Customer Reviews

Black Clouds & Silver Linings

5 star:		(34)
4 star:		(17)
3 star:		(11)
2 star:		(13)
1 star:		(2)

 

 

Dream Theater's 10th studio release finds the band in top form musically. Most of the amazon reviews are correct - this is possibly the best DT album since Scenes from a Memory. It is engaging without being overwhelming (as Scenes is often accused of), fresh without being forced (as Train of Thought is often accused of), and diverse without suffering from incoherency (as was certainly the case with both Octavarium and Systematic Chaos). The arrangements generally avoid the "dueling keyboard and guitar" pitfall that has plagued the last few releases. LaBrie is the only member who doesn't quite live up to earlier glories here, probably due to the inevitable loss of range that we've witnessed with other stratospheric singers like Walsh, Geddy Lee, etc. No matter, his lower range lends itself well to the band's typically darker sound of late. In some places he sounds downright sinister (as on A Rite of Passage) but it's much better tempered than many of the aggressive tracks on Train of Thought. In other words, this is a band that is aging well, still growing and experimenting, while retaining the sound that made them unique in a sea of prog-metal and neo-classical metal bands. They still have that spark that always seems to be lacking in other bands such as Symphony X or Iced Earth. And they've certainly aged better than many of their influences like Metallica, Megadeth, Yes, or Iron Maiden.

So why only three stars? On repeated listens, the lyrics are just terrible. Other's have said it in their reviews and I'll repeat it here - the lyrics are cringe inducing in places. Objectively they may stand up to their contemporaries or label mates like Slipknot or Trivium, but those bands have insipid lyrics on every possible level. One of the primary things that made DT stand out from the crowd in the early days was the fact that, like most bands of this style, they weren't singing about dragons and mystical spaceships. The themes were mysterious and even "new-agey" (thanks to original key player Kevin Moore), then went on to deal poetically and intelligently with every imaginable subject from addiction to family conflict, death, the afterlife, re-incarnation, and social issues. It was "thinking man's metal" not just because of the technical skill of the band, but because they were writing lyrics that were relevant, empathetic, and smart.

Something changed with Systematic Chaos and continues here, due mostly to John Petrucci's lyrics. SC was an interesting diversion into Dark Masters, prophecy, vampires, undead pharaoh zombies, ghosts, and other stereotypical prog/death metal fodder. Most of it was good (Dark Eternal Night, Forsaken, etc.). I think most fans took it for what it was, breathed a sigh of relief that it was over, and moved on. If BCASL had more of the same, I wouldn't be as critical. Unfortunately, most of the lyrics on this album have taken on subject matter that is less interesting, more mundane, and much less smart that what DT fans have come to expect from such excellent lyricists. Again, the bulk of the blame falls to Pettruci (and possibly Portnoy and LaBrie for not sending him back to the closet with a fresh piece of paper). Car wrecks, free-masons, writer's block, a count who 'scared' him on a trip to Florence? What's so painful is that the music behind these lyrics is absolutely phenomenal - I fear I'll be listening to the instrumental versions more than the normal one, just to avoid the embarrassment of the lyrics. Portnoy's tribute to his father aside (The Best of Times), it's very painful to compare most of the themes and lyrics to past gems, or even to Systematic Chaos, which was already the weakest album lyrically thus far. Even the conclusion to the Recovery Suite (The Shattered Fortress) feels tacked on, thrown together, and retreads too much familiar ground, even for a finale (there's simply no comparison to "One Last Time" from SFAM, or the finale of SDOIT). I'm not sure what's happening here, but it is disappointing at best, frustrating at worst.

I wish DT was a band I could listen to for the music only and ignore the rest. Fortunately, these guys are usually "the whole package" - music, lyrics, images, artwork, live shows, attention to detail, great concepts, etc. When another band falls short in one of these areas, I tend to give them a pass. Maybe DT deserves one after 10 albums and 20 years, but it's difficult to let them off the hook two albums in a row for the same crime when we know how much more they are capable of.

