Black Clouds & Silver Linings – by Dream Theater
Amateur Review by Christopher Carl
A Nightmare to Remember 16:11
A Rite of Passage 8:36
Wither 5:26
The Shattered Fortress 12:49
The Best of Times 13:09
The Count of Tuscany 19:16
As a primary leader of progressive metal since their introduction with When Dream and Day Unite back in 1989, Dream Theater has pioneered the genre itself, its complicated rhythms, conceptual albums, and overall kickass music. Their latest production, Black Clouds & Silver Linings is no exception. While admittedly not their best production thus far, with only six tracks and no long-duration suites to iconize this album, it is still packed with well written music, its melodies, harmony, and lyrics are top notch, just as expected from Dream Theater.
“A Nightmare to Remember” was written by John Petrucci, the guitarist, describing a “nightmarish” event that had occurred when he was a young boy. While coming home from a wedding, the perfect night at the time became eclipsed with a car crash that had injured all of his family, including himself. Fortunately no one died, yet this memory, as he is articulating in the song, is portrayed with such intensity (“Bathing in beautiful agony”). The song starts heavy up until around five minutes, leading one to believe that the rest of the album is similar to this song, yet the listener notices that the lyrics and music during the “aftermath of the crash” section lifts the mood into a lighter state. As it would turn out, its beginning is similar to “As I Am” from Train of Thought, and the riff “explodes” if you will after a softer introduction. Throughout all sixteen minutes, the music is split between a dark beginning, followed up by light sections, and finishing off dark for the listener to continue onto the next song, A Rite of Passage. This song is well written, a definite to be liked by metal and progressive fans, and is likely not going to be a favorite live piece. It’s definitely starting to grow on me!
“A Rite of Passage” is a much more arbitrary song as far as intention goes, as it deals with Freemasonry, the secretive, privileged group that none of the band members are a member of. This song has been used as a promotional tool since its release in May, and is the first “single” of the album. The first riff of the song is contrary to “A Nightmare to Remember”, and instantly grips you, leading you to guess where the entry of the entire band comes in. The song starts dark, ends dark, yet it is not to be dismissed as a purely metal piece, as the refrains are all very chorus oriented. When James LaBrie enters at 0:57, the effects placed over his voice are honestly cool and heavy. 1:50-2:24 contains likely the first chilling section of the song, and of the album. I find it is one of the finest refrains that Dream Theater has done yet. 4:52 starts the breakdown sequence, and lays the foundation for face-melting solos by Jordan Rudess and Petrucci during live performances, similarly to 7:33 in “The Dark Eternal Night” back in Systematic Chaos. The song ends with the refrain, followed by a repetition of the opening riff, and a predictable ending. “A Rite of Passage” is an excellent piece, an instant addition to the grand list of awesome singles, and perhaps the second best song on the entire album.
“Wither” is without a doubt the “ballad” of the album, a necessary inclusion of every Dream Theater album to date. This song, written by Petrucci, details his experience with writer's block. Also a single, it’s only five and a half minutes, perhaps hinting that he had writer’s block while writing this. Ironic? Maybe not. Throughout the song, the mood is kept light and optimistic, similar to other ballads in the past like “The Answer Lies Within”. This song is likely to be played a lot during Dream Theater concerts to give the players a bit of a break from ball-breaking riffs, and to invigorate much crowd sing-alongs. While this in and of itself is not a bad piece, this is not the best song on the album either, and likely to be skipped on my iPod when I set it to shuffle.
“The Shattered Fortress” simply cannot be understood by listening to that and that song alone. It is part of Mike Portonoy’s Twelve-step Suite consisting of songs from previous albums starting with "The Glass Prison" from Six Degrees of Inner Turbulence, and finally ending with “The Shattered Fortress” from Black Clouds & Silver Linings. Mike Portonoy wrote the lyrics portraying his involvement with Alcoholics Anonymous, trying to wean himself off of his alcoholism through the use of the AA’s Twelve Steps. This song in a few words is just awesome. The lyrics are nostalgic of all of the themes and words of its preceding songs, particularly “This Dying Soul” from Train of Thought and “The Root of All Evil” from Octavarium. These themes recur throughout the song, and for those who have heard all of them, this song is a wonderful conclusion to this five song suite. Interestingly, the song ends with the playing of the beginning of “The Root of All Evil” and “The Glass Prison”, effectively ending the full suite the same way it began, perhaps symbolizing that alcoholism is an ongoing process for so many people. “The Shattered Fortress” is likely to be played many, many times during the coming years, and is going to be forever attached to the Twelve-step Suite every time it is played. Perhaps this song is the third best on this album, a true Dream Theater creation.
