..:: audio-music dot info ::..


Main Page      The Desert Island      Copyright Notice
 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Dream Theater: The Astonishing

 A l b u m   D e t a i l s


Label: Roadrunner Records
Released: 2016.01.29
Time:
 79:49 / 50:34
Category: Progressive Rock
Producer(s): John Petrucci
Rating:
Media type: 2xCD
Web address: www.dreamtheater.net
Appears with:
Purchase date: 2016
Price in €: 1,00





 S o n g s ,   T r a c k s


Act I

[1] Descent of the NOMACs [NOMACs instrumental] (J.Petrucci/J.Rudess) - 1:10
[2] Dystopian Overture" (Instrumental) - 4:50
[3] The Gift of Music (J.Petrucci/J.Rudess) - 4:00
[4] The Answer (J.Petrucci/J.Rudess) - 1:52
[5] A Better Life (J.Petrucci/J.Rudess) - 4:39
[6] Lord Nafaryus (J.Petrucci/J.Rudess) - 3:28
[7] A Savior in the Square (J.Petrucci/J.Rudess) - 4:13
[8] When Your Time Has Come (J.Petrucci/J.Rudess) - 4:19
[9] Act of Faythe (J.Petrucci/J.Rudess) - 5:00
[10] Three Days (J.Petrucci/J.Rudess) - 3:44
[11] The Hovering Sojourn [NOMACs instrumental] (J.Petrucci/J.Rudess) - 0:27
[12] Brother, Can You Hear Me? (J.Petrucci/J.Rudess) - 5:11
[13] A Life Left Behind (J.Petrucci/J.Rudess) - 5:49
[14] Ravenskill (J.Petrucci/J.Rudess) - 6:01
[15] Chosen (J.Petrucci/J.Rudess) - 4:32
[16] A Tempting Offer (J.Petrucci/J.Rudess) - 4:19
[17] Digital Discord [NOMACs instrumental] (J.Petrucci/J.Rudess) - 0:47
[18] The X Aspect (J.Petrucci/J.Rudess) - 4:13
[19] A New Beginning (J.Petrucci/J.Rudess) - 7:40
[20] The Road to Revolution (J.Petrucci/J.Rudess) - 3:35


Act II

[1] 2285 Entr'acte" (Instrumental) - 2:20
[2] Moment of Betrayal (J.Petrucci/J.Rudess) - 6:11
[3] Heaven's Cove (J.Petrucci/J.Rudess) - 4:19
[4] Begin Again (J.Petrucci/J.Rudess) - 3:54
[5] The Path That Divides (J.Petrucci/J.Rudess) - 5:09
[6] Machine Chatter [NOMACs instrumental] (J.Petrucci/J.Rudess) - 1:03
[7] The Walking Shadow (J.Petrucci/J.Rudess) - 2:58
[8] My Last Farewell (J.Petrucci/J.Rudess) - 3:44
[9] Losing Faythe (J.Petrucci/J.Rudess) - 4:13
[10] Whispers on the Wind (J.Petrucci/J.Rudess) - 1:37
[11] Hymn of a Thousand Voices (J.Petrucci/J.Rudess) - 3:38
[12] Our New World (J.Petrucci/J.Rudess) - 4:12
[13] Power Down [NOMACs instrumental] (J.Petrucci/J.Rudess) - 1:25
[14] Astonishing (J.Petrucci/J.Rudess) - 5:51

 A r t i s t s ,   P e r s o n n e l


John Petrucci - Guitar, Production, Story And Concept, Producer
Jordan Rudess - Keyboards
James Labrie - Lead Vocals
John Myung - Bass
Mike Mangini - Drums, Percussion

Eric Rigler - Bagpipes on Act I. [18]
City of Prague Philharmonic Orchestra - Orchestra
David Campbell - Orchestral and Choir Arrangements

Richard Chycki - Engineer, Mixing
Mike Schuppan - Engineer
Travis Warner - Engineer
James "Jimmy T" Meslin - Assistant Engineer
Jiema - Cover Art
Dave Rath - A&R

 C o m m e n t s ,   N o t e s


2016 CD Roadrunner Records - RR 74932
2016 LP Roadrunner Records - RR 74931

Recorded in January-June, August–September 2015 at the Cove City Sound Studios, Glen Cove, New York.



Subtlety and economy aren't words that typically come to mind when pondering a new Dream Theater album, much less one that arrives in the form of a double-disc epic with 34 tracks spanning two-and-a-half hours. Yet counterintuitively, those qualities help the veteran prog-metal quintet's 13th album, The Astonishing, live up to its title. The band's customary pyrotechnic chops, machine-tooled precision and soaring anthems are all present and accounted for. But here, those elements are pressed into service as cinematography for a fantastical yarn.

Prog, of course, has a wooly history of indulgent, excessive conceptual epics, from vintage song cycles like Yes's Tales from Topographic Oceans and Genesis's The Lamb Lies Down on Broadway via Rush and Iron Maiden to latter-day arrivals from Coheed and Cambria, Mastodon, and Muse. The Astonishing, though, is different: an honest-to-God rock opera, complete with a cast of characters, a fantastical plot, animated trailers and a teeming raft of ancillary maps and legends.

Bandleader and guitarist John Petrucci's storyline, set in a distant future, concerns the Ravenskill Rebel Militia rising up against the Great Northern Empire and its tyrannical overlord, Nefaryus. (Petrucci's tongue presumably was crammed deep into his cheek there.) Music, naturally, is the power that prompts hero Gabriel to come into his own, leading the charge against the Empire and its insidious synth-fart Noise Machines. Don't strain for an allegory pitching battle between prog and EDM; instead, think "2112," with Ayn Rand pushed aside in favor of George R.R. Martin, World of Warcraft and Jesus Christ Superstar.

