progshine Dragonforce is the perfect band for the 00 generation, the generation that already born with computers and cell phones.

Why I say that? Simple! Sonic Firestorm and all their discography, is like a computer joke, a Ctrl+C Ctrl+V in every well known song by every well known power metal band from the 90's, but of course, with a little 'speed' up, cause you know, it's like a picture nowadays, withouth Photoshop it's not a real picture. Way more cool if it's really fast.

It's funny how in the end of the day, great 70's musicians like Ritchie Blackmore turn out to be the 80's Yngwie Malmsteens and they became Stratovarius and Gamma Rays in the 90's and were followed by Dragonforce in 00's.

It would be really funny if it wouldn't really tragic.

progshine A great surprise! I wasn't expecting that much of a first record from an unknown band.

7 Months, released back in 2001 is full of good moments, good compositions and good tones in the instruments (let down of 9 in 10 first records in the Progressive World), and I liked a lot of Joe Booe vocals.

The record is full of influences, but the good part is that they are not copying anyone. But sometimes they sounds like the swedish band A.C.T and maybe a little bit of Journey.

I've downloaded thie record for free on they Jamendo profile, I tried to find the link, but couldn't, can't say if they erased it or not. But you can listen their both records on the Bandcamp page the band have and you can buy both records for $5 each. (7months.bandcamp.com/).

Highlights: New Age, Change and Say Goodbye.

progshine I'm reviewing this as a Metallica release cause, well, it seems like one Metallica release with 3 good guests (not trying to bash the other bands, not at all, you'll see on the review).

Anthrax: Great show full of energy, you can see the joy on the band members faces, also, Joey Belladonna vocals are pretty in shape, specially for a 50 years old man. The fact all of them are using the same t-shirt is very nice, shows the unity of the band, no egos involved, one for all, all for one and a good metal show. Rate: 4

Megadeth: Dave gathered great musicians, they're not really new (but sounds as a one man band with guests). Guitars and bass (David Ellefson is one of the great metal bassists ever) are great. But what the f**k is his voice here? What Dave's trying to do with all that falsettos? Is a pain to watch him singing. And he seems worried and nervous the whole show. I never really watched Megadeth live, so I can't say if he's always been like that. Rate: 3

Slayer: The band hit the stage and their hardcore/thrash/metal fast sound comes right to your face. Kerry King accessories (braces and chains) are a little too much on my opinion, but so are the Jeff Hanneman boots xD But their guitars models are very cool. I do like Slayer and they were the one I wanted to see most, but on stage they look like a prog/hardcore/thrash act, cause it looks like the same song over and over. But still, they have great energy, still 'angry' after all this time and Tom Araya's voice still great. Rate: 4

Before Metallica hit the stage a couple of interviews about the Dio death, all of those guys are fans, for sure.

Metallica: Of course they are the 'big brother' here, playing doubled amount of time than the other bands. And you can say whatever you want to say, but few bands can put up a show like these guys do. They made every penny worth. And James Hetfield is singing better than ever, and in a crooner kinda of microphone xD Trujillo is always a fun scene, walking like a 10 pound Gorilla on stage. And I'm sure I'll never like Lars drumming. And every days that passes one idea comes to my mind stronger and stronger, I really would like to see a James solo album, he would do some serious good thing alone, for sure. But, they'll not have a bigger rate for me, cause of one thing, the show IT IS great, but it's the same show over and over the past 2 tours, same songs, same sequence and even James using the same words with the audience. Rate: 4

All in all, it's worth to watch, with a beer on your side will be even better, even if you do not drink (like myself) xD

progshine People are funny, really funny. The ones called 'trolls' are all over the internet. You can't make anything different cause they'll complain, but if you release the same record every year... they'll complain as well.

I've been never a Metallica fan, always thought Load better than the Black Album, ...And Justice For All better than Master Of Puppets and despite the fact I don't like it, I do understand St. Anger. Never been a Lou Reed fan as well, just heard the 1972's Transformer and I don't like Velvet Underground, yeah, maybe I'm not the best one to listen Lulu, but, who cares?!?

