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.

  share with:  Facebook | Digg | other sites