My recommendation - get the 3 disc set. If you can tolerate the lyrics, good for you. If not, there's always the instrumental version to tide you over until the next LTE release. Regardless, DT deserves all the respect and awe given them by their fans, and it would take much more than bad lyrics to put me off buying anything they did. I'm just trying to be fair in my review, and hopefully my love and admiration for the guys shines through the criticism (can you tell it pains me to criticize them at all?).

For the past month, I've been counting down the days to the release of Dream Theater's 10th studio album, Black Clouds & Silver Linings. This Tuesday the CD was released and I have been listening to it nonstop for the past few days. As Dream Theater is my favorite band, I have very high expectations for their music. Despite my high expectations, this album does not disappoint in any way. The album has six tracks ranging from Wither (5:25) to The Count of Tuscany (19:16). As someone who loves long, well-written tracks, I am quite delighted to have 4 tracks longer than 12 minutes.

A Nightmare To Remember
The album begins with a peal of thunder and the distant sound of haunting piano melodies. Soon the whole band comes in with a slow and epic opening and then breaks the music down for a more progressive groove. The lyrics tell a very emotion-filled story of agony and pain. After a while, the dark and heavy mood of the music lightens significantly as James Labrie recounts the man's experience. One part of the song has some very beautiful layered vocal harmonies--some of the most memorable that I have heard in any of Dream Theater's work. All the transitions are seamless and smooth, the story builds very well, there is lots of musical variety from section to section and there is exceptional use of the various melodic themes and motifs. One section even uses a blastbeat, which is quite unexpected given Portnoy's usual drumming style.

A Rite of Passage
As the album's single, I listened to this track a lot before the album was released. Singles are often hit-or-miss and so I wasn't sure what Rite of Passage would sound like in the context of the album. Having listened to the entire album quite a number of times, I am quite happy with how this fits in the rest of the album. This track has a very deliberate pace and excellent use of stereo sound placement. Both John Petrucci and Jordan Rudess pull out all the stops on their respective solos. Petrucci uses the entire range of the guitar and lays down some insanely complicated note flurries. Rudess has fun experimenting with different sounds and uses a really unusually tasty patch for the final part of his solo.

Wither
This track feels like the most unique track on the album. In some ways, the music and lyrics both remind me of a couple tracks on Falling Into Infinity. Wither is definitely one of the most pop-rock flavored songs they have written in quite a while. And yet, rather than sounding generic and ordinary, the execution is actually quite incredible! The mixing definitely brings the bass and keys to the front of the mix and lets the guitar sit in the background a bit more than some of the other tracks. John and Mike sing a few notes of really tasty vocal harmonies during the chorus, which is one of my favorite things about the song. While the song starts with a very mellow and minimalistic sound, it builds and adds some amazing layers, climaxing with a short, yet powerful, guitar solo. The string parts add more depth and power to the song as it grows in intensity. James Labrie really shines with his expressive singing, which clearly stands out throughout the entire song. Despite being a very short track compared to the rest, I have to say that Wither is definitely one of the strongest selections of the album.

The Shattered Fortress
Beginning with a driving rhythm guitar line, The Shattered Fortress shifts the album into high-gear and delivers a powerful and rocking track from start to finish. It concludes the Twelve-Step suite that Mike Portnoy has been writing for the last 7 years, which follows the story of his rehabilitation from acoholism. This album and the last four each have one track with 2-3 movements of the suite. Both musically and lyrically, this track concludes the suite with style, heart-felt emotion and incredible musical composition. As the final track, The Shattered Fortress recapitulates and exands on parts from each of the previous tracks, including both musical and lyrical references to The Glass Prison, This Dying Soul, The Root of All Evil and Repentance. With nearly all of the references, The Shattered Fortress changes the melodies and lyrics in such a ways that new meaning is added and even the melodies are modified slightly to give things a new feel. The resulting conglomeration is something that simultaneously feels new and familiar. A brilliant conlusion to a heavy and powerful suite.

