Metropolis, Part 2: Scenes From a Memory
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4.13 | 160 ratings | 16 reviews
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Album · 1999

Filed under Progressive Metal


1. Act I: Scene One: Regression (2:06)
2. Act I: Scene Two: I. Overture 1928 (3:37)
3. Act I: Scene Two: II. Strange Déjà Vu (5:12)
4. Act I: Scene Three: I. Through My Words (1:02)
5. Act I: Scene Three: II. Fatal Tragedy (6:49)
6. Act I: Scene Four: Beyond This Life (11:22)
7. Act I: Scene Five: Through Her Eyes (5:29)
8. Act II: Scene Six: Home (12:53)
9. Act II: Scene Seven: I. The Dance of Eternity (6:13)
10. Act II: Scene Seven: II. One Last Time (3:46)
11. Act II: Scene Eight: The Spirit Carries On (6:38)
12. Act II: Scene Nine: Finally Free (11:59)

Total Time: 77:11


- James LaBrie / vocals
- John Petrucci / guitars, backing vocals
- John Myung / bass
- Jordan Rudess/ keyboards
- Mike Portnoy / drums, backing vocals

- Jay Beckenstein / saxophone on Through Her Eyes
- Theresa Thomason - additional vocals, backing vocals
- Mary Canty / additional backing vocals
- Shelia Slappy / additional backing vocals
- Mary Smith / additional backing vocals
- Jeanette Smith / additional backing vocals
- Clarence Burke Jr. / additional backing vocals
- Carol Cyrus / additional backing vocals
- Dale Scott / additional backing vocals
- Terry Brown / hypnotherapist
- David Bottrill / Edward

About this release

Label: Elektra
Release date: October 26th, 1999

Thanks to Time Signature, Vehemency, Pekka, adg211288 for the updates

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Has anyone here, like me, ever liked a band a whole lot in the past and over time acquired a lot of the CDs in their discography, listened to them really enthusiastically at first but gradually less and less choosing other music over them almost not wanting yet still somehow thinking they're better than certain other bands until finally you stop listening to them altogether and your CDs just sit on a shelf collecting dust? Then, you come across them again a while later, give them a refreshing listening, and say to yourself "Wait a second! I don't like this!" That is exactly my experience with Dream Theater, and Metropolis Pt. 2: Scenes from a Memory was the first album by them that I acquired. As it turns out, I think it's their worst.

All the alarms that went off that started to get me think this album isn't as good as I thought it was all went off one at a time over time. I believe the earliest was for the lyrical themes; and to be frank, the story this album follows fucking sucks. Some dude undergoes hypnotherapy for reasons that never are really explained. All I can gather is that he's wondering what his own life is about, which I don't believe should warrant the hiring of a hypnotherapist. Just realize that life has no meaning and nobody is going to miss us when we're all dead; a philosophy like that makes for a happy life. But, he goes through with this anyway and he experiences a past life as a woman who's stuck in a love triangle dilemma with two assholes who happen to be brothers. This story goes nowhere interesting and only ends with two of the three characters dead; a happy ending would have all of them dead, probably from suicide from realize that they're living inside a soap opera. I also don't understand why the dude in the present just had to go back to relive a stupid drama like this. Surely if he had traveled back further in his reincarnation history, he would have come across a Spartan, pirate, viking, or even a prostitute. If this soap opera is the most exciting past life he could get, his other lives must have been filled with Arabian carpet merchants, Irish sheep herders, and Indian garbage men.

Alarm number two came from James LaBrie. I really cannot stand the guy's voice; he sounds like a woman even when he's not trying to be the voice of the woman character in which case such as in the first "Tonight I've been searching for it" part in "Strange Deja Vu" in which he sounds really, really bad. But you know what? LaBrie's voice goes pretty well with the cheesy shitty lyrics, and these two together go well with the crappy music on this album. Crap goes really well with crap and crap, and this leads me to the third alarm that went off which took longer to be heard than before, but after a while I finally realized how poor the music is. Regression is a useless intro that plays into another intro track, "Overture 1928", which contains music that sounds like it was stolen from the opening theme of a show on Home and Garden Television. It's this soft, shitty rock garbage that plays into the first song with lyrics "Strange Deja Vu". From there, the band makes a couple of attempts at a darker sound with two lame results: "Fatal Tragedy" and the horribly bloated, chug laced "Home". "Through Her Eyes", "One Last Time", "Through My Words", and "The Spirit Carries On" are the worst of the worst here where the album is at its softest and most flowery.