For Mike Portonoy, this album probably has a very, very deep and significant meaning. Throughout the album’s production in 2009, his father, Howard Portonoy, was battling cancer and died just after hearing the song dedicated to him entitled “The Best of Times”. This song starts off incredibly solemn, definitely symbolizing Mike Portonoy’s deep grief for his “idol’s” death, yet I believe no lyrics were put during this section in order to emphasize that although he is in deep sorrow, this song is for their good memories together, “the best of times” he has ever had. The songs beginning lasts fairly long to emphasize his intense feelings, but at 2:55, Petrucci screams on a riff that immediately snaps one out of a sorrowful state, and into a state of incredible nostalgia, feeling the happy feelings that Mike Portonoy had, and still does. The mood immediately shifts and continues on that path, listing off all of the great, few memories that he could squeeze in these verses, describing that his father was much like an idol who introduced him to his adult love and passion of music, and the happiness he felt while with him. 5:33 delves into the instant when both Mike and his father knew that time was running out, and when the doctor said that Howard would soon die due to his cancer. The mood then shifts into a sort of regretful state, saying that even though their remaining time was well spent, he still whishes that more could be done. 8:02 begins the final section of the piece, and the most touching parts of the piece. Here, Mike thanks his father for everything that he had ever given him, including his many smiles, his unconditional love, and his own life. From then on continues an entourage that shows great emotion and energy in melody-themed solos, and the part at which when I first heard it, and often when I continue to hear it, I weep. The piece is a phenomenal attempt by Mike to bring some sort of lasting gift to honor his father’s memory, and will likely be done repeatedly at live shows just because the music is that well written, and is such a testament to Mike’s love for his father. Mike wants his legacy remembered, and if possible, perpetuated. “The Best of Times” is perhaps the second best piece if not the greatest on this album. Rest in Peace, Howard Portonoy, for bringing your son into this world; for us to enjoy your legacy, and your son’s talent.
“The Count of Tuscany” is perhaps the only song on this entire album that resembles an icon to this album, and for good reason – it is a masterpiece of true progressive music. Any hardcore progressive metal lover will instantly recognize this piece as a true classic to be enjoyed. Many of the elements that were successful in bringing the “Six Degrees of Inner Turbulence” about have resurfaced again in this song, which partly makes this so epic. The story is that of Petrucci visiting Tuscany and a count who lived there, and hearing legends of him, scarring him to death, only to find that they were all myths. The lyrics are very, very well constructed and are easy to follow, somewhat reminiscent of both “Octavarium” and “Six Degrees of Inner Turbulence”, and greatly contributes to this song. In mention of “Octavarium”, this song includes a keyboard riff at 2:36 that parallels if not exceeded that of “Octavarium’s” keyboard riff at 12:15. It is absolutely surreal and is an instant ear pleaser, if you know what I mean. At 5:52 the refrain is absolutely chill. It is an awesome piece of work that is an instant live performance rouser. 7:30 begins a section of lyrics that in my opinion are rather funny, talking about a legend in which soldiers of the ancient past hid themselves in, then ultimately perishing in barrels of wine in the count’s basement, And immediately afterward, the Count offers Petrucci some vintage wine saying that it is “improved with age”. Hmm. 11:42 begins a section of the song in which Rudess plays a Lap Steel guitar similar to the opening of “Octavarium”, simply outlining the melody for the rest of the song. Very slow and lacking much accompaniment besides chords, it is done to introduce the melody, to make it familiar, and at the same time make the rest of the song more epic. A simple, uninspired action that sounds so cool on first and subsequent listen and not noticed is so typical of great Dream Theater writing. 14:17 begins a 12-string guitar section that in my opinion is reminiscent of “Solitary Shell” from the “Six Degrees of Inner Turbulence”. This section leads in very gently into the conclusion of the song where the Count realizes why Petrucci is afraid, dispels the legend, and Petrucci comes to understand the Count of Tuscany. 16:02 begins the epic ending to this song, rivaling that of the Six Degrees, and chilling to the bone for those who love Dream Theater, a true classic. This song is going to be the finally to every Dream Theater concert for the Black Clouds tour, and I can’t wait to hear it myself. It is an epic song, with an epic ending, an epic story, and leaves me wanting more. Definitely the best song on the album.
Unfortunately for the band in my opinion, their production of Train of Thought back in 2003 has scared the members of Dream Theater if you will, leaving a metal taste in their mouths. Octavarium was their redemption for many Dream Theater fans, but Dream Theater fell back to metal themes in Systematic Chaos, still retaining some of their “Octavarium” epic qualities. Black Clouds & Silver Linings is as Portonoy has said, a mixture of “A Change of Seasons”, “Octavarium”, and “The Glass Prison” for sure, and was not a bad album at all. In fact, for Portonoy, this may be the most important album he has ever helped to create. This leads us to wonder what is in store for us next time. Maybe Dream Theater will forever follow in the footsteps of Train of Thought, or maybe they will take on after Octavarium’s success? Perhaps both.
This album deserves great acclaim, and I believe that the professional reviewers will definitely give it. However, this album did disappoint me to a small extend, after all, I don’t feel satisfied with only six awesome songs. I would love to hear more of this album, but there is none, except on the second disc filled with cover songs. My hope for the future is that of a longer album, with a consistent epic feel to it, but every album has its up and downs. That is for certain. But for now, Dream Theater, you have still kept the Dream alive in me. I can’t wait for the next concert, so I may jizz myself once more!
Bottom Line: Get this kick ass album!
Best Songs in Order:
1. The Count of Tuscany
2. The Best of Times/A Rite of Passage
3. The Shattered Fortress
4. A Nightmare to Remember
5. Wither
Black Clouds & Silver Linings Rating: 9.0