The Best of Times
Beginning with a very mellow piano part and featuring Jerry Goodman on the violin, this track is really pretty and has an overall happy feel to it. This song was written by Mike Portnoy in memory of his father, who died at the beginning of this year. This song is melodically driven and the melody switches between the guitar and the keyboard, resulting in a very nice blend of sounds. Jordan's string parts are very written and performed, and I really enjoying hearing such a different sort of sound compared to his usual keyboard parts. The guitar solo near the end of the track is more slow and expressive than most of Petrucci's solos, although he certainly is unafraid to show off his virtuosity with some classical-inspired licks and some impressive sweep arpeggios and flawless trills.

The Count of Tuscany
Weighing in at 19:16, this track is quite a progressive masterpiece. There are a wide range of different sections ranging in sound from mellow guitar arpeggios to complicated progressive riffs. Some parts of the songs are driving and powerful, while others are more expansive and deliberate. On the progressive side, Mike Portnoy lays down some complicated grooves over odd time signatures. John Myung has the opportunity to show off his bass skills with a tricky melodic bass groove in the middle of the song. One section of the piece is very spacious and open, creating a nice period of rest and beauty with some lovely sustained notes on the guitar. The lyrics tell a story of an experience John had, and as such it is very interesting to see how the story progresses and ends. The music follows the lyrics closely in the mood they convey and the emotions they express. The energy builds up somewhat as the song finishes, but doesn't reach for a high level of intensity, and the album ends with peaceful outdoor nature sounds.

Summary
Taking into account all factors, Black Clouds & Silver Linings is an incredible album. It is brimming full of creativity, with a emphasis on emotion-filled lyrics and compelling storytelling. Though some bands sound very similar from album to album, Dream Theater has crafted a unique sound with Black Clouds & Silver Linings, with music and lyrics that are quite distinct from any of their previous albums and yet are creative and fresh in their own way. Starting out very dark and heavy, this album definitely takes the listener on a musical journey, eventually ending with a happier mood and a very peaceful album outro. During the course of the six tracks, each member of the band has a chance to shine and display their own individual creativity and musical virtuosity. The production is absolutely flawless, as there is never the slightest faux-pas or section where an instrument is too buried in the mix. Each track has it's own defining moments and all of long tracks bring such an energy that they never feel tedious or repetitious. As a whole, Black Clouds & Silver Linings is a musical delight from beginning to end. I am thoroughly satisfied and look forward to enjoying this amazing album for years to come.

Let me start off by saying, I am a die hard Dream Theater fan. I will continue to buy every one of their studio albums, live discs, bootlegs, DVDs, etc. I've been a fan ever since Images and Words was released back in 92. However, with each release after Six Degrees of Inner Turbulence, I find myself having been slightly let down every time.

Musically, I think that Petrucci and Myung continue to evolve with each album as they are both in prime form. LaBrie is solid as well. But with Portnoy and Ruddess, it is more of the same. More over the top drum fills, more pompous key solos with that annoying 'dive bomb' thing at the end, and more TERRIBLE Portnoy vocals. While I can ignore these things for the most part (Portnoy's vocals on SDoIT's 'Glass Prison' actually were cool and I could deal with them on occasion) the one thing that really detracts from this album (and every album from ToT on) are the lyrics. It's a shame really because Petrucci/Portnoy have proven in the past that they can write some amazing lyrics (A Change of Seasons, Voices, etc). But they seem uninspired these days.

The lyrics are particulary terrible this time around. For all its' epicness, The Count of Tuscany just comes off really cheesy. It is based on real life events that Petrucci encountered a few years ago. Maybe if I were to hear his story in person, I might get a better sense of why he was so frightened, but the lyrics just come off sounding so overly dramatic. I mean seriously, you listen to the song and think, "really John? So they took you to a castle, told you some ghost stories to give you the heebie jeebies and you really thought you were gonna die????" Gone are the days of I&W, Awake and ACOS. I attribute this to the fact that Portnoy/Petrucci have discouraged Myung from writing lyrics. I have always found his lyrics to be the most thought provoking and the fact that he wrote them prior to writing music really challenged the band to push their limitations. They've gotten lazy and as a result they try to fit lame lyrics/melodies into the music and it just comes off sounding cheesy.

