Dream Theater have a large catalog. They have nine live albums (with video), 22 official bootlegs, a compilation album, an EP, and their 15th studio album releases in less than 3 weeks. Deciding what to cover out of this dense portfolio is difficult at times, as almost all of Dream Theater’s musical ventures are of high quality. However, the album I am covering this week is a no-brainer.
Metropolis Part 2: Scenes from a Memory is one of Dream Theater’s best and most unique albums. It is their first concept album, and one of their most orchestral-focused albums. Released in 1999, it focuses on a story about a man named Nicholas and his struggle to remember his past. During the album’s production, Dream Theater was given more creative freedom after the commercial failure of Falling into Infinity, an album designed to be more widely accessible. As a result, this album is refreshingly inventive and original. This album has two attributes that make it special: its clever blend of metal, rock, and classical music (even including a brief section in ragtime), and its use of dynamics and style variation to imbue the story with personality. In addition, it is also the first album Dream Theater produced with Jordan Rudess as the keyboardist.
Musically, the album contains bold genre-blending, specifically between metal and classical music. Rudess came from a classical piano background with an education at the Juilliard school of music but also had experience with electronic and rock music. He brought a new creative aspect to the band through his innovative use of numerous and varied keyboard sounds, ranging from acoustic piano to choir and grand organ. Through these various timbres, he collaborated with Petrucci and Portnoy to add an orchestral aura to the album. This sets the mood and lends gravity to the story. Here’s an interview with Petrucci and Rudess about the album.
Along with genre-blending, Dream Theater also pioneered musical storytelling through rock and metal in Metropolis Part 2. The orchestral tone creates a theatric air, but the dynamic and pacing of the songs tell the story. The narrative is told through the lyrics and rendered powerful through the notes. Two exemplary instances of this are the songs Fatal Tragedy and Beyond This Life: consecutive tracks totaling 18 minutes in length that reveal a murder and its repercussions in the story. Melodic narratives sung by LaBrie are interspersed by layered instrumental acts that portray the dramatic and emotional parts of the story. In these instrumental sections, Dream Theater uses a diverse and frantic strategy similar to that of Metropolis Part I. However, Rudess’s inventiveness in Metropolis Part 2 allows for a wider range of musical dynamics that enable greater storytelling.
Overall, Metropolis Part 2 exhibits an important part of Dream Theater’s musical legacy through its classical musical approach in a heavy metal setting that tells a mysterious tale. Next week, I will break down The Dance of Eternity, one of the most impressive musical feats Dream Theater have done in their career.
I really liked learning about Dream Theater again in this week’s blog. I also listened to a few of the songs from this album and I really enjoyed them. What makes Metropolis Part 2 one of Dream Theater’s best albums? I find music to be really subjective, so I was wondering why you prefer this one in particular. Similarly, with my limited music knowledge, I was left wondering what certain instruments like an acoustic piano bring to the table? How do they impact the piece? Overall, I enjoyed this blog and can’t wait to read next week’s blog.