Dream Theater Are Pop, Not Progressive

Dream Theater are commonly mistaken to be a “progressive” metal band. Their fans love to brag about how “progressive” the band is as it makes them feel smarter than the typical rock and mainstream Maiden and Metallica metal fans. This is the same sort of intellectual smugness that pretentious urban leftists and the communist-infiltrated ivory tower have about the working class, those who do not shout whatever their currently favored political slogans in the street are like Mao’s Red Guards, or whoever openly dislikes the latest pretentious socialist realist film awarded a trophy by the liberal media shills to promote their Marxist agenda.

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Dream Theater to play in Belo Horizonte

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Article by Jon Faugustus.

Dream Theater will be presenting themselves in Belo Horizonte, Brazil, at the Teatro Minascentro. This event adds to one more high-grade theater venue being defiled by the conformist pop this bands sells out to insecure young adults, and ex-Motley Crue fans going through middle life crisis.

Brazil, like Japan, is one of the go-to countries for any mainstream band seeking international recognition. The metal fandom there is as unoriginal and undescerning in their tastes as in the metal the artists produce. This is why it is not surprising to find 1/10000 bands worth listening to occasionally arising from such geographic locations.

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Dream Theater – The Astonishing (2016)

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Article by David Rosales

Dream Theater never ceases to surprise you; not in a good way, but in how they can always reach the next level of selling out. Not that they were ever produced honest music, though one might excuse their progressive speed hard rock debut (When Dream and Day Unite), at least a little, I guess. Their brand of messy and random stitching of unrelated ideas in a mixture of hard rock and outright Disney pop has gone through a long series of transformations; a move to fool audiences with the typical “constantly reinventing ourselves” excuse that allows them to keep being random.

The band has suffered several crises, even televised ones that would make any telenovella envy them (Portnoy leaves, Dream Theater holds mock audiences to “choose” a pre-selected drummer). They’ve moved with the waves, going dense and long with Systematic Chaos to entice those fans who like to believe themselves metal, then softening up a little with the influence of overrated poser-band Pink Floyd in Black Clouds and Silver Linings to produce long pop songs with some funny stabs at being metal. After that, 2011’s A Dramatic Turn of Events saw them go for their most retro attempt at imitating real progressive rock, with some interesting ideas and passages but ultimately resulting in the bloated and boring pieces their fans expect from them.

Whenever they aren’t busy putting together one of these Broadway soundtracks structured as carnival music, they will be repackaging previous material into more compilations or stuffing their lobotomized fans with yet another live album. Dream Theater lives the KISS dream, with similar tactics, minus the extreme sexual decadence, making them apt for audiences of all ages. A few weeks ago, they released an album that has taken particularly long in arriving, named The Astonishing for major catchiness and acceptance. This album is a two-disc package divided into thirty-four different tracks,  but this is no The Lamb Lies Down on Broadway, and Dream Theater does not even attempt to keep single four-minute songs coherent. They switch from inspirational soundtrack bullshit to gay-pop ballad mode with little to no preparation, only to follow it up by a head-bobbing hard rock groove that is never too aggressive so as to appear actually threatening.

Daddy-rock, Disney-pop and conscious attempts at being as lame as Hans Zimmer have brought Dream Theater to where they are. Sometimes they try to be Pink Floyd, but not too much, lest they be recognized, since Pink Floyd does not have too much they can actually call their own but a lazy syncopated sort of pop rock with bluesy guitar (I really can’t stop laughing when people praise Gilmour as some kind of revolutionary; he was a good guitarist, period). Sometimes they try to go Genesis, but they do not have the consistency, the concentration or the actual creativity, so they resort to disguising their lack of composition talents by attaching whatever they can come up to the latest they wrote down, no matter how nonsensical it is. At this point, Dream Theater sounds like senile Avenged Sevenfold trying to be old Genesis but forgetting about it every other minute as, if they already have Alzheimer’s.

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Dream Theater continues buildup for The Astonishing

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Dream Theater’s upcoming album is certainly high concept, although I don’t foresee the results being anything other than the usual technically accomplished vaguely progressive power metal they always put out. As part of the buildup to the scheduled 2016 release of The Astonishing, the band has released a ton of visual and conceptual material, and most recently put up the tracklisting for the album. Other commentators throughout the internet are being psychically assaulted by the sheer 34-ness of the amount of tracks listed; when they recover they often end up claiming that the album will either be excellent or a colossal trainwreck. I’m personally expecting something in the middle, although visual art fans might at least find something of interest in these supplementary materials.

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Metal Molester 2017 So Far SMR


Article by Linus Douglas.