And you know what? I feel bad for John Petrucci. The guy can obviously play a couple of good solos. The catch is that they're surrounded by this HGTV themed nonsense so he'd might as well be the guitarist from Men Without Hats. This feeling is not mutual for Mike Portnoy. I have no idea why this blue-goateed twelve stepper is praised so much when there is so little about his drumming performance that is at all special. Nothing he does here stands out.

After a bloated soft rock piece and some sounds of the modern guy walking into his home, you hear this "WAKE UP!" announcement, convenient for those of you who fell asleep listening to this album.

Now, it would be a bit of a far shot, but I believe that this train wreck could have been avoided if they made some of the following improvements during production. First, the lyrics would have to be completely rewritten. This precursor to Twilight is a lost cause, might as well scrap the whole story and begin anew. I'm sure if Dream Theater still wanted to make an album about a guy going back to a past life, they could write up a story about one of his ancestors discovering an elaborate plot concocted by the Knights Templar to take over everyone's minds, so he assassinates key members of this order to deconstruct their plans. You know, a story that actually had meaning instead of something that only spineless support group wankers can appreciate. This would be a key change in the album's turn out considering they'd definitely make the music more interesting instead of matching up with a shitty story. Second, James LaBrie would need to be dumped from the line-up. Bring in Russel Allen or someone else who actually sounds like his gender; I just say Russel Allen because he's had a history of singing about epic tales. Third, you bring in a second guitarist to play rhythm guitar. With the added depth of sound, maybe they can ditch a lot of this soft rock sound and actually write a few interesting riffs. It couldn't be Michael Romeo or anyone else who would greatly overshadow John Petrucci though. Wouldn't want to demoralize him even further. These changes would help pave the way to a more acceptable album.

As it stands now though, Scenes From a Memory is a boring album that should be avoided. This is an album that I used to really like, so you can't say that I didn't try to like this. But that just goes to show how pathetic I was in early high school before growing up and getting myself a booster shot of pride and self-esteem. Now, this album doesn't mean anything to me but bad music that is unfortunately considered to be good by a large number of people.

DREAM THEATER's fifth studio album is their best one up to that point in my opinion. I would only rate "Train Of Thought" higher when it comes to their studio recordings. Enter Jordan Rudess who had been playing with Portnoy and Pertucci in LIQUID TENSION EXPERIMENT. This is a long album at around 77 minutes and it does lose some steam for me near the end. In fact i could do without the final two tracks, but overall i still have to give this a solid 4 star rating. Cool to see they recorded some of this at Metal Works Studios in Toronto which is owned by TRIUMPH's drummer Gil Moore. The Toronto theme continues with Terry Brown helping out as well. This is a concept album with a fairly complicated story-line. "Home" is my favourite track as Portnoy and Pertucci really shine. Without question this is one of DREAM THEATER's best.
What can I say about a true masterpiece? If I were to list the top 10 Progressive Rock albums EVER...this would be in the top 5. I would want to put it at #1 myself, though in the end historical perspective would win over. However, this is perhaps the most important album in the history of Dream Theater, as it was the point in which they finally made some headway in their careers. This is a brilliant masterpiece of musical storytelling, with musical themes being reused and expounded on. On top of this, the complexity is amazing. I actually bought a book of Dream Theater scores, to see if it would help me figure out the time signatures in The Dance of Eternity. Even with the book in front of me, I just can't count it. And I LOVE this piece for that very reason! Absolutely, without a shadow of a doubt, 5 stars.
Dream Theater make something of a comeback on Metropolis Part II: Scenes From a Memory, which also sees Jordan Rudess join the band on keyboards. With three quarters of Liquid Tension Experiment onboard, you expect a certain level of technical flashiness, and personally I feel the band take this a little too far, often showing off for the sake of showing off rather than because the compositions demanded it or because it was necessary for their narrative. Also, much of the time the cheesy spirituality expressed through the music and lyrics simply turns me off - The Spirit Carries On, in particular, never fails to make me gag. However, if the daft story doesn't put you off and you like technically flashy prog metal, you may as well give this album a shot.
Well, whats there to say about this album? Way to much actually. It's a story, an experience, it's the music, and the words. It's a perfect combination of all of the things metioned. The album has without doubt the best production out of all the DT albums ever made.

