omnipost by yours truly. This time we might take a Scenic route, so to speak. Or does your Memory fail you? Remember, there were moments on the previous DT album you could hardly tell Derek from Jordan aPt. So without further ado:


"Open your eyes, Derek!"
"Wha-"
[static]

(I didn't even need to relisten, because the album's been in my car the past two weeks or so, even if I didn't already know the whole album by heart)

Exit Derek, after just one regular album. Enter Jordan - the Wizard of Wankery, the Instrumental Ingeniosity Made Flesh, the Master of SoundBlaster, the Mastermind of Masturbating Monkey Marathons, the Count of Monte Keysto. This was the key ingredient that was missing before for DT to truly uncover their full potential. Ever since Jordan appeared, they finally became the band that manages to play anything, from kitschy radio ballads to tickle sections. Judging from his solo career as well as the fact how prominent he is on The Astonishing (I mean both composing as well general presence on said album), I'd maybe even put forth the proposition many people might not realise he's probably much more comfortable doing the former, in fact ... but he's able to do the latter better than anyone else all the same.

I have written in the FII post above that I actually prefer Infinity - it's true, but, well, first of all, Scenes are very close and FII wins over on a good day, but there are times when I prefer SFAM. I guess that might have something to do with the fact I go completely crazy about many of the songs and - though it fit that particular album - the "streamlined" approach of Infinity isn't really what I generally search for in DT. On the other hand, Scenes are definitely not as consistent. There are many tracks I go completely crazy about and then there are songs I would probably skip were I not that anal about listening to every album from start to finish. In general, my own personal "golden era" starts with the following SDOIT (currently probably my #1 DT album, as I've already stated few posts back), but Scenes are still somewhat special to me, also because it was one of the first albums by the band I have heard. And yes, it's a classic and I still wouldn't be afraid to recommend it to a newbie.

Now, the story is usually praised and I won't deny that it's good, but just as with every concept album, it leaves something to be desired. There just aren't enough twists and turns in the storyline to justify a 78-minute album and the story's actually quite simple and predictable (I had my suspicions who the killer is from the very first moment the brothers were mentioned, that is since Home, I guess....) and dances around the obvious, but then again, you could say that about pretty much every concept album, just name it - Tommy, Mercy Falls, The Astonishing, The Universal Migrator (both parts), even The Wall gets most of its complexity from the hindsight analysis, really. I guess there's only so much you can narrate by lyrics, That might be one of the reasons I prefer "thematically" concept albums like DSOTM, Dirt, The Rising or AMOLAD, but I digress. Taking that into consideration, it definitely does not help some of the tracks are there just to "push forward the storyline" (both Throughs, the intro) and some of the tracks are unnecessarily bogged down by the concept too (Home and especially Finally Free). More on that later.

The storyline and the fact that it often states the obvious (see above) or keeps repeating certain aspects for dramatic effect, but mainly because the storyline really is spread somewhat thin also makes me feel from time to time that the album's a tad overlong (a rarity for a DT album, in my book at least); the endless realisations that yes, Victoria is real, she is his past incarnation, she was murdered etc. really get on my nerves from time to time, if you know what I mean. Also, because of the necessity to further the plot, some of the lyrics are questionable at best ("Her ecstasy - means so much to me // Even deceiving my own blood // ... Help - he's my brother, but I love her" is probably the worst example, but there are others), again bringing The Astonishing to mind, with all its Bugs and wives who thrived and gave high-fives, but failed to survive and then weren't alive (and were probably wearing beehives as well)...

So, let's go track by track!

Regression is definitely one of the tracks I've been talking above. In fact, it might be cool to have an acoustic foreshadowing of the Spirit melody, as well as an introductory track with snippets of songs to come and the ticking and the voice of the hypnotist (a former Rush/Fates Warning producer Terry Brown) are actually quite pleasant, but on its own the song's not even a real song. It's okay, I guess, but just as with Seventh Wonder's Mercy Falls, you get two introductory tracks in a row, which is kind of boring and probably unnecessary. So it gets a vote from me.