I honestly think that in order to give DT the change it so desperately needs, they really need to have a producer guiding them instead of MP/JP co-producing and just stroking their already over-inflated egos.

It's a shame, this could have been one of their best CDs yet had it not been for such poor lyrics.

Where can I begin? I've been a Dream Theater fan ever since a friend of mine introduced me to "Images and Words." So I have had the great experience of listening to their music which is, without a doubt,beyond words. For me, "Black Clouds and Silver Linings" evoked undescribeable emotions; the same way "Images and Words" did when I first heard it. From start to finish, there is a roller coaster of feelings when listening to all the selections. I simply cannot put each song in a category of its own. There is just no way!! They grew onto a whole other level of musicianship and lyrical writing that I feel surpasses all the other albums. I was hoping that someday they would write like they did on "Images and Words." I believe that "Black Clouds..." is that album. It should really be given 10 stars. Beyond Words!!!!!

Of the last four albums DT has put out, Black Clouds & Silver Linings is the best. Since Train of Thought the band has been distracted from what they do best in favor of a harder, faster sound. Octavarium was the worst, since by the conclusion of "Never Enough" you realize you've just heard the same song formula (intro, verse, chorus, verse, shredding, chorus, outro) six times already, just with different lyrics and melodies (although the title track is a pleasure). Another problem I have with these latest releases is the obligatory ballad. Most of the album just seems like filler, something to whet the listener's appetite until it's time for the monster track to step up to the plate.

While some of DT's metal epics are fantastic (like "As I Am" and "Panic Attack"), compared to the band's best work, they sound too loud, too fast, too incoherent. DT's strength has always been the stand-out proggy stuff. You know what I mean: the 15+ minute song with the gorgeous, ascending rhythm that you have to wait in your car a few minutes after you get to work so you can hear the end. "Repentance," "Ministry of Lost Souls," and "In the Presence of Enemies" were undoubtedly the highlights to be gleaned from Systematic Chaos; the other four tracks are forgettable. As for Octavarium, the only track worth my time is the title track and MAYBE "Panic Attack." Why give any of the other songs a listen when these are so clearly better?

Well, of the six tracks on BC&SL, only two are forgettable: "A Rite of Passage" and "The Shattered Fortress." I regard "A Rite of Passage" the same way I regard "Home" from Scenes from a Memory: a decent song, but not a concert crowd pleaser like "Pull Me Under" or "Fatal Tragedy." As for "The Shattered Fortress," it's a disappointing closer to Portnoy's Twelve-Step Suite. It revisits the themes from the previous four entries and builds on them a little and adds some new licks which sound great. But there's too much more of the same. I believe history will judge "This Dying Soul" and "Repentance" to be the best chapters in this book.

"A Nightmare to Remember" is probably the hardest track on the album, but it's long and winding and broken in two halves by a gorgeous soft section. Furthermore, it follows that old DT tradition from Images and Words and Scenes from a Memory of using sound effects like a car crashing, ambulance sirens, and a beeping EKG machine to facilitate the story-telling. The song is dark and energetic and ton of fun. A great opener.

"Wither" is not the obligatory ballad you think it would be. It's actually very sweet and emotional. It's got a good, rhythmic drive that doesn't wear itself thin like "Forsaken." The lyrics are good and Petrucci has a good solo.

These two songs are great, but they're chickenfeed compared to the two monsters: "The Best of Times" and "The Count of Tuscany." The first is an upbeat eulogy to Portnoy's father, RIP. The lead-in theme is picked up by a piano, violin, and then an acoustic guitar. There's something anxious but at the same time celebratory and fulfilling about the melody. But what had me cheering in the middle of the song was how in sync the musicians were. It's the same harmony that destined the band's formative work to the Progressive Rock Hall of Fame. Petrucci closes the deal with an unforgettable fade-out solo.

"The Count of Tuscany" is without a doubt the album's best track. The moment DT laid it down it was destined to become a concert staple. The story-telling is excellent, the melody eerie and exciting, and before you know it you're at the midway point grooving to a Vangelis-like soundscape. After four minutes of flying through outer space, LaBrie accompanied by an acoustic guitar bring us back to Earth. Then an uplifting finale that resolves the story nicely. My only grievance with this song is that there may have been a better way to break up the rhythm changes than Petrucci and Portnoy repeatedly slapping their instruments as hard as they can.