However flamboyant or corny the exercise might seem, the players to their credit commit to it fully, while also littering the sonic landscape with chopsy flourishes to reassure the faithful. Enacting all eight characters, vocalist James LaBrie gives a tour de force performance, the specter of Dennis DeYoung circa Paradise Theater and Kilroy Was Here hovering like a Jedi mentor. The sort of stylistic wanderlust and cinematic grandeur that Dream Theater unfurled across a 22-minute span in "Illumination Theory" (from 2013's Dream Theater) gets compressed here into brief, dense passages, which set the stage for grand rock arias you easily could imagine Sarah Brightman or Josh Groban coveting ("The Gift of Music," "Act of Faythe," "Hymn of a Thousand Voices").

It's all enriched by David Campbell's lush orchestrations, reminiscent of vintage Bob Ezrin (he of Pink Floyd's The Wall as well as Kiss's Destroyer – and, yes, Music from 'The Elder'), and scrupulously captured by engineer Richard Chycki. The results won't please every Dream Theater partisan, nor will they convert the skeptical. But it would take a hard heart to deny Petrucci, co-composer and keyboardist Jordan Rudess and their mates credit for the boldness of their aspirations and the assurance with which they achieve them.

Steve Smith - January 29, 2016
© Rolling Stone 2016



Few bands could have conceived of, let alone pulled off, the exercise in excess that Dream Theater have with The Astonishing. In a vast catalog that includes several album-length conceptual statements - Metropolis, Pt. 2: Scenes from a Memory, Six Degrees of Inner Turbulence - this is so extreme that it pushes at what their fans (a fanatical lot) may accept. Guitarist John Petrucci has written a double-disc sci-fi rock opera, set in a dystopian future in an invented country (the package contains maps). In it, music created and/or performed by humans has been outlawed by the state. Only government-sanctioned and programmed machines are entrusted with those functions. A small band of rebels cling to and fight for the vision (and redemption) of human music. Petrucci consciously sought to create as grand a statement as Tommy, The Wall, and Operation: Mindcrime. Whether or not he and the band have succeeded will likely be debated for some time. Well over two hours long, The Astonishing contains 34 tracks. Dream Theater are accompanied by the Prague Symphony Orchestra and three choirs, all conducted by maestro David Campbell (Beck's dad). Petrucci entrusted the character voices to vocalist James LaBrie, who executes them authoritatively with his vast range and remarkable control. Keyboardist Jordan Rudess is the wheel all this music turns upon. In addition to his grand pianos, organs, and beautifully wrought synth sounds setting up melodies and harmonies, he handled the choral arrangements, and provided orchestral direction for Campbell. Petrucci's guitar playing is, as usual, breathtaking (check "A Better Life"), though he doesn't solo as much. Bassist John Myung and drummer Mike Mangini aren't used as prominently as they usually are, but a musical narrative of this scope demands rhythmic flow and consistency. There are a couple attempts at singles - the excellent melodic prog rock of "The Spirit of Music" and the more metallic "Moment of Betrayal" - but singles aren't the point. Several other individual selections do stand out: "Dystopian Overture" (which deliberately pays momentary homage to the "Overture" from Tommy); "A Life Left Behind" (whose intro reflects Yes' influence); "Three Days" (Mangini's shining moment, which commences as a ballad but transforms into a prog metal anthem); "Chosen" (a power ballad sure to become a concert fave); and "The Path That Divides" (an angular metal powerhouse overdriven by Rudess' manic organ). But these tracks serve almost as "arias" in classical opera; they are connected by much more "recitative" (a narrative device to move the plot along). Though it may be grandiose to say, like opera, The Astonishing shouldn't be disassembled, but judged holistically. It was planned as an immersive, one-sitting listening experience. As demanding as it is, the story and music are worth the effort. Dream Theater have invested in the "album" concept (and in listeners' attention spans) even as the music biz doubles down on the notion that long-players are merely envelopes to hold singles.

Thom Jurek - All Music Guide



Coming into a DREAM THEATER album, one sometimes suspects the band is out to build their own "Tales From Topographic Oceans" minus YES's copious splooges of ultra-weirdness—the latter being a double album both revered and reviled. DREAM THEATER's latest work, "The Astonishing", is hardly "Topographic Oceans", yet if you're hanging all the way through this one hundred thirty minute, two act set, you'll detect a wanton kindred spirit in spots. Mechanical wheezes and tinny street wars set in a distant future replace the roundabout (pun intended) audile tempest fluttering about Jon Anderson's rampant interpretation of the Hindu shastras. In DREAM THEATER's case, "The Astonishing" is glossed by cinematic overtures, lovesick melodrama, seventies pop and perhaps one Disney film score too many.

A project this vast is best analyzed with an overview as opposed to track-by-track dissection. The grand perspective to "The Astonishing" is to say it's a 34-song dystopic sci-fi opera, and even for DREAM THEATER fans, it's a demanding excursion. It's not without spectacle, but it is an excessive and largely trudging prog affair that challenges even "The Postman" for excess.