The music itself on the album is like i said before amazing. It's a great combination of story, and incredible musical highlights, as can be heard with Regression and Overture 1928, which is a smooth transition between story and incredible musicianship. And so the story carries on, and after a few tracks we get to the "nightmare" MP once called it, called Dance Of Eternity, which is one of the best and most interesting pieces DT has ever written. After that we move into The Spirit Carries On, which proves DT can write and record awesome, simple ballads. The song is without the highlight on the album, after this we close the album, leaving a great feeling, and the feeling that you just need to listen to it again. 5 stars, without doubt.
Time Signature
The spirit carries on...

Genre: progressive metal

"Metropolis, part 2: Scenes from a Memory" is a concept album telling a complex story of love, life, death, the psyche, rebirth and cosmic connections between people. "Typical progressive pretentious lyrical bullsh*t", you might say. Well, if you do not like that, then that is fair enough. Personally, I think that the lofty concept suits Dream Theater's complex music very well.

"Metropolis, part 2: Scenes from a Memory" is one of Dream Theater's very best albums for my money, and it is teeming with music which is pretty much epitomic of progressive metal, blending progressive technicality and comlexity with recognizable melody. Some of the stringer tracks on this album are "Fatal Tragedy" with its (in)famous shrink-n-grow section, the heavier "Beyond this Life" with its catchy choruses, "Home" and "The Dance of Eternity".

Any progressive metal collection that lacks this album is an incomplete one.
Conor Fynes
'Scenes From A Memory' - Dream Theater (10/10)

The best progressive metal album of all time...Or maybe the best metal album of all time period? For a good 70 minutes, these masters of heavy progressive music unfold a tale of murder and mystery, and some of the greatest music I have ever heard. Almost everything is flawless and perfect with this album. Theres nothing I've ever heard that's of quite this quality and inspiration.

What we have here is artwork on two layers. The first (and most apparent) is the music itself. Dream Theater pulls every trick in the book on this album. When they were first conceiving of this album, they opted to in essence make 'the most prog album they possibly could.' In this attempt, they created a masterpiece that perfectly blends complexity with memorability, melody with progression and emotion with intensity. From gut-wrenching piano ballads to incredibly progressive instrumental sections typical of the band's repetoire, this album has it all, and as it result, it enjoys great cohesion and a feeling of completion.

The second layer is that of the lyrics. While alot of lyrics of Dream Theater (especially the ones on the later releases) are incredibly cheesy and detract from the music, the words sung by LaBrie on 'Scenes From A Memory' actually serve a purpose, and are done incredibly well. The music tells a story that -considering it is only told through lyrics- is incredibly complex, and each character is relatively well rounded, and intriguing. (The summary of the concept is a bit hard to go through on a review, but believe me when I say it has it's merits!) By the end of the album, theres a feeling as if the listener has just watched a film; as if the album was merely the soundtrack to a grand tale.

From the brilliantly composed tech-pieces, to the gut wrenching Floydian ballads, this album is one of the most complete pieces of music ever written for the metal genre. While the album is certainly as good (even better) than the band's classic masterwork 'Images And Words,' this album requires a much more focused listener to appreciate to the fullest.

I bought this album on the last day of elementary school, and years later, after hundreds of listens, I still enjoy it greatly, and find my love of the album constantly renewed with each fresh, exhilerating listen.

'Scenes From A Memory' is about as essential as you can get, and a favourite of mine for years.

Scenes From a Memory is the Magnum Opus of Prog metal legends Dream Theater and I must admit I first heard this on the brilliant live Scenes from New York 3 CD epic. I had become quite used to the way it was played live so it was quite a surprise to hear the variations on this studio recording. The first thing I noticed was the incredible production and how clear the audio is in comparison to the live version. The transitions between songs works exceptionally well and the copncept is stronger with the spoken narrative. The way the CD ends with the 'wake up' call is chilling and is an excellent denouement to the overall story.