Overture 1928 is really cool, though it's much easier to appreciate on repeated listenings, because you'll know the themes by then. It's also much more standalone than Dance, it feels unified and it's quite catchy. Still an intro track, though... B)

Strange Deja Vu is a weaker track, according to Judas, because it's a tad incoherent and unmemorable. This, combined with the nature of the previous two tracks made my first Scenes listening kind of a chore. Since the first four tracks are either intro tracks, interim tracks or a so-so song, there go the first 12 minutes and 4 songs of the album. A slow starter indeed. The track itself is definitely a grower, that's for sure, but it still gets a vote from me, because the other songs are much better.

Through My Words is completely fillerish and a track that is completely senseless on its own. It doesn't even make sense as a separate intro to Tragedy, because the melody changes completely between the two tracks. Unsurprisingly, it gets my vote.

Now Fatal Tragedy, that's something to write home about! The untrivial melodies, the weird buildup, the interesting structure (and it's not falling apart like Deja Vu and maybe even Dance do) and the astonishing wankery in the end... HERE the album finally takes off, at least for me. :D

Beyond This Life is probably my favourite track off the album and I could listen to it over and over again. The cool verse riff, that über-catchy pre-chorus (I usually can't get it out of my head for the rest of the day any time I'm listening to the album) and finally the gentle "late" chorus are a thrilling combination on their own, but the instrumental section is completely amazing! That's why you need Jordan! This sequence (Fatal Tragedy - Beyond This Life) is also probably the main reason this album might actually overtake FII as my #1 DT album in the 90's. Also, maybe I'm crazy, but BTL sounds to me a bit like improved Lines in the Sand from the last album. I don't know whether it's the structure or something else altogether, but lately this thought has been bugging me each time I listen to the song.

Through Her Eyes is definitely the worst song here and one of the most obvious missteps by the band, as far as I'm concerned. Now, you all know I'm perfectly fine with DT ballads, in fact, I praised pretty much all the ballads from FII, considering them a highlight and I also love Spirit, Chosen, Wither... But not this. The production, the mood, LaBrie's vocal approach... IT'S FUCKING BACKSTREET BOYS! And to paraphrase Mr Barney Stinson: "And not even the good Backstreet Boys, but the older, lame dance move, comeback tour Backstreet Boys." I can barely tolerate the song, but I don't take it seriously. The fact it's so melodramatic does not help. But like I said - I can listen to it, I just usually snigger to myself and hope no-one around hears what's in my earphones. I kind of get why it's there - it breaks the monolithic BTL/Home section, serving as a "breather" of sorts, but still no. Vote, definitely!

But let's also talk about Theresa Thomason's introduction. Maybe you like it. See, Petrucci actually liked her moans so much she got John & Theresa's Solo Spot on tour (and on Live Scenes) - probably the worst "song" that ever pretended to be a DT creation. Thankfully it's semi-official anyway, so Space Dye Vest still kinda wins over, but it still is a blasphemy. And remember, it's not just my irrational "gospel hatred" or "gospel prejudice", as @MrKnickerbocker was insinuating earlier in this thread. First of all, I really like the gospel touches on this album (TSCO is an amazing song - see below), but this is not even gospel. It's more of a Mariah Carey/Whitney Houston/Christina Aguilera pseudo-soul that's very cheap, very annoying and it has no place on a DT record, IMHO. Second of all, my wife (a rabid DT fan herself) feels the same, if not hating her even more. So it's not just me. A small wonder the song gets a vote from me.