"The Dystopian Overture" and "2285 Entr'acte" are the most rousing parts of this colossal undertaking as DREAM THEATER pours cinematic overload into it. Think of it in the old movie theater days of "Ben-Hur", "Doctor Zhivago", "Spartacus" and "The Ten Commandments" with actual intermission breaks and overtures signaling viewers to their seats during each portion. "The Dystopian Overture" launches "The Astonishing" with a burst of energy carrying into the brisk and peppy "The Gift of Music". Similarly, the stirring and emotive "Moment of Betrayal" swoops out of its Act II setup from "2285 Entr'acte". Otherwise, this album takes its time in more ways than one; "The Astonishing" rolls and glides more than explodes as it does in the early moments of each act.

Crunchy marching, horse neighing, gutter clashes, computer bit noises and nerdy noodling bring DREAM THEATER's totalitarian realm to life behind staggering numbers like "A Better Life", "Brother, Can You Hear Me? " and "A Savior in the Square". The tough chomp and street scrapping noises on "The Walking Shadow", "The Path that Divides" and "A Tempting Offer" are reminiscent of QUEENSRYCHE's "Operation Mindcrime", to which DREAM THEATER partially aspires on this album. In their case, with a more operatic methodology.

"Lord Nafaryus" (as in nefarious, get it?) is pushed with as much stamping theatricality as can be gained, even with morose slowdowns designed to increase agitation. The sweeping strings and solemn piano melody on "Act of Faythe" are gorgeous (ditto for the acoustic euphoria on "Heaven's Cove"), as the song assumes a seventies pop swoon through the first four minutes. It gracefully drifts to close with a brief symphonic bomb and a siren-chimed outro as sweet as James LaBrie's tireless crooning on the whole album. Keep in mind, LaBrie battled back from a potentially career-threatening vocal impairment years ago. The fact he not only perseveres but submits himself to this marathon and gives life to "The Astonishing"'s cast of characters: it's flat-out, well, you know.

Ballads abound on this album. The reprised melody spanning many of these songs ring like ABBA's more eloquent offspring, think "The Winner Takes it All". "The Answer", "When Your Time Has Come", "Act of Faythe", "Chosen", "Begin Again", "Losing Faythe" and "Whispers On the Wind" will capture the hearts of the band's more sentimental listeners. The gusting "The Road to Revolution" and the regal stride of "Brother, Can You Hear Me? " are superb.

"Three Days" is one of the album's most interesting tracks, inhaling more than a few airs of Danny Elfman's cinematic cavalcade with near-hilarious splashes of Bach and rag for fun, along with a few tempo torrents. YES influences are prevalent all over the intro to "A Life Left Behind" before it sways into power pop mode. YES and a billion other well-threaded components go into the sprawling 7:41 prog odyssey "A New Beginning", the song most reminiscent of older DREAM THEATER. "The X Aspect" grows powerful with each soft spool sending it astride, concluded with a weird yet poignant bagpipe and choral outro.

The hopeful message of "Our New World" and the windswept finale, "Astonishing", bring catharsis to this often rambling album with the scraggly ersatz of "Power Down" marking John Petrucci's considerable concept, one he has envisioned having multimedia crossover potential. Don't be surprised to find a video game or even a comic book evolve from this album as RUSH's "Clockwork Angels" did through Dynamite Entertainment comics.

On the one hand, "The Astonishing" could go down as one of DREAM THEATER's most lauded enterprises. On the other hand, unless you're a diehard, "The Astonishing" will leave you wrung out. It's beautifully arranged at every turn, the performances are nothing less than professional and at-times, this album is breathtaking. That being said, the scope is a bit much and minus the natural order of reprises within a movie-like atmosphere, there is not enough overall variation to make the entire expedition as compelling as intended. Loyal fans will nonetheless revel in all two hours and ten minutes of it.

RATING: 8/10

Ray Van Horn, Jr.
© 2016 Blabbermouth.net



Let’s face it: Being a prog rock band in 2016 requires a very specific amount of fearlessness, where taking yourself and your music seriously may compromise how seriously others may take you. If you’re willing to create a two-LP prog concept album inspired by popular sci-fi franchises like Star Wars, Game of Thrones, and The Hunger Games, then you better be willing to put everything you’ve got into it. (Read: ridiculous character names, fictional locations, a goddamn symphony.) Anything less simply wouldn’t do. Boston prog rock mainstays Dream Theater realize this, and going into writing his band’s 13th album, guitar virtuoso John Petrucci asked a question that would spark an entirely new world: “What would happen if with all the advances in technology that music [became] all artificial?” The result is The Astonishing, an album that opens with what sounds like whirring machines descending upon dystopia. What comes next is about what you’d expect; whether that’s good or bad is up to how much you’re willing to buy into the story.

And what a story it is, too. Dream Theater have fiercely dedicated themselves to telling Petrucci’s story. The album’s lyrics come in 31 pages, in screenplay format, to help guide listeners through the sprawling dystopia that is The Great Northern Empire of the Americas. Led by Lord Nafaryus (not a typo) in the year 2258, The Great Northern Empire is a land in which neither democracy nor man-made music exists — but for the purposes of this review, we’re more worried about the music. All music is made by machines called NOMACS, and yes, they are featured several times throughout the album, and with their obvious Oneohtrix Point Never influences, future music doesn’t sound too bad.

Let’s return to the Empire where, naturally, there is a rebellion rising out of a town called Ravenskill, where brothers Arhys and Gabriel lead the fight to inspire the masses against Lord Nafaryus (whose evil is never clearly defined, just assumed after the face value of his name). As Arhys heads the rebel militia, Gabriel uses his innate gift of making music to lead the fight as The Chosen One. He even falls in love with the Emperor’s daughter, Faythe (again, not a typo), to boot. The story goes on from here and introduces jealous brothers, compassionate mothers, small children, and a heavenly choir of thousands to counter for a few murders here and there. It’s encouraged to keep a lyric sheet handy for the first listen or two of The Astonishing in order to follow along.