What made me listen this record, that is still available for streaming (www.loureedmetallica.com/listen-to-lulu.php) was the fact that something different was being made on our tired musical world.

For me, the only thing that is really awfull in Lulu are the drums being beated by Lars, but, at this point, everybody is used already to his terrible drums.

Some of the songs here are quite too long and James definitely had to sing more cause he have a very good voice and Lou sounds too tired for me (maybe the years are being really heavy on him). Metallica at the end brought some very good riffs and great melodies, but, really, nothing really outstanding, fantastic or original.

The album as a whole, is very experimental, and if you open your head, and really stop to listen it, not just play it as a soundtrack while you 'troll' someone on Facebook or Twitter, it's possible to find a lot of good moments, even not being an album for all moments But of course, the silly Metallica fans that will eternally have 15 years old (even if they're 40) will not do that. They'll just say it's the wors thing ever. Maybe the Lou Reed fans get it.

progshine First album of this brazilian band.

I was expecting a bad production here, but no, it's quite a good production for an independent release and the first of a band. As usual, the only bad point in the recording is the drums sound, which, I'm used to it, drums it's hard to get a good sound, at least it seems like that.

The highlight on the record are the vocals by Marcus D´Angelo who also plays guitar.

The sound in this first record, released in 2000 is pretty much based on the Sepultura's Max Cavalera era. In fact, A LOT of their sound can be found in here. Some Korzus as well, including Marcello Pompeu from Korzus, as a special guest on one track.

Vocals both in english and portuguese, a good combination, some feeling, some technic.

It was the first album I've heard from the band, and I'm looking forward to listen the other ones, cause if they follow the same path, with a better production and get rid from all that Sepultura background, the next records must be very very good.

progshine OK, ok, I admit, I was just curious cause I knew their background on the 70's was kinda Progressive Rock influenced.

And ok, ok, I admit again, I never liked Scorpions, they always seemd to me too much 'fake' as a Hard Rock/Heavy Metal band, and even more on the late 90's/00's.

I didn't liked Lonesome Crow (from 1972), so I was kinda worried when I first start listening this 1974 Fly To The Rainbow, to begin with, the cover, a very bad one.

The sound here, it's hard rock driven, with a lot of space rock influence (specially on the final track 'Fly To The Rainbow' a rip off Pink Floyd 70's era), and all in all, not bad. But of course, wasn't the 'Progressive Rock' album I was looking for, even knowing was just a little influence.

'Fly People Fly' is another good track, and 'Speed's Coming' is a great Rock n Roll. 'They Need A Million' brings some latin rhythms, not with percussion and etc, but on the tempo. 'Drifting Sun' is the Hard Prog of the album, a good track as well.

All in all we have a ok album, above the medium, but not that high, so 3,5 stars is the note for me.

progshine Now I know how a band will sound like if a frog join it as frontman....

Dui, Dui, Dui, Dui.....

Ridiculous.

The 1 star is for the band, I mean, the instrumental section of the band, that is very good indeed, brutal, clean, and loud, very loud, but there's no way I can listen to this guy singing, it's so annoying, it's just like a parody.

That's why people make fun of Brutal Metal in general, because of bands just like this one, they, at the end of the day, ruined a whole genre inside the metal music, and for example, if someone never heard Brutal Metal properly and listen to this one... enough of Metal to this person. EVER!

progshine Well, Opeth, always divided me!

I mean, I like their progressive side, really like it, but I don't like the gutural vocals, even known that is part of their sound, their 'personality', it's always bothers me a little.

The album, is their best till that specific moment (1999) and here we have a variety of sounds, lot of acoustic guitars, some keyboards, and background vocals here, there and everywhere, which makes a nice contrast with the gutural vocals and the heaviness of the band.

I guess it's the favorite of a lot of people because of this, variety in sounds, combining two very diferent worlds: the heavy and the melodic!

progshine Hummm, this isn't fast, but isn't slow as well. That kind of 'indecision' bothers me a little bit.