Highlights are the wonderful Learning to Live and the last 5 tracks that blend together in a masterful symphonic multisuite movement.

It is definitely one of the best the band has to offer along with Images and Words, Octavarium and the amazing classic 6 Degrees of inner Turbulence. One of the best prog metal CDs you will ever hear. Deep lyrics, complex time signatures and an encapsulating concept - this is pure bliss and a must if you love progressive metal
Phonebook Eater

"Scenes From a Memory" is one of the best prog metal albums of all time, that contains the perfect prog metal sound.

After almost ten listens, after so much effort for trying to appreciate this album, I now consider SFAM one of the greatest prog metal albums of all time. Certainly they were a couple of songs that I loved immediately, ( all the heavy ones). I just couldn’t get the ballads and the slower songs, such as “Spirit Carries On” and “Finally Free”. Now I realize how perfect this album really is.

In 1999, after a few albums behind them, Dream Theater release their ultimate masterpiece, a landmark album for progressive music and most definitely for metal music generally speaking. It’s a concept album, with a complex story of love, past lives, and murder. A little cheesy, if you ask me: in fact, what really made the album in my opinion was the music itself.

All the heavy songs have outstanding musicianship and technique, without even exceeding, excellent, catchy melodies, mind blowing time changes and odd time signatures: basically the perfect prog metal sound. The ballads (The Spirit Carries On, Through Her Eyes) have a touching, heart warming melody, nice vocals by James LaBrie, and some good experimentation here and there. I really don’t understand how I didn’t get them previously.

The structure of the album, since it is a rock opera, is unique for rock music: divided in two acts, which are divided as well in different scenes ( nine scenes in total, five in Act 1, four in Act 2), being in this way similar to a classical opera. There’s only one interlude, which means that the band at the time had many ideas and didn’t need too many fillers. Although, as it happens many times in concept albums, some melodies, ideas, riffs, are repeated pretty frequently, even though they’re always slightly different than the original. I never liked much this songwriting method typical of concept albums, but this album, as well as Phideaux’s “Doomsday Afternoon”, “Quadrophenia” and “Tommy”, makes an exception.

Everything starts with the ticking of a clock, followed shortly by the psychiatrist, one of the story’s characters, speaking. Soon after, an acoustic guitar plays along with James LaBrie a soft, warm melody that reminds Pink Floyd’s “Pigs On A Wing” a little. This Is “Regression”, the intro of the album. The Overture is fabulous. Who could have known that in only a few minutes something like this! Like all overtures, this one is instrumental, with many fast tempos, some slowdowns, some excellent virtuosity, and, of course, a nice, singable chorus.

“Strange Déjà vu” is connected with the Overture, so it seems like it’s one entire song (they form the second scene). The first three minutes are formed by the Overture’s main theme, although this time vocals are present. It’s incredible how a song can remain amazing even adding to it another instrument, or vocals. After the “Overture repetition”, there’s a new part, unbelievably catchy and cool. The song gets slower towards the end of the song, so it can connect to the following song, “Through My Words”, the calm, one minute interlude.

“Fatal Tragedy” has an original theme, a lot more different: an intriguing verse, played also with the piano, other than the guitars, a catchy, slow chorus, and a mind blowing second theme towards three quarters of the song: a complex keyboard driven piece, probably one of the highest moments of the album.

“Beyond This Life” is one of the long songs (eleven minutes). For almost the whole song they keep the same, catchy and heavy riff, even this time completely original. There’s also a nice, calm chorus, and a great bridge towards the end of the track. Another highlight of the album.

“Through Her Eyes” actually is the only 100% ballad of the album. It is always calm, relaxing, with a nice warm melody, very accessible and singable. Despite these things, though, this is the song that I prefer the least, since it also took me a long time to appreciate it like I do now.

I always loved the following track, “Home”, the longest of the album (almost thirteen minutes). Like in “Beyond This Life”, it maintains always the same riffs, with of course some variations, such as time changes. Interesting the sitar used every once in a while, as well as the sound of a woman having a sexual intercourse that comes out at half time.