Without a lyric sheet, though, or a link to the band’s website (where characters and maps are still in the process of being introduced), listeners can still very much enjoy the music. And despite the massive story, it is Dream Theater after all, so the music is taken just as seriously as the tale of Gabriel and Faythe. The album was a joint composition, with Petrucci and keyboardist Jordan Rudess working with famed composer David Campbell, who arranged the orchestra and choral sections (of which there are oh so many). The band’s technical proficiency is made clear from the get-go on “Dystopian Overture”, where Petrucci and Rudess melodically guide bassist John Myung and drummer Mike Mangini through progressive time and mood shifts so that listeners can begin to fully understand what they’re about to get themselves into.

Unfortunately, though, even with the musicianship present, on a concept album this size, the story takes precedence and is often a distraction from what Petrucci & co. are doing behind singer James LaBrie’s vocals. There’s also a serious amount of cheese that you’ll have to forgive to enjoy this album. LaBrie performs vocals for all the characters, including women, children, and at one point, even the ensemble as a whole. There’s plenty of melodrama and intrigue to compete with all the Hunger Games-inspired teen dystopian movies being released today. And, in the spirit of classic Disney movies, the coolest parts of the album are all centered around the villains.

The Astonishing is an absolutely unique experience. Even at two hours, it demands your full attention. The band promises elaborate animations for their upcoming live shows, as well as the possibility of books and maybe even movies. You might want to laugh at points, because a good deal of it is very silly, but somewhere within the second half, you’ll become just a little invested. By the grand finale, you might even feel inspired.

Sean Barry - January 29, 2016
© 2007 - 2016 Consequence of Sound



In today’s world of singles, short attention spans and immediate gratification, it goes against the grain to release a double disc concept album that clocks in at more than two hours.

But Dream Theater have never been a band to go along with the crowd. They have always pushed boundaries, expanded their musical horizons and have never been afraid to experiment.

Their latest opus The Astonishing is an ambitious undertaking of 34 songs. The album’s concept is described as “a retro-futurist post-apocalyptic dystopia ruled by medieval style feudalism. It’s a place aching for a Chosen One to rise above the noise and defeat an Empire defined by the endless drone of noise machines and the illusion of safety in bland conformity.”

The nearly three-dozen tracks run the gamut from short interludes to cinematic instrumentals to mellow ballads to Dream Theater’s patented prog metal. It’s an enormous amount of music to absorb in one sitting, but when you think about it, most movies are around two hours in length, and The Astonishing is very much like a movie in the way it delivers the storyline.

Guitarist John Petrucci came up with and developed the album’s concept, and along with keyboardist Jordan Rudess wrote the music for The Astonishing. The songs are meticulously arranged and expertly produced, and as you’d expect from Dream Theater, are played flawlessly. They also used a real orchestra and choir that provides depth, texture and atmosphere.

Like in a movie, there are parts that are needed to move the story forward that aren’t necessarily all that compelling. That’s the case here, with periodic filler and slow-moving sections. There are also many outstanding songs that are really well-done, such as the reserved “A Savior in the Square,” the epic “A Life Left Behind,” the progtastic “A New Beginning” and the soaring “Losing Faith.”

A concept album with different characters puts a lot of pressure on the vocalist, and James LaBrie lives up to the challenge. From mellow crooning to Broadway belting to edgier singing, he utilizes every style in his arsenal and delivers a first-class performance.

An album like The Astonishing is bound to be a polarizing one. Its length and scope make it a difficult entry point for casual listeners, but hardcore DT fans will look forward to the challenge and digging into an album with a lot of depth. Keeping with the movie analogy, it’s a lot like the Revenant: beautifully crafted and executed, perhaps a little bit too long, but ultimately an enjoyable and rewarding experience.

Chad Bowar - January 29, 2016
loudwire.com



The Astonishing is undisputedly the most ambitious undertaking by a band whose cerebral compositions already define the vanguard of progressive hard rock.

The Astonishing is enriched exponentially by the integration of a real orchestra and choir, arranged by conductor David Campbell, whose work graces over 450 gold and platinum albums, including watershed releases from Adele, Justin Timberlake, Linkin Park, Evanescence, Beyoncé, and his son, Beck. The Astonishing was produced by Petrucci with engineering and mixing by Richard Chycki, whose resume includes work with Rush, Aerosmith, and Mick Jagger. Other organic sounds are more abundant than at any point in the band's history, with Rudess in particular relishing the tones from a grand piano and Hammond organ.

Like Tommy or The Wall, the songs on The Astonishing work as both singular compositions and overall story components. Writing the music as a duo, Petrucci and Rudess venture into unexplored corners of their sound without sacrificing their musical identity.

Amazon.com



The Astonishing is the thirteenth studio album by American progressive metal band Dream Theater, released on January 29, 2016 through Roadrunner Records. It is the band's second concept album, with a story conceived by guitarist John Petrucci and music written by Petrucci and keyboardist Jordan Rudess. Composer David Campbell assisted with orchestrating the album's strings and choirs. The album was recorded throughout 2015 at Cove City Sound Studios in Long Island, New York, with the exception of vocals, which were recorded in Canada. Mixing and sound engineering were performed by the band's longtime collaborator, Richard Chycki, with Petrucci producing.