Jon Oliva's vocals also bothers me a little, sometimes over the edge with some 'screaming' stuff, sometimes with no 'feeling' in his voice, something like 'Stay'.

Some nice guitar work from Criss Oliva, but nothing really outstanding. A good intro bass line on 'Legions'.

But I have to say 'White Witch' is a really good track, nice tempo and good chorus! The 'Iron Maiden like' 'Devastation' is a good track too! Also we have the fine version to 'In The Hall Of The Mountain King' wich became the name of the album as well.

In the end a good album, but nothing really incredible.

progshine I've heard the single from the new album (at that time), 'Far Cry' just a month before the record come out, and to my surprise was a great track, after a record of covers, Feedback (which is fine), and several compilations and live albums, breaking its history to record a live album every 4 studio albuns, the band became active again with Snakes & Arrows, back and well. The album was recorded in just two months in New York in November and December, 2006. Snakes & Arrows have a high quality level, in the same line Vapor Trails (2002) bring to us, especially in their heavier guitars in some parts, which is very good, since Vapor Trails is also a great record. Geddy played some keyboards here, even though still shy, but that wasn't happened on Vapor Trails. I hope he played more on the album they're recording.

The album booklet is simply brilliant, Hugh Syme who works with the band since 1975 made an amazing work on the illustrations.

Listen carefully to the opening track 'Far Cry', which is strong and carries the Rush's signature of quality. 'Workin' Them Angel' the third track is a semi-existentialist ballad with great bass line and superb melody. 'The Larger Bowl' has a unplugged feel, which is a little explored part of the band, unfortunately.

Snakes & Arrows also has 3 instrumental tracks, which did not happened for some time in their discography, but unlike most bands who have their instrumental songs extremely annoying (and I do not like instrumental music, with rare exceptions) the band has always managed to compose instrumental tracks in such a way that we could all sing the melody together. In this one we have 'The Main Monkey Business" with its eastern feel,'Hope' a solo piece by Alex on guitar (superb) and 'Malignant Narcissism' with a great bass line.

'Bravest Face' is another highlight. 'Good News First' is a brick on your window. And to finish with style 'We Hold On'.

It's always great to see bands like Rush, who age with dignity in our musical world.

In 70's, 80's, 90's and althought a little 'unpresent' in 00, Rush's was always been a power in Rock history! Thanks God!

progshine And here we've got somethink I call 'evolution', it's nice to hear bands and artists that can evolute throughout their career.

The first album I.N.R.I. is childish and poor with a weak production and a bad musicianshipe. Here in their second record Rotting they've got some good musical production and nice arrangements, still far away from a really good record, but they get near with this one.

In my opinion it's a ladder the band climb up, cause their next one The Laws Of Scourge is probably their best.

Brazil don't have too much tradition on heavy bands, (despite Sepultura, Angra and Ratos De Porão), so it's good to hear good albuns released here.

progshine Always thought that some of the obscure metal bands kinda 'weak' for me, but I'm curious so I'm always listening to a lot of different styles, bands and albuns.

The record, well, what can I say, this record is humour to me, I know that a lot of people really take it serious, as a lifestyle, but for me, my personal vision, is hard to listen some things here and don't laugh, like 'Desecration Of Virgin' for example.

But, one thing we have to agree, this is part of the Brazilian metal music scenario, at a time when what we call BRock was all around, so imagine a band like Sarcófago doing their heavy sound while bands are all going new age. It's part of the metal history here. But it's kinda screwed up for me! ;)

progshine Interesting mix, I'm not a speciallist but they call it 'Melodic Death Metal'!

I listened to Death Metal, Progressive Metal, Power Metal and maybe some Trash metal influences on the album.

Vocals alternate all time from clean vocals and harsh vocals, guitars shredding a lot at some moments, some synthetizers here and there, some chorus a la Power Metal. Hard riffs, quick drums, bass can't be heard if you're not an 'expert' like in a lot of metal records.

Not an unblievible album in my point of view, but there's some really interesting moments and yeah, you can listen it from beginning to end without boring yourself, it's enjoyable.