As for the album as a whole, the singing is clear and the lyrics poignant. LaBrie sounds his sincerest since his debut with the band in Images and Words, and he stands out in "Wither" and "The Best of Times." Rudess is at times too bombastic with his shredding, especially in the bookend tracks. Myung's presence is still not what it was in the 1990s, but as is the case with bassists he's the most easily overlooked, and I'm sure without him the album would not have sounded the same. That said, BC&SL is prog rock excellency defined.

Let me preface by stating that I'm much more of a progressive rock fan than a progressive metal fan.. you music nerds out there know exactly what I'm talking about.. everybody who doesn't get it.. just forget about it and read on...

PAST::

Dream Theater, at one time one of my favorite bands of ALL time (Scenes From A Memory-era) lost favor with me starting with Train Of Thought... which I found to be too heavy and too one dimensional for my liking.. I've grown to love the album since, especially after seeing Live At Budokan, which really puts the TOT material in perspective and it all makes perfect sense. Hats off to you, Portnoy, for knowing this before I would know it.. anyway..

lets move on to OCTAVARIUM, which actually really impressed the hell out of me and is one of my favorite DT albums of all time (I especially LOVE the super-epic title track!!!)

Then came Systematic Chaos, which really tested my metal as a Dream Theater fan.. I seriously thought they had lost their minds and run amok on roadrunner and that the whole album was an embarrasing throw-away.. but upon further listen, MINISTRY OF LOST SOULS is freaking badness... and I never doubted that for a minute.. unfortunately.. besides MOLS and Constant Motion, the album is an embarrassing journey. The DVD that came after was even more embarrasing... with the band sounding like a poor cover-version of itself on horrible versions of amazing songs like Blind Faith... anyway.. I really thought they'd lost it, and I would never travel to see them again (like I had in the SIX DEGREES days) but then -

CURRENT DAY::

Dream Theater, my favorite band who seemed to have lost their touch in past years, drops a new album called BLACK CLOUDS & SILVER LININGS and it BLOWS ME AWAY!

Talk about a comeback of melody and strong keyboard performances... the 6 songs on the BC&SL album are an amazing statement from a band I had wrote off. Really, I had moved onto not-as-heavy bands like Frost.

Anyway, Black Clouds & Silver Linings is the best new thing from Dream Theater since the final notes of Octavarium played out... Let me go through each song to make this review as annoyingly inclusive as possible.

------------------------
A NIGHTMARE TO REMEMBER
------------------------
The song I've been waiting for Dream Theater to write since Scenes From A Memory... wow.. what a collection of great hooks to anchor amazing instrumental breaks... just - wow.. without a doubt, this epic song has some of the best melodies written by DT since SCENES ... I'm so happy to hear them experiment with key changes as they do from 5:00 on... the line "hopelessly drifting - bathing in beautiful agony" is one of the greatest prog melodies ever written.. the whole part from the first time they sing it until they sing it in a totally different key.. I LOVE THIS SONG! BRAVO! DREAM THEATER IS BACK! WOOHOO!

------------------
A RITE OF PASSAGE
------------------
Oh man.. this was the first song they released from the album, so I've been rocking out to this one for a while now.. I freaking love everything about it.. a big epic return to the Dream Theater that can write radio hits.. this is a freaking hit to be reckoned with.. bravo.. I freaking love every second of it. EVERY SECOND!

----------
WITHER
----------
A decent slower song.. it sounds very current though.. I wouldn't say it resembles the blatantly pop stuff from AWAKE, but it seems kind of a bit too radio-ready for my tastes. Still a good hook by DT's standards... I like it.

------------------------
The SHATTERED FORTRESS
------------------------
The conclusion of the mostly disappointing quintology about Portnoy's struggles with alcohol abuse.. okay I'm about to go music nerd madness on you.. skip ahead if you are weary...

