Dream Theater
Awake

THE REVIEW

After the great success of "Images And Words", Dream Theater were practically obligated to produce an album that could worthily inherit its heavy legacy. The result is the excellent "Awake". An album that confirms all the characteristics that contributed to making "Images And Words" a big hit: technique, power, and expressive research. But at the same time, it is an album that presents numerous differences.

First of all, the album presents a decidedly heavier sound than previous ones, thanks especially to John Petrucci, who for the first time indulges in showcasing a stunning seven-string guitar, and it is precisely that extra string that gives darker and more distorted tones. The tracks are shorter compared to the previous album and therefore require less patience to be listened to, but they present equally complex structures. Perhaps a bit below expectations is Kevin Moore, who seems to abandon the virtuosity with which he played his keyboards in "Images And Words" in favor of more accompaniment-oriented melodies to create atmosphere, but nevertheless, let's say he still performed well here. It is no coincidence that Kevin Moore would depart from Dream right after the album's recordings: according to many, it will be a severe blow that will negatively influence the group's career in the following years, but I don't think so, as Jordan Rudess seems like a master to me anyway, but the fact is that he offers his pearls even here.

Sales do not reach those of "Images And Words" but can be considered highly satisfactory.

"6:00" immediately delivers a superb lesson in technique: the way the instruments enter one by one is excellent; a technical track in every sense, guitar, keyboard, and the like seem not to take a breath, playing with determination throughout the track. And then comes the catchy "Caught In A Web", an initial demonstration of how the band's sound has become harsher: extreme guitars and a very somber Kevin Moore, but also a good dose of technique in the central part.

More melodic and atmospheric, instead, is "Innocence Faded": guitars and keyboards with dreamy melodies for a sound that even seems inspired by soap operas, but in the end, Petrucci concludes with power. Another example of exquisite technique is the instrumental "Erotomania", which alternates excellent guitar passages with original and creative keyboard melodies as well as excellent tempo changes. Note also Petrucci's solo before the finale.

More experimental is number 5 "Voices", which alternates aggressive moments with high-speed guitars with softer and more experimental ones. And here comes "The Silent Man", an acoustic ballad absolutely necessary to break, albeit for a moment, the dark sounds of the album. And I want to see how many will notice that these three songs are linked in a suite titled "A Mind Beside Itself": the songs are linked by a single flow, and the chorus of "The Silent Man" is foreshadowed in "Erotomania".

But we immediately start again with "The Mirror", perhaps the most powerful track of the album: obsessive and pounding rhythm, an almost thrash style, but without forgetting the melody; Kevin Moore shines with excellent keyboard parts that give the idea of something not already heard. The track then flows into "Lie", another very heavy track characterized by frantic guitar riffs and a Kevin Moore rather limited to the background; in the end, Moore plays the same melody as the previous track, and Petrucci delights us with a masterpiece solo.

And understandably, a track is needed that, if not quite a ballad, is nonetheless a softer track: "Lifting Shadows Off A Dream", with a very atmospheric Kevin Moore and LaBrie's vocal sensitivity in perfect U2 style. "Scarred" is notable mainly for the contrasts: moments of anger alternating with moments of melody and experimentation. Nice solo by Kevin Moore before the last chorus and a notable, very well-faded ending.

And it concludes beautifully with "Space Dye-Vest", one of the most objectively suggestive ballads ever created by the group, although I must personally say that this track seems decidedly bland to me (I almost never listen to it): an excellent piano with a hint of experimentalism, so could the last pearl of Kevin Moore be defined; probably out of respect for him, they never play it live, even though certain choices sometimes cannot be comprehended.

Overall, an excellent album, certainly a notch below I&W, but certainly an important mark in the band's discography. It's a pity for Moore, who will never again unleash his creativity with Dream...

...We can only wish him good luck.