“The Dance Of Eternity” is one of my favorite DT songs. Definitely their best instrumental song ever. So many time changes, so many mind blowing solos, it just always gives me a grip. All of the musicians are at their highest peak: Portnoy’s complex drumming, Myung’s lightning fast bass solo, Rudess’s amazing rag time piece, and, of course, Petrucci’s shredding action. A must listen to for whoever plays an instrument.

“One Last Time” is a semi ballad, very short, but with a brilliant chorus. Here we can find some repetitions from previous themes.

“The Spirit Carries On” was the song I hated for so much. Now I love it. Probably because it has a very simple, kind of cheesy melody, but after a while it grew on me. Now it even gives me goosebumps! Brilliant chorus, especially when the gospel choir comes in, bringing it to a whole new level.

“Finally Free” was also a downer for me. Just like the previous track, it grew up on me. It’s twelve minutes long, and, just like the other two long songs, it almost alays maintains the same riff and melody. Exception made when the chorus of “One Last Time” is repeated. After almost ten minutes the music stops, and we hear some noises, like a TV, or some footsteps, and, at the very end, the sound of a radio with no signal.

As a conclusion, I repeat that it took a long time for this to grow up on me, but now, it finally did. A masterpiece, an essential album for whoever loves prog rock and metal: your music collection will be incomplete without “Metropolis Pt.2: Scenes From a Memory”.
his is not only Dream Theater's most overrated release, nor is it prog metal's most overrated release. Metropolis Pt. II: Scenes From a Memory may be the most overrated album in all of prog, period.

Could it be because it's a concept album that many beleive it could be the greatest musical achievement of all time? Or could it simply be because it was Dream Theater's "comeback" album after the release that dissapointed many fans: Falling Into Infinity. Whatever the reason, musically this album has very little going for it. If anything, Scenes From a Memory is just standard modern prog rock, there really isn't anything fresh about it.

The overall sound of the album is pretty cheesy. This is mostly a heavier prog album, there are very few 'metal' elements in this album. The synths and piano are drawn to the front, and John Petrucci's guitar is rarely overly distorted, giving the album a largely melodic feel. Labrie's vocals are probably the most prominent in this album than any before, though that probably isn't a good thing, since it gives attention to some of the cheesiest singing Dream Theater ever pulled out of their bag along with some pretty awful lyrics. Let it be noted the concept in the lyrics is nothing special, it is a pretty standard story about love, betrayal, and murder. Also mixed into the album are soundclips, which don't do a whole lot to enhance the music.

There are good points of the album, though. Overture 1928 is an excellent intro and gives a great showing of the themes that occur in the rest of the album. Also a killer entry to the album is the lengthy "Home", containing heavier riffs than the rest of the album and an interesting Phrygian modal hook. "Home" is also notable for reviving the melodies from "Metropolis Pt. 1: The Miracle and the Sleeper" and integrating them into a darker heavier song. Using reocurring themes is something Dream Theater has almost always been good at.

However, other than those two songs, the album has little going for it. "Fatal Tragedy" starts off promising enough, but the refrains are incredibly generic melodies and contain completely pointless time signature changes. "Beyond This Life", although energetic takes forever to get the point across in the verses, and the obligatory noodly instrumental section is nothing but a whirligig of weird synth and guitar solos a la Petrucci and Rudess. "The Dance of Eternity" has the potential to either make fans adore it with it's insanely complex playing, or absolutely despise it with the complete over-the-top technicality. There is even blatant generic pop music on the album: the songs "Through Her Eyes" and "The Spirit Carries On" (though the latter does contain an excellent guitar solo). Dream Theater doesn't even bother to come up with a decent closer, because "Finally Free" is a mishmash of soundclips and lyrics thrown together so the ending of the story would make sense, ending up in a complete anticlimax.

There you have it. Scenes is nothing but standard Dream Theater. While it does have an interesting flow through the concept, and more than a few good moments, they hardly make up for the complete cheesyness and the negative side of when Dream Theater goes too far technicality-wise. Dream Theater fans will of course get it, and new fans of modern prog may get it, though they should keep in mind that it may not be the masterpiece many consider it.