1. The GLASS PRISON -
amazing intro to multi-part epic.

2. This DYING SOUL -
incredible instrumental breaks throughout.. this is DT at their collective best as far as chops are concerned (everyone reading this is HIGHLY RECOMMENDED to see the performance of this song on the LIVE AT BUDOKAN DVD.. oh my god.. they prove that they were at their tightest that year.. I get goose bumps when I watch the last half of the song on LIVE AT BUDOKAN.. much respect all around.

3. The ROOT of all EVIL -
I LOVE OCTAVARIUM, and this song really is mostly composed of original passages, and it opens my beloved OCTAVARIUM album, so I really love this one.. no further explanation needed.

4. REPENTANCE -
This song, like much of SYSTEMATIC CHAOS, is a mess of ideas gone wrong.. Petrucci saves it with an amazing solo... but the song is rather pointless otherwise.. get over the samples guys.. that's so not cool anymore.

5. The SHATTERED FORTRESS
May lightning strike me if I got that wrong.. anyway.. okay, THE GLASS PRISON is freaking awesome... and then THIS DYING SOUL is easily the best of all 5 parts... I've listened to them in succession, believe me.. I'm a bigger music nerd than you can ever dream of being.
THE ROOT OF ALL EVIL was a great fire-filled opener to the perfect OCTAVARIUM album (in my humble opinion). So the last two parts of this epic concept piece are REPENTANCE(REP) and THE SHATTERED FORTRESS(TSF), which I will address both here at once because they are both flawed for the same exact reason.. most of the song (especially TSF) is simply rehashing every riff from the songs that came before it.. though REP has one of the best Petrucci solos on that whole album.. so since this is a review of the BC&SL album, I should just point out that TSF is a very disappointing ending to a great idea.

-------------------
The BEST of TIMES
-------------------
Oh my god I LOVE this freaking song.. it's softer prog rock, which is the sound I prefer to prog-metal.. great hooks throughout - doesn't Styx have a song of the same name? anyway I don't listen to Styx past Cornerstone, so I don't know wtf I'm talking about.
Anyway this is a fabulous song from top to bottom.. around the time you get to this song on the CD, you start thinking (thank GOD they decided to concentrate on 6 songs instead of putting out another double digit mess like Systematic Chaos
I will always urge DT (if they even read these reviews) to TAKE THEIR FREAKING TIME! jeeeeez.. we don't need a new album every year, guys.. I mean, thanks for being prolific, but I'd rather you guys really concentrate on a small batch of songs for a few years even, like Spock's Beard does.

---------------------
The COUNT of TUSCANY
---------------------
When I first read the name of this song and saw the length, I hoped it wasn't literally a story about the count of tuscany... well it is... but fret not, DT fans, it's a great song.. I love every part of it.. it's very trippy, pink floydish, almost.. but it just sounds like DT and I LOVE IT... I absolutely adore Labrie's vocals from 14:45 to the end of the song... very raw and very good! I love Labrie when he nails stuff, and he does it throughout this whole album and especially this song... very tasteful stuff...

In closing, I need to say that this album presents a very grown-up DT... but they still sound so much more convincing and hungry than they did throughout their last album and live DVD..

This album really surprised me... I'd say BLACK CLOUDS AND SILVER LININGS is possibly a peer or even better album than my beloved OCTAVARIUM.

A masterpiece. As I write this, "The Shattered Fortress" is blazing out of itunes.

I have been a DT fan for years and thought some of their albums lacked that special something that hooked me in in the first place. I can honestly say Black CLouds rekindles what makes the band so special in the first place.

Let me start with a track by track run through.

1. A Nightmare To Remember - 9/10 - A truly epic song, very reminiscent of....well nothing really. To me this a mix of all their past styles with Petrucci shredding like no tomorrow and Rudess showing some masterful playing too. Absolutely brilliant.

2. A Rite Of Passage - 8/10 - When I first heard this I knew I would like this album. This is somewhat of an archetypal DT single which follows a simple structure and ten has something extra thrown in, insane guitar and keyboard work, and then return to form. Excellent.

