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Class 6(66)
Dream Theater: Metroplis pt.2 - Scenes from a memory
25/06/10 || InquisitorGeneralis
Introduction
Oh noes, another Dream Theater review on Global Domination by the Inquisitor! What the fuck has gotten into the water at the offices of GD headquarters? Don’t blame me, new kid on the block and tulip-humper deluxe Altmer started it with his excellent review of “Images and Words”. I’m just following in his large, wooden-shoed footsteps! “Scenes from a Memory” was released and a critical point in Dream Theater’s career when the band was going through both internal issues with the departure of keyboard player Derek Sherinian and external problems with the band’s label that almost caused drummer and leader Mike Portnoy to nerd rage and quit the band. In the end, however, Dream Theater got through all of the bullshit and created an record that effectively revived their career and has not been topped since.
And as much as you may despise prog-metal and all it stands for, “Scenes from a Memory” is a excellent album that combines exceptional musicianship, songwriting, and lyrical content into a unified and extremely successful finished product. It’s less metal than “Images and turds” but a more complete effort and overall, in my opinion, a better record. Oh, and it is a concept album based off of the song “Metropolis Pt.1: The miracle and the sleeper” from “Images and Words” so if you slobber all over that record there is a solid connection between the two.
Songwriting
10. “Scenes from a Memory” has some of Dream Theater’s most creative and distinct songs. From faster numbers like “Strange deja vu” and the incredible “Beyond this life” to heavier, more plodding tracks like “Home” and the expected ballads “The spirit carries on” and “Through her eyes”: this record runs the entire spectrum of Dream Theater styles and does each one near perfectly. Fuck me, I even like the “Regression” intro with the hypnotism crap and wimpy little acoustic song that follows it. This is bad news, I am sure I will be drinking Merlot and discussing post-modern dance in near and disturbing future.
While there are moments where the band gets a little too experimental, a little pompous even, the quality can not be denied. Plus, you get two excellent instrumentals with extremely different feels: “Overture: 1928” is the hard rocking, epic opener while the übertechnical “The dance of eternity” reflects the chaos of the storyline in the middle of the album. More on said storyline in a bit. Back to the asskicking: “Home” and “Beyond this life” are definitely the best songs on here. Both featuring multiple tempos and sections combined with excellent guitar riffs and drumming courtesy of Petrucci and Portnoy.
Production
10. Production is rarely, if ever, and issue for Dream Theater and “Scenes from a Memory” is no exception. Every instrument is clear and distinct with nothing lost in or overpowering the sound. It sounds fucken awesome, what more do you need to know?
Guitars
10. John Petrucci really shines on this one. He gives a complete performance with lots of excellent riffs and the expected virtuoso solos. Thankfully he keeps the whammy bar wankery to an acceptable level and on songs like “Strange deja vu” he focuses on the song more than the solo. There are too many stand-out moments of his on “Scenes from a Memory” to point out here. Even his playing on the cheeseball ballad deluxe ““The spirit carries on” is awesome.
Bass
9. John Myung has always torn up the bass with classic Asian stoicism. He is easy to lose behind LaBrie’s giant head and hair, Rudess’ keytar, Petrucci’s Kung-Fu finger shredding, and Portnoy’s 173 piece drum kit. While his playing has a bit more overall impact on “Awake” and “Images and Words” you can still tell on “Scenes…” that he is quality player and combined with Portnoy makes up and monster rhythm section.
Drums
10. Mike Portnoy has serious drumming chops: even those who hate Dream Theater can admit this. On “Scenes from a Memory” his playing is solid and not insanely flashy… for him. On the heavier numbers his throw in some solid double bass work and his big-time fills are found all over the place. Obviously, he stands out on the more metal numbers but even on the slow stuff his skill is evident. Portnoy’s only better performance is “Images and Words”. His performance here though gets a 10 because it is the perfect combination of the heaviness of “Images and Words” and the more progressive, artsy shit found on “Awake” and “Falling into Infinity”.