I think the only annoying part is the beginning of the last track 'Ghost Prototype II: Deus Ex Machina', too much 'melodic' for me.

progshine I'm a Rush fan, no doubt, no wonders, no nothing, I love them, period. Just said that:

First: A very funny movie!

Second: Sam Dunn really knows how to make documentaries, once I liked Metal: A Headbanger's Journey I was pretty sure he was a right choice to show Rush like they deserved in this Beyond the Lighted Stage.

Third: Affirm and shows to the world that Rush is one of the greater, interesting and full of integrity bands that showed its face on this Planet.

A perfect movie for this July 13, the 'Rock Day'.

I think this few words can't shown exactly how I loved to see this doc and I'm pretty sure I'll see it at least dozen times again, but I hope my 5 stars show how I love it!!

progshine Simply cannot understand this! Whats the point here?

We're on 2007 (at the moment of this release) and here we have Scott Rockenfield using a &*$% drum sound, and why? Trying revive some good old days of the end of the 80's maybe?!?

What the hell!

You know, the choice of the songs are not so bad, they have PINK FLOYD, QUEEN, BLACK SABBATH, POLICE, PETER GABRIEL, U2 and a surprising version for one of the songs of Jesus Christ Superstar (one of my all time favorite records). But something here went very, very wrong, there's no pleasure playing these tracks, at least I can't found it, that cold sound says nothing to me!

Queensrÿche give a shot on their own feet with this record, run away if you have a choice!

progshine Strange, I'm not a specialist in Slayer, but I really like them.

I've heard some of the early stuff, like Show No Mercy, Hell Awais and Reign In Blood, but, for some reason this album tells me a lot more than the early ones.

In fact I think Slayer grow up a lot, and the teenager trash metal evolves in something more, not fast all the time, sincpated, intrincated sometimes, but still very agressive. I just love Araya's bass sound and his anger voice, like if the words he's 'singing' REALLY means something to him, even if most of the songs are written by Jeff Hanneman.

Bitter Peace is for sure, one of their best songs ever, I just love that 'rush' in how Araya sing the words.

Great record, really great!!

progshine A really great debut record, but, in my opinion, the record loses its power on the second side of the once LP.

But, all in all still that sound the world of Rock And Roll will recognise some time later.

Heavy, acid, on the edge, rough, that sound Motörhead made up, half metal half punk.

And to recognise where Rock And Roll comes from, nothing more natural than a cover song, in this case, The Train Kept-A-Rollin' a song written by Tiny Bradshaw, Howard Kay, and Lois Mann that Bradshaw first recorded in 1951. After a rock and roll version of the song was recorded and released by Johnny Burnette and the Rock and Roll Trio in 1956.

Like I said: Rock And Roll!

progshine Well, I have to say, after a very weak debut Hell-o!, Gwar come with this Scumdogs Of The Universe in the year of 1990 (a nice time to heavy releases) and what a record!

Ironic all the way through but with smart riffs and a good musicianship.

I must say that this guys have a strong melodic style, they're able to build some 'bubblegum' melodies at a point they're stick in your brain, and without even realise it you were banging your head together with heir beat, which in my opinion, is fantastic!

'Slaughterama' must be heard, so funny, and so good and 'The Salaminizer' is a good strong point too!

Clap your hands and say... GWAR!!!

progshine OK, this is a great surprise for me! Really! I am not a fan of live albuns, I prefer the studio ones.

But this album (recorded with the 'Octavarium Orchestra', specially in Six Degree Of Inner Turbulence suite) have a wonderful selection of songs (good to hear the songs from the first albuns of the band with a nice sound).

Just one things bothers me here (that's why they don't have a 5 stars), why we don't have ANY song from Falling To Infinite? I know they're no happy about that album, but hey 'New Millennium' 'Burning My Soul' and 'Trial Of Tears' are great songs.

Six Degrees Of Inner Turbulence played in it's whole? AMAZING! And Octavarium too!

progshine OK, maybe I don't get it because I don't live that period of music (I'm only 25), but I don't understand how is possible this sound (the sound this album have) have so much addicteds to.