Home is great, no doubt about it, the oriental riff is very cool and the chorus is majestic and very catchy (the fact it borrows from one of the greatest parts of Metropolis 1 doesn't hurt either). On the other hand, the intro could be shorter (the musical buildup is nice, but could have achieved the same more quickly, really) and I don't like the sounds in the middle - it sounds almost as if part of the instrumental section was supposed to be just background music for "the plot" (I guess that's way too highbrow a way to describe casino and sex noises, but you get my drift, right?). Again, it hurts the potential of the song to be a standalone track. Also the instrumental section is nice but pales next to Deja/BTL, IMHO. All in all, the song's a bit overlong, I'd say (and no, you won't hear me saying this very often about DT songs :D )

The Dance of Eternity, as a continuation of the original "crazy" part of Metropolis 1 is, like, the ultimate wankfest. I mean, over 100 changes in 6 minutes? I won't say it's my favourite DT song, because it isn't, it isn't even my favourite Scenes song, because it's really way too scattered and too separate (I like my wankery more when it's connected with the song - see BTL for example) for that, but I respect the effort and you should too. And yes, it was my first Dream Theater song, because a bloke from my class who was a metalhead (I was still classic rock/prog fan by then, apart from Maiden) forced me to watch the song on the Scenes from New York DVD. That one one of the few "dude, you must see this" moments that was actually worth it, by the way. :D

Also, once again I'll mention this bird, because she's like 16, yet she does a very decent drum cover here, which is a solid feat in itself...


I'm sorry to see all the One Last Time votes, but I guess it was kind of inevitable. The song really does not work on its own, so in Survivor it's bound to be eliminated pretty quickly. Also the fact that the end of the album is so ballad-heavy (just like with ADTOE, where it's probably an even bigger problem) does not help, because you get kind of tired of the ballads in general and of the OLT/TSCO/FF trio OLT is definitely the weakest. Will probably get my vote in the next round.

The Spirit Carries on might be overplayed and it might be a power ballad and it might be cheesy from a certain point of view (the general "epicalness" ("epicity"?) or the lyrics, mainly), but that does not change the fact it's absolutely amazing, heart-breaking, soul-shaking, tear-inducing masterpiece of a song. The buildup is absolutely flabbergasting, with the final verse and chorus being a catharsis of the album, the melody's probably the strongest on the album and the backing vocals are a great touch. Also, ALSO, THE PETRUCCI SOLO! :notworthy: Yes, you might say he's aping Oldfield and he probably was, but that still doesn't change the fact it's one of the most heartfelt and melodic guitar solos ever, a solo to learn note by note and play to your friends and to yourself to cry yourself to sleep. Holy flying fuck.

Finally Free is a very good song that actually borders on amazing (I openly state the bridge - that part from "As their bodies lie still" onward - is one of the most majestic DT moments in the 90's, well, at least apart from the previous track), but 1.) the coda's overlong and Portnoy is definitely overplaying it, it such thing is even possible in a band like DT, 2.) the outro's funny and "Open your eyes, Nicholas" is a meme and whatnot, but it's still kinda unnecessary. I can't help but think they could have managed to hide the twist somewhere in the lyrics and not let this great album get brought down by the ending where it suddenly transforms into a radio play. Also, the static could have been cut off sooner. But I guess it's still better than the final chord of SDOIT, as far as testing my patience is concerned. From this point of view I even somewhat understand the single vote. :D

Also, since I've already mentioned it - Live Scenes is a cool album, J&T Solo Spot notwithstanding. LaBrie is in an infinitely better shape than on LIVEtime, the band cooks and there are certain cute parts like Jordan quoting the Simpsons theme and the Caught in a New Millennium mix-up. I also really like the setlist - AMBI is very cool and even the songs I'm not that crazy about in their studio versions are much better here (yes, even Just Let Me Breathe). On the other hand, the first half of the set is the entire studio album in its entirety

SinisterMinisterX said:
On Jordan's first tour (SFAM), the setlist didn't change because they played the entire concept album in its entirety at every show.
Click to expand...
:ninja:

so I guess you could say it's somewhat redundant. But then again, maybe not.

PS - the rest of my votes remains the same.
 
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