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Dream Theater are surely the dictionary definition
of Progressive Metal. Never on the radio, certainly
not always cool, but constantly packed with enough
technicality and skill to rewrite any textbook, the
quintet are such masters of their respective
instruments that their combined force is nothing short
of awesome.
With Live At The Boudokan being only their second
DVD release from a back catalogue of nigh on two
decades, it's easy to tell these guys like to put
together a proper package, and my word haven't they
done just that. Comprised of two discs, with well over
three hours of footage (150 mins of that being a pure, unadulterated live set), a documentary, enough geeky
rig footage to keep the most ardent techie satisfied AND loads more extras, this collection is a fan's
dream.
Opening with the brutal As I Am, the band's
breathtaking heaviness drives their Japanese
supporters absolutely wild. John Petrucci riffs away like
his life depends on it, Mike Portnoy displays exactly
why he got inducted to the Drumming Hall Of Fame this
year; and when all of this has happened before a single
lyric has been sung, it is obvious that you are in for
a treat. Nine minutes later, having left the stage for
the other band members' customary solo slots, vocalist James LaBrie wails into
This Dying Soul proving that his uncanny resemblance to a rounder-faced
Dave Mustaine isn't just confined to looks.
With Hollow Years, Petrucci strays very close to
the cheese factory that is Gary Moore's Parisienne
Walkways, but more than redeems himself with four
solos - one soft, one delayed, the third with
distortion and the final one, a metal shred session that drives
the crowd insane.
War Inside My Head demonstrates the reason for
their self-adopted "neo-classical" label, with LaBrie
warbling away like he wishes he was Pavarotti.
Meanwhile on the epic (aren't they all?!) Endless
Sacrifice, Jordan Rudess, John Myung and Petrucci drop breakdown
after breakdown, with synchronised solos from the
guitar and keyboards that are tighter than a cat's
arse.
Myung truly comes into his own on the rather
spiffing Instrumedley (cheesy? No!?) as he taps Steve Vai-style away on the fretboard of his bass, making it
look like it requires about as much effort as stirring
his herbal tea. During New Millenium he brings on his
Chapman Stick (a 12-string bass for those who are
uninitiated!) and proceeds to further contest Jaco Pastorius' crown as The Bass Master.
Apart from keyboardist Rudess describing the group as
all being virtuosos of their own instruments, which
should ALWAYS be left to people on the other side of
the fence, one of the most impressive qualities to be
found on the second disc is Dream Theater's level of
humility.
Yes, they can play at technically dizzying
heights that most of us could only ever dream of
reaching, but there is a genuine sense of appreciation
from them at being allowed to widdle away on their
instruments for a living thanks to the hoards of
enraptured fans. It's this kind of attitude that has kept the band going so successfully for the past 19 years. Hopefully it will continue to for many more years to come.
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