Don't get me wrong, this is a really good album, really good, but the sounds here, I mean, guitar sound, bass sound, and specific drums sound and keyboard sound are really bad, like a cheap B production of the early 90's, don't stand the test of time for me.

'Pull Me Under', 'Under a Glass Moon' and 'Learning to Live' are great songs of the genre known as Prog Metal, if only this record was release some years later...

progshine Like I said in Bathory review before: 'There's no excuse for such a bad production, independet of the style the band plays.' The same goes for this one.

When I become interested in one pasticullar band I used to listen all of their albuns, from the first to the end. But when a discography begins like this one is such a discouraging thing for me.

I always try to get the good things in records/bands, cause there's always something nice. Here I can't find nothing, no song in my head after the first listen, in fact, I don't even want to listen it again, which isn't a good sign.

progshine Black Sabbath is a Giant! We all know that!

In the 80's they come like a 'new band', keyboards always was present in their records (see Rick Wakeman Aka Spock Wall on Volume 4 album), but this time they brought in Geoff Nicholls for the hole album, and of course, the voice.

Ronnie James Dio (who sadly died a couple of days ago) come in, and brought a new sound to the band, we can't deny this fact, Ozzy will always be THE man from Black Sabbath, but you just can't ignore Dio (and shouldn't do that) just like Ian Gillan on Born Again album (what a grest record).

'Die Young' alone probably could resist the test of time, but Heaven And Hell have so much more, enjoy!

progshine Well, I am not a huge fan of Black Metal, but hey, as I always say, every genre or band should have his chance, and I always try to listen to new stuff or things I don't know yet.

This time was Bathory and I can't say much here, repetitive, weak, bad recording (hey, any genre should take care of it, don't matter what). Fans of the genre will disagree completely, but in the end I just came in through the whole album cause I don't like listen only to half of records, like I said before, give it a try.

But in this case just one thing stands in the end: So damnn boring!!!!

progshine This EP it's not that 'big deal', in fact, a big puzzle, different pieces glued together as a mini album, which I consider lame, specially from a big band such Angra is.

Probably all of my 3 stars goes to the great version of Genesis's 'Mama' and the soberb version of their own song 'Hunters And Pray' here in portuguese, 'Caça E Caçador', and I really think the band should write more stuff in portuguese from time to time, they really have done a great job here.

But in the end Just a bunch of fan stuff, ocasional listeners sure will pass by it.

progshine 01. Blindfold The Progressive Metal Sleepwalker Sun begins calm and serene, being guided by the voice of Giana Araújo. After the initial quiet time the weight comes into play, this time the vocals are shared with Luiz Alvim, a big surprise in this track is the violin of Marcus Viana (Sagrado Coração da Terra) making their presence felt, and rightly so. The song is strong, well written, complex and intelligent. It is common to progressive metal bands being wrong in their arrangements and sounds. Definitely not the case here. In the second half of the track, after a stop, the keys from Luiz is present with the bass solo by Francisco Falcon, the heavy guitars in this song are for Ricardo Marins. Beautiful track, all the elements are well placed, united and well arranged. 14:24 minutes of pure musical delight.

02. Bring 'Em The band has as main component in this track the acoustic guitar by the bassist Francisco, along with the keyboards and the vocal from Giana that is how the verses unfold. The chorus is heavy and cohesive. At the end the rhythm changes, is fast and broken, a sort of spiral sound, the solos are from Fabio Montserrat.

03. Sleepwalker Sun The song that gives name to the disc and the band starts with the bass chords and keys building layers. When the guitar and drums enter the sound becomes dense for a time and back to calm when the singing begins. The chorus is 'crooked', lyrics and melody do not fall on purpose. The disc is full of guests, especially the guitars, the title track of the soil is responsible for Alex Martin, soon followed by a synthesizer solo and chorus again. The end has a series of vocal 'outsiders'.