The Astonishing is set in a dystopian future United States and follows the Ravenskill Rebel Militia in their efforts to defy the Great Northern Empire of the Americas using the magical power of music. It was inspired by contemporary fantasy and science fiction franchises such as Game of Thrones and Star Wars, as well as Petrucci's observations on the ubiquity of technological automation in modern-day society. In their effort to match the album's narrative, Dream Theater wrote songs in a wide variety of styles ranging from mellow ballads to their more conventional progressive metal sound.

Leading up to The Astonishing's release, the band marketed the album with its own website, fan mailing lists, and trailer. It debuted in the top ten of nine different countries and became the first Dream Theater album to reach number one on the US Billboard Rock Chart. It has received generally favorable reviews from music critics and the band toured to support the album through July 2016, subsequently adding another leg from October - December 2016

In mid-2013, guitarist John Petrucci began writing a story for a concept album, presenting it to the rest of Dream Theater about a year later. The band and the record label were receptive to the idea, with Petrucci recalling, "Everybody had the 'go for it' mentality. And from the very first meeting that we had with Dave Rath at Roadrunner, when I presented this and even just said the title, he was 100 percent on board. The involvement of everybody at Roadrunner has been absolutely unbelievable, so supportive. It kind of ignited the secret nerd in all of us that loves this sort of stuff, because it's fun, it's different." From its conception, Petrucci envisioned the story as eventually being re-worked into a film, play, or video game.

Petrucci and keyboardist Jordan Rudess wrote the album's music independently from the rest of Dream Theater by getting together everyday, going over ideas in the morning, and then working through the music during the day and night. Upon finishing their initial drafts, they presented them to the rest of the band, who worked on writing parts for their own instruments. In an interview with Artisan News, drummer Mike Mangini reflected, "The biggest challenge for me was interpreting the initial music that was given to me, because there were no drums. So [I was like], 'All right, I need to listen to this, really, as a whole piece to understand where I should kind of let loose or I should lay back a lot.' All that. Just to see it as a whole, 'cause I don't wanna play blindly or try to fit too much where it doesn't belong."

As Petrucci and Rudess felt that the album needed real string lines and choirs, as well as other organic sounds, they enlisted the help of veteran composer David Campbell to assist with aspects of the orchestration and handle the logistics of recording all of the necessary musicians. Reflecting on the process for Keyboard, Rudess explained, "Our initial thought was, let’s do it all on rock instruments and let David arrange it, but that wasn’t really thinking ahead in terms of who we are. When we go into the studio, we tend to work on things until they’re pretty polished. So we got into what we called pre-orchestrating. I’d use any sound at my disposal to place strings where we wanted to hear strings, choir where we wanted choir, and so forth—but without getting overly specific about a certain patch or instrument library being the one, because we knew it was all going to be replaced with real players." Once the album's arrangements were complete, they were performed and recorded in studios around the world, with Campbell conducting and leading the sessions from Los Angeles.

Dream Theater began recording the album's bass, drums, guitars, and keyboards in January 2015 at Cove City Sound Studios in Long Island, New York, where they also recorded their two previous albums, A Dramatic Turn of Events (2011) and Dream Theater (2013). Longtime collaborator Richard Chycki, who Petrucci described as "a sixth member of the band", was again brought in as the album's sound engineer, while Petrucci served as producer. In July, they took a break from the studio to play some shows in Europe, but did some writing while on the road. In August, James LaBrie began recording vocals in Canada with Chycki. Singing as multiple characters, he took it upon himself to create unique interpretations of each one, with Petrucci offering him sporadic advice and feedback. Recording completed in late September, with mixing beginning the next month and mastering concluding in mid-December.

The following is based on The Astonishing's official synopsis, published by Dream Theater upon the album's release.

Act I

In 2285, the northeastern region of the United States has turned into a dystopia ruled by the oppressive Great Northern Empire of the Americas. The only resemblance to entertainment that exists is the electronic noise of the Noise Machines (NOMACs). The empire is ruled by Emperor Nafaryus, Empress Arabelle, Crown Prince Daryus, and Princess Faythe. In a distant village called Ravenskill, a man named Gabriel possesses the natural ability to make music and sing ("The Gift of Music"). He has an older brother, Commander Arhys of the Ravenskill Rebel Militia, who has a son, Xander, with his deceased wife, Evangeline ("A Better Life").

Nafaryus hears a rumor about Gabriel being the savior of the people. He and his family travel to Ravenskill to see him for themselves ("Lord Nafaryus"). In the Ravenskill town square, Gabriel is performing for the people when the royal family shows up. He continues playing at the emperor's request ("A Savior in the Square"), nearly bringing them all to tears ("When Your Time Has Come"). As he plays, Faythe remembers how she found a music player when she was a child and kept it a secret all her life, and as she and Gabriel stare at each other they fall in love ("Act of Faythe"). Nafaryus, though briefly moved by Gabriel's song, sees him as a threat to his rule and gives the people of the town three days to deliver their savior to him or he will destroy the town ("Three Days"). Arhys hides his brother and refuses to give him up ("Brother, Can You Hear Me?").

Back at the Emperor's palace, Faythe decides that she must see Gabriel again. Disguising herself, she begins to travel back to Ravenskill. Arabelle, knowing about her daughter's intentions, instructs Daryus to follow and protect her. Daryus feels he has always been overlooked by his father in favor of his sister, so he travels to the town with his own intentions ("A Life Left Behind"). Faythe arrives in the town and finds Xander, who trusts her and leads her to his father Arhys. Faythe convinces Arhys that she can help, so he brings her to Gabriel's hideout. Gabriel and Faythe embrace, and she tells him that she believes she can convince her father to give up his hunt for Gabriel ("Ravenskill"). Gabriel tells her that if he could just meet with the Emperor, he could inspire him to restore peace to the land using his gift of music ("Chosen").

