Dream Theater

  • Thread starter Thread starter Anonymous
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Not surprised. I thought Fall Into The Light would be a better song to play anyways. Paralyzed just seems like it would be kind of dull in a live setting. Especially being played right after ANTR.
 
LooseCannon said:
Starting to think I just don't like DT that much compared to some people. I find them to be, well, a little boring.
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I've heard this a lot and as far as DT goes it has never made sense to me. That is until I heard Symphony X's Paradise Lost and most albums after and realized what DT's critics meant. I still don't find DT boring, but I get why they say it now.

LooseCannon said:
I've listened to Awake six times in the last five days, and I couldn't tell you what any individual song sounded like to save my life, except Erotomania.
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I've owned albums that have taken months to years to sink in. Opeth's Deliverance is a great example. Took forever, but once it clicked... DAMN!

Awake is my favorite DT album, followed by Octavarium, but I still think SFAM is their best. Their self-titled album is like this to me. I listen to it, enjoy it, but as soon as it's over I can't name a single track or even say why it's good or bad. Still trying to get into the Astonishing and haven't heard their latest, but heard good things.
 
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The Ministry of Lost Souls has its flaws but it also includes some terrific guitar work from Petrucci. At the one minute mark we have a classic clean arpeggiated progression, chimey and wide as ever, but the real highlight of the song is the outro. One of the tastiest licks Petrucci ever played, coupled with modulation, after excessive wankery really brings the song to new heights. The note choice is spectacular, and I've been wondering what it is that makes this lick so special. It must be complemented by the bassline and string chords and I wonder what this interesting tonality is called in musical terms.
 
Saapanael said:
The Ministry of Lost Souls has its flaws but it also includes some terrific guitar work from Petrucci. At the one minute mark we have a classic clean arpeggiated progression, chimey and wide as ever, but the real highlight of the song is the outro. One of the tastiest licks Petrucci ever played, coupled with modulation, after excessive wankery really brings the song to new heights. The note choice is spectacular, and I've been wondering what it is that makes this lick so special. It must be complemented by the bassline and string chords and I wonder what this interesting tonality is called in musical terms.
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This is one of my favorite DT songs. It follows a very predictable, yet satisfying formula like Octavarium. Starts slow, grows in an ever intensifying crecendo, climaxes releasing all tension and slowly comes down. Brilliant.
 
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