04. Dead Flowers A ballad with voice and piano, only the 2nd verse there are changes, with several voices, a broken rhythm and a very interesting and quirky vocal effects. The chorus is very melodic but 'in the sound pattern' of the band. The guitar solos are from Leandro Leg Furtado. An interesting bass solo is also present just before the last chorus. Complete.

05. Russian Roulette This reminded me of early Dream Theater, which is not a problem because the Sleepwalker Sun have originality and Dream Theater is the largest, and in a a way the precursor from Prog Metal style. I just think that they open many concessions to the vocals, every time a verse is sung the song 'calm down', lose weight, only back in the choruses, just turning a formula and can tire the listener.

06. Jalen's Eyes The piano begins the song, it's the shortest song of the disc, and the excellent violin Marcus Viana appears for a brief moment, but back to the course of music. Giana gave a beautiful interpretation for the song, which is very beautiful by the way!

07. Nocturnal So here is one thing that I like and that could be used more often, excerpts from conversations of a number of different people, this idea has also been widely used by bands like Pain Of Salvation and Dream Theater, and the classic bands like Pink Floyd. Nocturnal has some differences such as the harpsichord (one of many types of keyboards available) and the eletric guitar played as a classical guitar. The solos of the band (this time the keyboard) was led by Andre Mello (Tempus Fugit).

A good record, well above the average in the style, I've heard many progressive metal bands here in Brazil, but they are always wrong in my opinion, especially with vocals and keyboards. In this case we have a great example of how to make a good hard progressive metal.

progshine I'm a huge Queen fan, and I really don't like new versions of their songs, cause 90% of them are really lame versions.

Here we have a band I really like, Dream Theater, but since I heard their bootlegs playing Metallica, Pink Floyd and Iron Maiden I was afraid of it. They have a really nice meddley in A Change Of Seasons that was really good, but something was saying me that it could not work properly.

For me the great problem is the James vocals, his voice are not bad, at all, I like his voice, but he is the kind of singer who ajust only for HIS OWN sound, and hey, we're talink about Freddie Mercury here, one of (if not the ONE) the great voices in Rock History.

But I really like the effort of Mike Portnoy doing all the vocals, and Flick Of The Wrist is really cool.

But I don't think was necessary John Petrucci ruined Brian May's master guitar work with his thousand notes for second, everybody who listen a single song from Queen notice that Brian, like David Gilmour for example, is a man of melody, not a virtuoso (at least not in notes).

But hey, nice work, and nice choice of songs, it is one of the great sequence of songs from a Queen album, the 74 Sheer Heart Attack.

progshine 01. The Glass Prison Hiss of an old LP, (you'll understand when you hear the end of the previous disk Metropolis) and bells, bells that announce what will come. To start John Myung is one of the greatest bass players that have stepped on stage and John Petrucci is also one of the greatest guitarists in rock, it can carry over into many different styles and with great ease. At 2 minutes, right away, one of the hallmarks of the band, fast riffs, heavy and cumbersome, broken at times. Almost metal. James LaBrie, many do not like his voice, I think every time I listen to I like most, is a good vocal and differentiated acute, and he knows how to build good melodic lines. The band follows in a disconcerting weight, but to break the ice 'soft' lines composed by Jordan Rudess on the keyboard. At 4 and 40 one more mark of DT, the melodic hooks that can easily be sung together. Rudess is a major emphasis in the band on this record. And what about our buddy Portnoy? The guy is a demigod of the drums. Tremendous bankruptcies with a vocal-response (follow the letters). At 9 and 40 one of the more amazing riffs written, and very, very fast, and to top it off, a few seconds later he is even faster. It's amazing the provision of Myung playing (those who play know what I'm talking about). Jordan runs a very interesting solo keyboard and destroys Petrucci guitar. The riff that gets the breaks is absurd creativity, and the sequence is weight. And it have an amazing lyric.

