Dream Theater
Scenes From A Memory

Here is another masterpiece from Dream Theater, this "Scenes From A Memory"!

The band was coming off the partial failure of "Falling Into Infinity," an album considered too commercial and too deviant from the style that had made them famous. A different album from the previous ones, but more because of the record label than by their own volition (besides, I've never hated FII, I don't see the reason and, in any case, as an album it seems very good to me). This had put the band in a position of almost having to return to their usual sound to regain the favor of their audience. The response came...

...with a masterpiece. And who expected them to return with an album like this? To think that some already considered them finished!

Following the song "Metropolis pt.1" found in "Images And Words," from which you often hear reprises, this stunning concept marks, as desired, a return to their roots; it contains all the elements that made Dream Theater famous in past years (those of "Images And Words," to be precise); but above all, it is the masterpiece of technique! Excessive technique, to say the least, an album played with extreme perfection and exquisite class. I&W remains number 1, but discussing this album is a crime! Let us also recall the inclusion of Jordan Rudess on keyboards, who, after gifting magical notes to Liquid Tension Experiment, takes the luxury of replacing Derek Sherinian and gifting another cascade of enchanted notes.

Introduces "Regression" where we hear our protagonist being hypnotized, then giving way to a sweet acoustic moment.

The second chapter begins with "Overture 1928", an instrumental piece that, by revisiting the beginning of "Metropolis pt.1", gives the first great moments of supreme technique and the first delights of Jordan Rudess; and if a good day starts in the morning, anyone who hears this piece can say from the start: "Wow, I'm listening to a cannonade!". It continues with "Strange Déjà Vu", a track surely more immediate, based on the rhythmic timbre of the guitar and with Rudess less present on keyboards, except for creating atmosphere in the chorus.

The third chapter begins with "Through My Words", a mere minute of piano and voice, flowing immediately into "Fatal Tragedy", one of the great pearls of this album: a track with an intensely building rhythm that, starting from the piano and voice continuing "Through My Words", sees the rhythm increase as the track progresses, leading into an instrumental part characterized by powerful guitars and delightful solos by Jordan Rudess and John Petrucci, concluding with a splendid guitar-keyboard unison closed by piano and the hypnotist's voice. Truly superb (or rather exceptionally great! How else would you want me to say it?)

And go wild there in your room with number 6 "Beyond This Life" (which alone forms the fourth chapter), with its obsessive rhythm and truly high-speed guitars, but also giving acoustic moments. Note also the instrumental part with a more bluesy Petrucci and an inspired Jordan Rudess, offering a fun, comedic little tune that no metal group would dare include in their own track for fear of being labeled "heretic". But we're in the realm of prog-metal and this is appreciable.

And when "Through Her Eyes" starts, call your girlfriend over and have her come to your room; a nice slow dance while embraced is fitting; well-realized introduction by Rudess's keyboards and Theresa Thomason's heavenly singing, then let yourself be caressed by a soft melody of piano and acoustic guitar.

Second part, we enter it with much satisfaction for what we have heard so far, we enter it with "Home", perhaps too linear and repetitive for a 12-minute track, but the melody still pleases us. Especially beautiful is the introduction, very experimental, with oriental and desert-like touches, which reappears midway through the track; also lovely is the ending, very Arabian as well, with a nice guitar-keyboard unison.

And here comes what I think is the standout track of the album, "The Dance Of Eternity", an instrumental that doesn't spare a single moment of technique. Guitar and keyboard play at impressive speeds on practically undefined rhythms; imagine the sore hands at the end of the recording! Here too, the listener is caught off guard by a little tune that would suit a Turbolenti performance. The chapter continues with "One Last Time", a short, melodic and essential track that forms a sort of break after such a tremendous piece; a solo already heard in "Overture 1928" reappears, as well as the chorus of "Strange Déjà Vu" sung with different words.

And it is time for a classy ballad, "The Spirit Carries On" (chapter 8): warm, welcoming piano, intimate voice, jazzy rhythm, and sunny melody; note the great solo by Petrucci and a gospel choir in the finale!

And we close with "Finally Free", marking the protagonist's return home: a track with excellent melodic sensitivity, less technical with not overly intense guitars; after the first chorus, it reprises the melody of "One Last Time" and a solo of "Overture 1928"; the ending is perhaps a bit repetitive with a more determined Petrucci and Portnoy playing a bit with the drums. In the conclusion, you can hear the protagonist getting out of the car, entering the house, turning on the TV, turning it off, preparing a drink, putting on a record...

...and then being surprised by the hypnotist aiming a gun at him, forcing him to crash into the turntable which then emits a scratch.

It's an annoying scratch during which one can think about how much great music has been heard in these 77 minutes. And we put the record back in its sleeve exclaiming: "Too bad it ended here!"

Sorry for the many words, but to describe such a majestic work, ten lines would not have been enough at all.