Dream Theater
Octavarium

THE REVIEW

I have listened to this album for entire days. Let me start by saying that I have been a Dream Theater fan for almost 12 years, so I've been through all of them, and despite this, I am fortunately able to be objective.
I disagree with those who criticize this album, just as I can't conceive that an artist, whoever they may be, should always and only box their work into the expectations of those who listen to them (this is exactly the concept of "commercial music"! whether it's metal or pop!).

There are very few prog points in this album, but others are at the compositional peaks of this band. These are objective facts, undeniable. Then, whether you like it or not, fortunately, each person thinks according to their own standards, and there will never be two completely agreeing opinions.

Octavarium enters the market without advertising, without premises, without previews, in the typical style of DT. Upon first listening, you immediately realize that the timbres and melodic themes are very refined, almost studied at the table with pedantry, the sound is clear and perfect, a sign of meticulous studio work.

It is not an album that aims to impress with technique, but with the style and the ability to blend tones and clarity of sound. The tracks are ALL experiments on musical themes typical of other well-known bands. Almost as if DT wanted to retrace a bit of the history of their influences, demonstrating great versatility. Even in the most commercial piece of the album (which initially left me puzzled, I admit), I Walk Beside You (no. 4), the reference to U2's style is intentional and not a result of a lack of ideas, as some claim.
In this way, DT "demonstrates they don't need to prove" to anyone their technical prowess (is there still a need to understand that they are great?). What stands out is their ability to be "warm" and impeccable at the same time. Furthermore, a keen listener can find references in the lyrics of As I Am (from the previous album, Train Of Thought) and Never Enough (track 6 of Octavarium) addressing fans who critique each new work because it doesn’t meet expectations. Clearer than that...
The track Octavarium (no. 8) is choral, a compositional work difficult to perform and understand for anyone without a cultural background from '70s listenings. A song to be prog doesn't need to be a flurry of solos and tempo changes, but it must encompass unusual compositional schemes and always new experiments (ever heard of Le Orme? or PFM? or Gentle Giant? etc.). Octavarium is the epitome of this, especially for the precise use of the real orchestra behind the New York quintet.
Sacrificed Sons (like Octavarium) is a piece destined to enter among the historic ones of the band. The central part is pure DT prog, while the head and tail offer us James LaBrie singing extraordinarily by modulating his voice, which eventually becomes magnified during a decidedly impactful choral refrain.

Many wrinkle their noses at this album because, once again, they wanted to hear big solos, syncopations, and accent shifts. Maturity goes and must go beyond the repetitiveness of one's own being. It's more difficult to renew oneself and bet on the "unpopular" rather than play it safe...

For all these reasons, I like this album.