Meanwhile, Daryus finds Arhys' home and takes Xander captive. Daryus promises he will guarantee the safety and wealth of Xander in return for Arhys bringing Gabriel to him. Daryus does this hoping that it will gain him respect from his father ("A Tempting Offer"). Arhys is forced to agree to the deal, remembering a promise he made to Evangeline to protect their son ("The X Aspect"). Faythe travels back to her father's palace and learns that her music player once belonged to her father. After a while, Nafaryus bows to the pleas of his daughter ("A New Beginning") and agrees to meet with Gabriel at an abandoned amphitheater called Heaven's Cove ("The Road to Revolution").

Act II

Arhys informs Daryus that Gabriel will be at Heaven's Cove that night ("Moment of Betrayal"). While the meeting time approaches ("Heaven's Cove"), Faythe decides that she wants to use the power of her royal status to change the world for good ("Begin Again"). At the amphitheater, Arhys changes his mind on the deal, and when Daryus shows up, they start a fight. Daryus overpowers Arhys and kills him ("The Path That Divides"), unaware that Xander followed them and saw the whole scene. As Xander runs to his father's dead body, Daryus sees the silhouette of someone approaching him. Assuming it to be Gabriel, he attempts to kill him, realising too late that it is actually Faythe ("The Walking Shadow"). Gabriel arrives at the scene and sees his dead brother and the dying Faythe. Covering Xander's ears, he unleashes a scream that causes Daryus to go deaf and that is heard by Nafaryus, Arabelle, and the entire town ("My Last Farewell").

Nafaryus and Arabelle arrive and beg Gabriel to use his gift to save Faythe ("Losing Faythe"), but Gabriel is unable to sing after screaming so loudly ("Whispers on the Wind"). The people, attracted by the scream, show up and start singing, giving Gabriel hope. He finds his ability to sing and brings Faythe back to life ("Hymn of a Thousand Voices"). Nafaryus, realising what he has done, decides to end the conflict with Gabriel and shuts down the NOMACs for good. Daryus is forgiven for his actions, and Gabriel and Faythe raise Xander as a family ("Our New World"). Nafaryus promises to govern the empire as a fair leader in a new world where music is appreciated again ("Astonishing").

The Astonishing has received generally favorable reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album holds an average score of 80, based on six reviews. Critics were especially complimentary of the band's willingness to write a long, unconventional album, with AllMusic commenting, "Dream Theater have invested in the 'album' concept (and in listeners' attention spans) even as the music biz doubles down on the notion that long-players are merely envelopes to hold singles." Rolling Stone echoed these sentiments, concluding, "The results won't please every Dream Theater partisan, nor will they convert the skeptical. But it would take a hard heart to deny Petrucci, co-composer and keyboardist Jordan Rudess and their mates credit for the boldness of their aspirations and the assurance with which they achieve them." Loudwire was also supportive of the band's unique approach, but warned that it might make the album polarizing for fans.

Some reviewers were critical of The Astonishing's concept, including Consequence of Sound, who described it as "very silly", but ultimately gave the album an overall positive review. By contrast, Record Collector described the storytelling as "seamless". In their write-up, RTÉ.ie advised, "park the snootiness before pressing the play button because while The Astonishing makes Iron Maiden's recent 92-minute double The Book of Souls look like a Ramones record, it's great fun ... Mental elbow grease is required, and the quintet wouldn't have it any other way."

LaBrie's vocals on The Astonishing were singled out by many critics as being particularly strong. In their review, Loudwire elaborated, "A concept album with different characters puts a lot of pressure on the vocalist, and James LaBrie lives up to the challenge. From mellow crooning to Broadway belting to edgier singing, he utilizes every style in his arsenal and delivers a first-class performance." The band as a whole were also praised, although AllMusic observed that Mangini and bassist John Myung weren't featured as prominently as usual.

wikipedia.org



Schon immer haben Dream Theater ihremweltweiten Publikum das gegeben, was ihre treue Fancommunity von den New YorkerProg-Metal-Ikonen seit jeher erwarten durfte: Einen tiefen Einblick in ihrfaszinierendes Reich. Eine komplexe Klangwelt voller überirdischer Soundscapes,in die die Amerikaner die Hörer seit ihrer Gründung vor nunmehr fast dreiDekaden immer wieder eingeladen haben. In Form ihrer Liveshows genauso, wie aufihren Alben. Regelmäßig haben Dream Theater während der letzten dreißig Jahredie eigene Messlatte noch ein Stückchen höher gelegt, haben ihre deutlichenSpuren in der Entwicklung des Hard Rock und des Progressive Metal hinterlassen,sich völlig unbeeindruckt über beschwerliche Hindernisse hinweg gesetzt, habenregelmäßig sämtliche Kritikererwartungen um Längen übertroffen und sich auch inschwierigen Zeiten erfolgreich innerhalb einer mehr als ungewissenMusikindustrie bewiesen. Mit „The Astonishing“ veröffentlichen Dream Theaternun ihr unzweifelhaft ambitioniertestes Album – das Album einer Formation, diemit ihren wegweisenden Kompositionen längst zur absoluten Speerspitze desProgressive Hard Rock zählt!