Members reviews

Guitar wankery at its worst. First off,the guitar player, Mr. Petrucci is a very skilled player but he just makes it seem like a joke on this album. I wish he had the balls to really dig deep to make something truly innovative and worthwhile. Second, The song writing is terrible. The storyline is not engaging at all as it is too repetitive(we get it, someone died and its a tragedy, geesh how many times do you have to repeat that).I happen to think that it is one of the most overrated albums that there is Metal and Prog.The music on here is obviously played by very capable and competent musicians but they turn this into a pure cheesefest. What in the world is Ruddess doing on Beyond This Life(wtf???).That song alone really makes me really not like this album.I couldn't really finish it all without wanting to stop it already. Guitar and instrument wankery at its worst
Coming back to this album in order to write a review, I must say I ended up enjoying it much more than I remember. Of course, it's full of great prog metal songs, with "Overture 1928 / Strange Deja Vu" and "Fatal Tragedy" being excellent songs, and "Home" and "Finally Free" being among the best songs the band has to offer (the later offering a big climax ending to the album, full of emotional shifts and all). There is also "Beyond this Life", wich has been the song that has taken me longer to apreciate and the one I have been enjoying more this time around (though I still think it's a step lower than the previous songs). However, "The Dance of Eternity" is one song I still can't get into, just a bit too messy and full of fast and technical playing just for the sake of it. On the other hand, what for me dragged down the album mostly were the ballads, which I must admit still are the lower point on the album, but they are better than I remember... well, at least they are not annoying as other DT ballads, still nothing particularly special (except for "One Last Time", which I really do enjoy a lot, with the "Metropolis" musical theme and all). A really enjoyable album, specially if listened to as a whole piece of music instead of isolated songs.
Dream Theater's label destroyed their plans and made out of a promising record a mostly cheesy and commercial trash called "Falling Into Infinity". Now, with a new label and a new record the band put a lot of ideas they had for the last record and had to dismiss into this album. Instead of just completing and rerecording their brilliant second part of Metropolis, they decided to create a whole record around this topic and simply called the album "Metropolis part II: Scenes from a memory".

I think that the whole album doesn't entirely have the magic of the first part of "Metropolis". I must also admit that I really enjoyed the promising demo version of "Metropolis 2" and would have prefered this one to a whole album about the topic. There are a few weaker tracks on this record, especially the ballads and more quiet songs like "Through Her Eyes" in the beginning of the album. But this album is still in my ranking of the five best Dream Theater records and even in my top three albums of the band.

Now, let me explain you why. First of all, I think that the whole concept is interesting, well elaborated and sounds somewhat like a modern progressive conceptual album in the key of a "Operation: Mindcrime" by Queensryche. The lyrics and the story are really addicting and easily create images or ideas in my head. Second, this album is quite diversified and contains somehow the quintessence of what Dream Theater is able to achieve. Soft ballads with dreamy keyboard sounds and soft and smooth vocals ("Fatal Tragedy"), epic progressive tunes with many surprising changes like spoken word passages, epic solos or jazz interludes ("Finally Free") and fast and yet very well developed rockers ("Beyond This Life") can be found on this record but because of the cinematic story line, all those songs are well and logically connected and create something consistent. That's why this album has a flow that the last two records before this one didn't have. Third, I really admired the first part of "Metropolis" which is probably my favourite Dream Theater song of all times and I was particulary happy to hear some elements of that classic in songs such as the atmospheric instrumental introduction "Overture 1928", the very progressive instrumental "The Dance Of Eternity" that even has some jazz influences or the amazing "Home" that is the best song Mike Portnoy has ever written for the band and that surprises with a strong riff and some exotic Asian folklore influences. This track is one of my favourite Dream Theater tracks of all time along with "Metropolis Part I" and "A Nightmare To Remember". This epic and inspiring masterpiece "Home" is an important turning point on the record because there are only amazingly strong songs after this one in the second act while there were a couple of a little bit overlong and uninspired tracks in the first act. The track "Home" can be described as the core or the heart of this record as the band put all its energy and creativity into this song that is able to be interesting and diversified over ten minutes long.

