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Rating:
A daunting and challenging task every time it happens to review a work by Dream Theater. If not because Petrucci and company always and inevitably provoke controversy and discussion.
And this is the tenth studio effort by the American quintet, which in recent times, especially since they've been under the wings of Roadrunner Records, has been churning out releases repeatedly between live albums, covers, best of collections, and so on...
"Black Cloud & Silver Lining" comes after the debated "Train Of Thought," "Octavarium," and "Systematic Chaos," which have quite divided the audience due to their banality and lack of content, or simply due to a sudden change in the band's sound and musicality after "Six Degrees Of Inner Turbulence."
The majority opinion is that the band has submitted to the almighty dollar. The global disappointment of the fans of I&W, AWAKE, and SFAM has raged across various forums. Some have even declared that Dream Theater is a band at its twilight. The preview of the release of BC&SL was accompanied by somewhat prohibitive statements from the duo Petrucci-Portnoy, who simply declared that this latest work of theirs would, in a way, encapsulate the band's best qualities. A bit pretentious as a consideration. Or just mere promotion?
Surely Dream Theater left the "old" path a long time ago to embark on a new one, perhaps more modern, perhaps more populist. But this Black Cloud & Silver Lining can only be a pleasant surprise. And it is certainly a much more precious work than its recent predecessors. Because DT can't stop amazing, it's obvious.
Six tracks, 75 minutes of high-level technique. Metal, hints of gothic, and a lot of solid good prog. This is "Black Cloud & Silver Lining." Not a true return to the glories of the '90s, but certainly a flash of light after the latest debated releases.
A Nightmare To Remember is the opening track. A thundering and raw start with a LaBrie as sharp as not heard in a long time. The dark atmosphere soon gives way to a more airy interlude with more prog sounds. Listen to it, truly deserves it. The single A Rite Of Passage, the second track, is undoubtedly uninspired. Very classic-metal, linear and without surprises, characterized by a certainly tasty and pleasing chorus.
Wither represents the ballad of the album. Melancholy, a lot of emotion. It breaks the rhythm before the following The Shattered Fortress, the last chapter of the saga featuring Portony's rehabilitation from alcohol. Started years ago with The Glass Prison in SDOIT, it finds its finale in a piece that encapsulates fragments of previous chapters, slightly revisited with exquisite taste. A sort of medley, after all, but why not, well done.
And so we come to the two tracks, the last ones, which elevate the level of the entire work. The Best Of Time, a piece Portnoy dedicates to his father who passed away in February of this year, and The Count Of Tuscany. The first is damn Dream Theater. It reminds of Surrounded and Spirit Carries On. Also melancholic, graceful, sunny, melodically fantastic. And with a Petrucci finally sentimental in his solos.
The second, The Count Of Tuscany is, according to many, the track worth the purchase of BC&SL. Prog Prog Prog. Here again, in every respect, are the real DT, the ones we expect, the ones we always want to hear. The psychedelic central part is extraordinarily effective.
In conclusion, in my opinion, the album is the best in recent times. More homogeneous than "Systematic Chaos," less banal than "Octavarium," undoubtedly more prog than "Train Of Thought."
Rudess is alive and present. Petrucci ranges more with emotion rather than inundating solos with a myriad of notes. Portnoy at times reminds us that he is one of the best performers of his instrument. Too bad about the pseudo-growl parts he insists on inserting from time to time that ruin the songs.
LaBrie, unfortunately, seems to be doing his homework without venturing too much and without proving his vocal range. Pity.
An album certainly to listen to, listen to again and appreciate. For sure.
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