3. Wither - 8/10 - An excellent single and is more melodic than other songs on here, it reminds me of a more musical Vacant.

4. The Shattered Fortress - 9/10 - This just plain owns. If you liked "This Dying Soul", "The Glass Prison", "Repentance" and "The Root of All Evil" then you will like this....probably becuase riffs and motifs from those songs comprise this with some extra stuff thrown in for good measure. The thing is it works REALLY well. A fitting end to Portnoys AA saga.

5. The Best Of Times - 7/10 - The slightly upbeat and happier song of the album, Portnoy wrote this for his father and played it to him before he died. It is very good, follows a farily simple (I use fairly lightly) structure and shows some good flavour to the album. As much as I do like this track I feel it is the weakest on the album (which is not saying much becuase they are all good).

6. The Count Of Tuscany - 10/10 - At first I thought this was odd, why did people think it was like "A Change Of Seasons"? Then it hit me, this is a 2009 revamp (technically). This song is staggeringly good, cool lyrics, atmospheric, with a beautiful and balanced opening and an absolutely fantastic ending. This song encompasses all that is Dream Theater and is essentially a story in itself. Easily one of my all time favourite DT songs and a joy from start to finish..

The 6 covers are excellent and Stargazer especially is brilliant, but Rainbow were awesome anyway so theres no way it was'nt going to be good. The Queen mix is fantastic, Larks Tongues In Aspic Pt II is phenomenal and so is Take Your Fingers From My Hair. I would easily recommend getting the special edition one, the cover songs are THAT good.

To summarise I will say that Black Clouds has far more emotion than any other DT album I have heard and in my opinion this is among their best work, if not actually being their best. As a band they just continue to evolve, but here they show that they truly are progressive and can cater to anyones' needs.

There is something for everyone on this album, the newbie looking to start and the seasoned DT veteran. You simply cannot go wrong.

Well done guys.

I recently saw Dream Theater live in Melbourne Australia. They are without a doubt the best band I have ever seen live. After the set I had a greater appreciation of Black Clouds and Silver Linings. They opened the concert with A Nightmare to Remember which has to be one of the best opening songs then they closed with The Count of Tuscany. While these were definite highlights of the live gig, songs such as Wither, The Best of Times and A Rite to Passage are equally as good on this album. Each band member is near the peak of talent for their respective instrument and are each fantastic to listen to.

This is possibly the best album they have released, which is great when so many bands that have been together for as long as Dream Theater tend to become repetitious and stale. I can't wait for future album releases, and also hope they continue to release covers of the diversity and quality of the 6 that are also on this album.

Fans should also try and get the EP version of Wither, with the demos versions of Wither (sung by John Petrucci) and The Best of Times (sung by Mike Portnoy).

I have nothing but praise for the last two albums from Dream Theater. The music has been amazing and singing is top notch. And if it weren't for a couple of slips here and there, I would have rated this a 5. To me it's all about the music and this music is so right on. And, for the most part, they don't go too far jamming endlessly which has kind of bugged me in the past. A solid 4.5 stars!

Member for member, there is not a more talented rock ensemble on the planet-period. This band doesn't have a weakness or bottleneck, and can play many styles of music with exceptional competence. What an amazing feeling that must be as a musician to have no limits creatively and musically. What is more impressive is that their musical prowess seems to become more interesting and complex with each addition to their catalog.
The problem I have is that, with the last couple of releases, I haven't been able to connect on an emotional/artistic level with what they have been doing. It just seems they are more about a technical demonstration of ability, and the music has become more sterile and clinical as a result. When the new compositions reach for an emotional reaction from the listener, it seems that they miss or, as some have mentioned, tend to be over-the-top and cliche. As people have noted, the lyrics on this cd seem uninspired and this may be part of the problem. However, for me, the music itself lacks inspiration as well this time out. It seems the compositions are simply a structure or background to bounce solos and intricate rhythms off of.
Despite this, I will continue to line up and be one of the first to scoop up the next cd release and the one after that. It's worth the price to hear these great musicians play together . I love this band and can only take one star off despite my criticisms. Maybe all they need is a break from the constant grind before the next studio endeavor.