If Dream Theater ever had a weak point, than it would be the singer James LaBrie that is delivering "only" a good job on this record while the musicians create magic moments and show all of their talent throughout the whole record. That's maybe why especially the instrumental tracks are amazing and memorable on this record while the quiet ballads that focus more on James LaBrie only seem like some rather boring breaks between brilliant instrumental sections to me to elaborate the story and background of this opus magnum. The story plays a very important role on this record and it is really a well elaborated, addicting and intellectual story that the band worked out but all of this is nothing in comparison to the brilliantly shining musical performances on the record. That's why this record is as well brilliant for more intellectual listeners that attentively read the booklet as well as for the typical fans of progressive music that just close their eyes and listen to minute long guitar solos, vibrating bass lines, tribal drum loops or exotic and folkish keyboard sounds. This album is clearly nothing for a metalhead that awaits some straight, heavy and easily addicting tracks like the band created later on the heavier and darker "Train Of Thoughts".

It is a very entertaining and stunning experience to listen to this album which I consider as a modern progressive metal masterpiece. Anyone that liked the first part of "Metropolis" will admire and must have this record. The first part was like a brilliant preview and this new album is now like the complete movie and this is a blockbuster of modern progressive metal. It begins rather slow paced after a bombastic introduction with some soft fillers before the tension rises and leads us towards a stunning finish. That's why I can really recommand this album to anyone that likes conceptual albums or progressive rock or metal music but not blindly to the masses.
When you suck the soul out of music and inject pure liquid cheese this is what you get. I gave this band and this album a chance, against every fibre of my being I had to battle to force myself to listen objectively and form an unbiased opinion.

I couldn't do it, I couldn't make it through they are my musical kryptonite. In my holy church of music they are satan himself rampaging, killing, raping - they are the one band above all others I love to hate.

Where to begin, James LaBrie's vocals sounds like a piece of wilted lettuce. The keyboards sound like early 90's MIDI sounds straight out of an old PC game (not in the good way either). I mean these guys have sold millions of albums so they MUST have enough money to afford some decent synths and keyboards but instead they CHOOSE to use awful tacky ones. And then there is the loathsome John Petrucci who when he's not doing some awful thug chug riffing is doing some ultra-lame lightspeed sweep picking solo. On the plus side the other guys aren't so offensive. Mike Portnoy is alright I guess, just a boring Neil Peart wannabe and then there's that bassist guy who doesn't do a lot.

The instrumental track 'dances of eternity' is a great example of why I think this band are awful. Sure technical and progressive can be great but this is just forced and completely misguided. I mean pianee breakdowns followed by a shred solo, followed by a bass solo followed by 2 dozen riffs that don't flow into each other and make no sense? - seriously, did they teach you that at Berklee? All it needed was LaBrie to come in with some girly man vocals and it would probably be my most hated track of all time.

I am entirely unapologetic about hating this band and this release. Every good music fan needs one band they can truly loathe and sit back and laugh at every now and again.

If you don't love cheesy music then avoid this at all costs.
Unprecedented Excellence

Arguably my favorite album of all time, Dream Theater presents their only concept album, SFAM, and it is truly amazing. Regression kicks off the album the way an epic concept album should start. Overture 1928 can pretty much sum up the entire album in itself with a great feel to it, having insane solos and really flows well from Regression into Strange Deja-Vu, another awesome song. Through My Words, Fatal Tragedy, and Beyond This Life also seem to just stream right through, revealing more of the story with a very dark feel. Through Her Eyes is really emotional and the music in it is simply amazing. Home starts off rather dark and becomes quite heavy. It has an amazing solo and the chorus parts are extraordinary. The Dance of Eternity may very well be my favorite instrumental of all time, with so many time changes and wonderful solos, this song rocks. One Last Time and The Spirit Carries on are truly beautiful, with such a breathtakingly beautiful atmosphere to it, the songs have so much heart. If Regression was the best way to start off this concept album, then Finally Free is even a better way to end it. The story comes full circle in this song, which ranges from really emotional and dark to hopeful and optimistic for the future. There is no other way to describe this album other then saying that it rocks as much as something could rock, and then some. The story is amazing, the music is unexplainably skilled, and the vocals fit in perfectly with all the different tones of the CD. Highly recommended to anyone who has any taste in music.

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