Keyboards
8. This is a special section found only in Dream Theater Class6(66) entries! Jordan Rudess really adds a lot to the band and manages to incorporate keyboards as an essential but not goofy or obnoxious part of the band’s sound. His soloing on “Beyond this life” is exceptional and he really does function as a second guitarist… or keytarist to be more exact. The only other bands I have ever heard with a keyboard player that I do not think are absolute shit are Faith No More and Mushroomhead so for me to enjoy it, it has to be top notch. Again, the dude plays keyboards, keytar, and the finer-pad-whammy-bar thingy and does not suck.
Vocals
7. People love to hate on James LaBrie and believe me, I understand. He’s a goofy motherfucker who belts out high-pitched epic metal vocals. On “Scenes…” though he does find a nice medium between the older, more operatic sound of early Dream Theater material and the heavier, more metal feel of his vocal work on 21st century records the band has released. While I am sure this decreases my penis size, I really like the chorus to “Beyond this life” and think it may be the best vocal moment on here, especially when it leads into the massive keyboard and guitar solofest. While I do not love the vocals on here, I could not image anyone else but LaBrie providing them. He does not push the register too high or, in the opposite direction, does not try to be too hardcore.
Lyrics
8. “Scenes of a Penis” tells the story of some dude who has dreams and visions about being a chick. No, this is not a biography of Daemonomania (who is not really a chick but certainly has a mental vagina) because it turns out the dude in the story really was a chick who got murdered by a jealous lover back in the 1920’s. This may sound stupid, and it kind of is. Surprisingly enough though, it works and even though this is not the kind of subject matter I immediately look for in my metal albums it is creative and different and the band manages to successfully tell the story without getting to repetitive or bland.
Cover
9. This is one of DT’s better covers and reflects the album’s themes of conflicted identity and memory. I think it is supposed to be an amalgamation of male and female faces to represent the story. I like it and it is probably their best cover to date.
Logo
6. While I do not expect the logo for Dream Theater to have a bunch of inverted crosses, grim reapers, and dead babies in it I am still not overly impressed by the one on used “Scenes from a Memory” and most other DT records: it looks kind of artsy and mystical. I don’t hate it though. Fuck, I’m confused. Fuck, who really cares.
Booklet
N/A. Sorry, I am a total wanker and bought this on iTunes. Hey, at least I did not throw it away. Is that dig getting old yet? Because I certainly plan to keep on twisting that knife into a certain someone’s back.
Overall and ending rant
“Scenes from a Memory” is a classic: not as highly rated as some other classics I have covered but still a great record and my personal favorite by the band. I can listen to it easily all the way through which is some I can’t say about other records like “Awake” and “Images and Words”. Everything on here clicks: from the extreme variety between songs to the concept story. I like this record more and more as time goes on and is something that I certainly can not say for any other DT records. It really is good so give it a try and leave your preconceptions at the door. You know there is a dead chick inside you just waiting to get out and put on some granny-panties.
- Information
- Released: 1999
- Label: Elektra
- Website:
- Band
- James LaBrie: bocals
- John Myung: bass guitar
- John Petrucci: guitars, vocals
- Jordan Rudess: keyboards, choir arrangement and conduction
- Mike Portnoy: drums, percussion, vocals
- Theresa Thomason: additional vocals on “Through her eyes” and “The spirit
carries on”
- Tracklist
- 01. Scene One: Regression
- 02. Scene Two: I. Overture 1928
- 03. Scene Two: II. Strange Deja Vu
- 04. Scene Three: I. Through My Words
- 05. Scene Three: II. Fatal Tragedy
- 06. Scene Four: Beyond This Life
- 07. Scene Five: Through Her Eyes
- 08. Scene Six: Home
- 09. Scene Seven: I. The Dance of Eternity
- 10. Scene Seven: II. One Last Time
- 11. Scene Eight: The Spirit Carries On
- 12. Scene Nine: Finally Free