02. Blind Faith

Blind Faith in stark contrast to the previous song, after a blow to the opening of the record have a more introspective side. And it's nice to see how wonderfully Portnoy builds his stuff. Not that I leave the weight off the track, however, it is almost impossible to Dream Theater. After 5 minutes Petrucci engages a divine land, with some jazz influence in his Riif following a more rhythmic beat. Then it's time for Rudess piano and orchestrations, which adds value and very subject. The sequence leaves instrumental staff mesmerized, just an appetizer for the excellent vocal melody, and of course, the chorus, once again untouchable.

03. Misunderstood

Now, that's melody, harmony, complexity. Often the simplest things are the most beautiful. After the majestic introduction, nearly reaching the 2 minutes the band starts one-on-one to enter, but the thing comes back, giving a total psychedelic Beatles climate. The heavy chorus is sensational and James sings: 'How can I feel abandoned even when the world surrounds me?' The phrase of the character is fantastic, but most of us know perfectly well that answer. After 4 and a half minutes there is a low and heavy guitars part and it's duplicated. At the end there is a bar full of noise and feedback.

04. The Great Debate

First of all, what a fantastic bass line! The most interesting aspect of this track is that it has a different introduction, while the music evolves reporters and politicians used as vocal, his speeches are everywhere. And the music has an incredible instrumental. Only around 3rd minute is that James sings a few lines with various effects on voice. And then the chorus (great by the way, whicht is a redundancy from these guys). On 5th minute I saw an incredible influence of Metallica On vocals, angry in the way of singing. The percussive part that follows is one thing to pay attention. The song goes on a hallucinatory riff and a synthesizer solo that is even difficult to tell if it really is a synthesizer given such a smooth and fast, almost the same speed of the guitar solo that follows, sensational. And it gives you broken rhythms. And just as he began the subject ends, full of speeches, speeches and reporters.

05. Disappear

The beginning fools you! In fact a guitar and piano ballad. But do not think of syrupy ballad and romantic sense of the word. And once again I see the Beatles in the parade in the 2nd minute with those vocal effects and echoes typical of the 60s. A song with a beat calm and in a emotional tone (accompanying the lyrics if you will). But make no mistake, is not the end of disc 1, but the middle of the story (got the message? ).

Disc 2

01. Six Degrees of Inner Turbulence

I-Overture II-About To Crash III-War Inside My Head IV-The Test That Stumped Them All V-Goodnight Kiss VI-Solitary Shell VII About To Crash (Reprise) VIII Losing Time / Grand Finale

Epic? Totally! The Dream Theater has invested heavily in this giant theme. His introduction with an orchestral theme and some passages that remind me quite ANGRA, they have built a theme with some Arabic influence as well. A perfect communion between band and orchestra. The second theme 'About To Crash' has a melody almost dance. Impossible not to shake your head together. At 9 minutes it's time to the Portnoy drums and 'War Inside My Head'. At 12 and a half the band goes into a tailspin in some dense, tense and heavy theme. Following the great vocals of James, split with John and a riot in a brilliant syncopation highly complex and break the base of a paranoid guitar that repeats itself for a while. In "The Test That Stumped Them All the 'question and answer' vocals are very nice, meanwhile the weight prevails, almost a trash-prog. It's amazing the power of the band when it comes to create complex riffs. The fifth part 'Goodnight Kiss' is beautiful, with the lines of a child and his mother, LaBrie sings a beautiful melody. And as it should be Petrucci's solo is very melodic and well executed. In 'Solitary Shell' 'kick' is scoring, a guitar solo, and at the bottom many everyday sounds that end in a beautiful theme in the acoustic guitar. It's amazing how this melody is catchy. And the chorus then? Furthermore. And in the changes of the themes I felt echoes of ANGRA again, especially in keyboards. That's great. Shortly after the 33 minutes Part 7 comes in like a reprise of the second part, in this case although the issue is the same voice, the band continues to innovate and looking more and more. Just over 36 minutes, 'Losing Time' is the 8th and last part part of this epic. 'Grand Finale' is emotional. Simply one of the best records of our times.

(ProgShine'S note: After this album run and listen to Train Of Thought).

It's amazing, and I repeat, amazing what you can earn in one hour and forty minutes.