„Wir machen nun den nächsten logischenSchritt in unserer Entwicklung“, erklärt der langjährige Frontmann James LaBriestolz. „Dies ist ein wahnsinnig wichtiger Zeitpunkt für uns. Etwas, das wireinfach tun mussten.“ Ebenso, wie andere sofort wieder erkennbare Rock-Symbolewie Iron Maidens Eddie, Megadeths Vic Rattlehead oder der berühmte Misfits-Totenschädel,repräsentiert auch Dream Theaters Bandlogo zwei wichtige Dinge: Einerseits dieBand selbst, und auch den besonderen Lifestyle, der von der Kraft der Musik undder Stärke durch kreativen Ausdruck geprägt wird. Für ihren unerschütterlichenGlauben, global gefeierte Kompositionen und ihren ebenso authentischen, wiemitreißenden Output wurden Dream Theater in der Vergangenheit mit diversenGrammy-Nominierungen sowie unzähligen Awards und Auszeichnungen von Gitarren-,Keyboard,- Drum-, Bass- und sonstigen Musikmagazinen belohnt. Das Quintett hatbisher weltweit über 12 Millionen Einheiten verkauft, die Bühne mit Legendenwie Deep Purple, Iron Maiden, Yes, Emerson, Lake & Palmer und vielenanderen geteilt, und sich eine loyale Fanbase rund um den Planeten erspielt.

Eine ebenso treue, wie auch kritischeFanbase, die ständig das Beste von ihrer Lieblingsband erwartet und die offenfür Veränderung ist; für Weiterentwicklung und das Streben nach künstlerischerGröße. Ein aus gegenseitigem Respekt bestehendes Fundament, auf dem dieMitbegründer John Petrucci (Gitarre) und John Myung (Bass), die langjährigenMembers James LaBrie (Gesang) und Jordan Rudess (Keyboard) sowie der seit fünfJahren aktive Mike Mangini (Drums) heute aufbauen. Eine gesunde, inspirierendeAtmosphäre, in der Dream Theater die nahtlose Entwicklung vomRush-meets-Metallica Shred ihres MTV-Hits „Pull Me Under“ Anfang der 90er überdas Pink Floyd-beeinflusste „Peruvian Skies“, das zwanzigminütige Epos „TheCount Of Tuscany“ bis hin zu modernen Meilensteinen der letzten Jahre wie „ADramatic Turn Of Events“ (2011) und dem 2013 releasten „Dream Theater“vollziehen konnten. Und nicht zu Unrecht steht Dream Theaters erstesKonzeptalbum „Metropolis Pt 2: Scenes From A Memory“ (1999) bei Insidern ineiner Reihe mit bahnbrechenden Konzeptwerken von The Who, Pink Floyd, Green Dayoder Nine Inch Nails.

Auf „The Astonishing“ setzen Dream Theaternun ihre Reise fort - weiter hinein in ihren faszinierenden Kosmos. DreamTheater werfen einen düsteren Blick in eine post-apokalyptische Zukunft, dievon einer mittelalterlich-feudalistischen Oberschicht beherrscht wird. EineZeit, in der sich das geknechtete Volk nach dem einen Auserwählten sehnt, dersich erheben und das Imperium des Maschinenlärms und der Illusionen bezwingenwird. Mit „The Astonishing“ präsentiert das amerikanische Quintett einebrandneue Fantasy-Saga, die von Blockbustern wie „The Hunger Games“ oder „GameOf Thrones“ inspiriert ist und mit retro-futuristischen Elementen aus „Die Klapperschlange“(„Escape From New York“) verfeinert wurde – betrachtet durch dieprogressive-rockigen Augen von Dream Theater! Für das inhaltliche Konzeptzeichnet niemand Geringerer als John Petrucci höchstpersönlich verantwortlich.„Er verfügt über einen scharfen Sinn und einen enormen Weitblick“, soKeyboarder Rudess über den Gitarrist, Hauptsongwriter und Texter. „Er hat sichda voll reingehängt. In dem Moment, in dem er mit dem Projekt begann, hat erseine Zeit ausschließlich mit Nachforschungen und Songschreiben verbracht. Erhat seine komplette Energie in dieses Ding investiert.“

Amazaon.de




Nebenher hören ist hier zum Scheitern verurteilt.

Eins vorweg: Die Musik ist auf "The Astonishing" grandios in Szene gesetzt und die Band brilliert auf einem gewohnt virtuosen Level. Die Vielfalt an Stilen fällt enzyklopädisch, fast schon gigantomanisch aus. Die Produktion rangiert im oberen Klassement des Genre-Standards. Orchester und Chor funktionieren als eigenständige Komponenten, sind perfekt in den Mix eingebunden und tragen erheblich zum Funktionieren des Konzepts als sinnhaftes Ganzes bei. Hier haben John Petrucci und Jordan Rudess als Hauptsongwriter gemeinsam mit Produzentenlegende Dave Campbell als Arrangeur ganze Arbeit geleistet.

14 Jahre nach Scenes From A Memory präsentieren uns die New Yorker ein weiteres Konzept-Album, und eins steht jetzt schon fest: Man muss sich mit der Scheibe mönchisch beschäftigen. "The Astonishing" et labora, sonst nix. Nebenher hören scheint zum Scheitern verurteilt. Die Allmacht der Algorithmen vs. die Spontaneität kreativer Spannung als Grundkonflikt dient als Basis für das in ferner Zukunft spielende dystopische Setting.

Als Dream Theater-Hörer seit zwanzig Jahren habe ich mittlerweile viele Phasen mit- und teilweise auch durchgemacht. Die technisch-anspruchsvolle, aber stets melodische, mit einem Hang zum Pathos angelegte Musiksprache muss man mögen.

Endlich bewegen sich die New Yorker aus ihrer seit Jahren lieb gewonnenen Komfortzone heraus, beweisen Mut und begeben sich auf eine Reise ins Unbekannte. Entsprechend viele Herzen schlagen in meiner Brust. Vier Hörer-Naturen melden sich nun zu Wort, jeder mit seiner eigenen Perspektive auf das sich vor ihm auftürmende 130-minütige Geschehen, das eine Sonderstellung im Backkatalog einnehmen dürfte. Vorhang auf für die Protagonisten.

Der Enttäuschte

Es gibt den schönen Satz: Der Trainer erreicht die Mannschaft nicht mehr. So verhält es sich bei DT und ihren Fans. Sie machen mittlerweile Musik aus einer professoralen Perspektive. Es gibt einen Kanon, der treffend mit gutbürgerlich umschrieben werden kann. Darin gehören die klassisch-romantische Musiksprache, ein paar anglo-amerikanische Folk-Elemente, Musicals sowie das Lieblingskind des intellektuellen Musikhörers, der Progressive Rock und meinetwegen, da Lemmy im Feuilleton gewürdigt wird, auch Metal.

Dann muss es eine Rock-Oper sein, mit allem was dazugehört: Ouvertüre mit Themenexposition, zwei Akte und viel Dramatik. Bei aller Fokussierung auf die Story bleibt für mich die Frage, ob das alles zusammenpasst. Ich glaube nicht. Die Story muss als Ausrede für die musikalischen Sprünge herhalten und bleibt somit fragmentarisch. Elektronische Musik wird stiefmütterlich behandelt und im Fall der fünf Drone-Interludes als Kakophonie dargestellt. Für mich als geschichtsbewussten Musikhörer ein No-Go. Das schöngeistige Geklimper vom Rudess geht mir auch auf den Sack. Der soll lieber die Synthesizer anwerfen. Petruccis Solos kann man an einer Hand abzählen und das bei 34 Songs. Unverzeihlich.

Der Berauschte

"The Astonishing" verkörpert für mich pure Schönheit. Die schwelgerischen, engelsgleichen, weltumspannenden Melodien lassen niemanden kalt. Sicher, das wirkt bombastisch und pathetisch, aber es klingt absolut authentisch. Man führe sich nur "When Your Time Has Come", "Act Of Faythe", "Chosen" oder das von "The Walking Shadow" bis zu "Astonishing" erstreckende Finale zu Gemüte.

Das berührt mich immens und verkörpert den Hauch der Unendlichkeit, den wahre Musik verströmt. Dabei kommt die Musikalität nicht zu kurz. Die Tempi werden variiert, es tauchen überraschende Harmonien auf wie in "A Tempting Offer" und auch die Instrumentation birgt immer wieder überraschende Elemente wie Bluegrass-Blast-Beats, Orchester- und Chor-Passagen, Dudelsäcke, Tango-Rhythmen oder Folk-Instrumente. "Scenes From A Memory" musste schon keine Vergleiche mit den großen Konzeptwerken der Musikgeschichte scheuen. "The Astonishing" wächst mit jedem Hören und eine Grenze scheint nach etlichen Durchläufen nicht in Sicht.

Der Traditionalist

Quatsch, das ist alles reiner Klimbim. Mich dünkt der Alte spricht im Fieber, bei all dem geistigen Dung. Das klingt mir zu sehr nach der Weihnachts-CD von Udo Jürgens. Das mag gutes musikalisches Handwerk sein, bringt aber allenfalls meine Oma zum Nicken. Wohl eher zum Einnicken.

Die Band, die mit den ersten fünf Alben meine Seele berührte, bespielt ein paar Allgemeinplätze und dort wo wirklich Geniales entstehen könnte, wie in den ersten Minuten von "A Live Left Behind", geht man direkt wieder in einen langsamen, austauschbaren Jammer-Teil über. Ein paar Momente besitzt die Scheibe zweifelsohne: "Lord Nafaryus" ist freaky und mitreißend, "A New Beginning" und "Moment Of Betrayal" klassischer DT-Stoff, wie ich ihn mag, und die Ohrwürmer "The Gift Of Music" und "Our New World" gehen auch in Ordnung.

Der Überraschte

Klar klingt die Musik auf den ersten Höreindruck fragmentarisch. Der Grund dafür ist die Story. Sie gibt im wahrsten Sinne den Ton an. Die Twists und Turns sowie die Charaktere zeichnen Petrucci und Co. entsprechend differenziert. Dies geht zu Lasten einer unmittelbaren Musikwirkung. Aber darauf haben es DT sowieso noch nie angelegt. Die Stimmung wechselt minutiös, einzig die elegischen Passagen kommen auf eine gewisse Länge. An die Hörspielelemente muss man sich gewöhnen. Diese Einspielungen tragen jedoch erheblich zur Illustrierung von Kernelementen der Story bei.

Eine Geschichte über die Wirkung von Musik ist originell und der Ideenmix aus "Jesus Christ Superstar", "Star Wars" und "Game Of Thrones" reißt mit. Hervorheben muss man auf jeden Fall Sänger James LaBrie. Dessen Timbre sorgt für einen hohen Wiedererkennungswert. Wie er die Stimmungen und Charaktere mit einer Vielfalt an Einfühlungsvermögen und grandioser Gesangstechnik zum Leben erweckt, nötigt mir Respekt ab und trägt maßgeblich dazu bei, dass "The Astonishing" als Konzept funktioniert. Oder?

Yan Vogel - laut.de-Kritik
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!