As these Observer posers speed past 2017’s halfway point, they present a selection that is indeed a dumpster fire representative of the shit pool that their mainstream metal listening provides them with. Only those who need to be eradicated (rapists, communists, child molesters, serial killers, hipsters, etc.) genuinely think that stoner rock and boring, slow heavy rock bands are examples of heavy metal. Their piss-poor “culling” (badass, huh?) from the “metal cauldron” of mee-maw’s recipes was as follows:

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The Metal Teddy Bear Experience Interviews Opeth


Interview contributed to Death Metal Underground by Chris Annunziata.

Chris Annunziata, host of The Metal Teddy Bear Experience show on 90.3 WMSC-FM, interviewed Mikael Akerfeldt of death ‘n’ toll turned seventies style rock band Opeth at the Starland Ballroom on March 7th. Chris steadfastly transcribed the extensive interview and most graciously submitted it us. Mikael discusses his touring experiences with Megadeth and Gojira along with his childhood security blanket and love of raw meat. The recorded version is at the end.

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Sadistic Metal Reviews 1-22-2017

Everything you love is eventually butchered, emulsified, digested, and squeezed out by lesser life forms ranging from head hunters to bacterium to mediocre metal bands. Here are some Sadistic Metal Reviews for our readers’ pleasure:

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Cóndor – Sangreal (2016)

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Condor again present a wholesale blending of death metal, classical guitar, folk, and progressive rock influences into epic heavy metal songs rather than pretending instrumental masturbation is intelligent like Dream Theater or that alternative rock with power chord chugging and a couple angular or dissonant riffs is metal like Bolzer. On Sangreal attempt to convey the romanticism behind the Arthurian legend, particularly the grail cycle concerning Percival or Galahad restoring fruit and flower to the desolate Waste Land rendered infertile by the sins of the maimed and emasculated Fisher King.

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Gridlink – Longhena (2014)

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Longhena is grindcore that is actually musical. Takafumi Matsubara (Mortalized) became the sole guitarist after Orphan and brought a longer, more narrative, heavy metal sense of songwriting to Gridlink’s hyper proficient blend of their musical influences. The riffing varies from post-hardcore chord progressions to New Wave of British Heavy Metal harmonies of the type originated by Thin Lizzy. Somewhat shocking for a grindcore band not Carcass or Bolt Thrower, Matsubara actually progressive his riffs to tell short narratives in short, cyclical compositions varying from one to three minutes in length, usually climaxing in a bittersweet, often melancholic solo. The drumming is blasting, inspired, and semi-tasteful, with fills that feel almost as if they are about to go off the rails but return to be properly enslaved by the riffing. Vocals are reminiscent of Assuck with lyrical topics ranging from nuclear holocaust to anime and lamentations of the destruction of the player-controlled spaceship in shoot ’em up arcade game. All melodically and lyrically reflect upon listeners certain Buddhist mental concepts of the emptiness, nothingness, and meaninglessness of human existence and suffering.

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Genesis – The Lamb Lies Down on Broadway (1974)

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Article by David Rosales and Johan P. This article is the second in our 1970s Progressive Rock for Hessians series initiated by Johan.

Released in 1974 and signaling the departure of Peter Gabriel from Genesis, The Lamb Lies Down on Broadway brings the classic era of the band and the genre to an end. It does so rather inconspicuously with a profound accomplishment that is not easy to summarize in such few words. The album materializes the several tacit goals of progressive rock: the incorporation of classical music methodologies into the making of pop rock music, stylistic expansion within coherent boundaries, to the neo-romantic mystical allusions boiling up from vague lyrics into aural explosions in sound.

Musically, it makes use of straightforward pop rock expression expanded with a nod to classical-era structures, while ambients range from avant-garde noise to ambient instrumentals. We may even see the precursor to the post-rock aesthetic but Genesis takes the music somewhere rather than moronically dancing around in the same place. The use of themes throughout songs and the album itself is prominent; it holds the album together and is a direct consequence of that proper classical influence. The lyrical theme of the album is based on Judaic mysticism, with references to the Kabbalah in song titles, concepts, and even the number of total tracks of the release.

The influence of Genesis as per their style at their pinnacle in The Lamb Lies Down on Broadway virtually defines a whole generation of the pseudo-prog we see today in the likes of charlatans to which Steven Wilson belongs, or supreme posers Dream Theater and their numerous unoriginal underlings. Opeth cannot be counted among the superficial fools living off the greatness of Genesis as they are a more eclectic collection of disparaged sources poorly sewn together and because the very little prog rock influence they displayed comes from Gentle Giant. With all certainty, almost any decent-sounding, so-called progressive outfit today that leans towards a pop rock sound with unconventional sound structures is probably directly or indirectly defined by (not merely “influenced” by) classic Genesis.

Particularly outstanding is the elite drumming that underscores the thematic progressions of the rest of the music. At each point it answers to needs in the music, while not shying away from dramatic or even amusing additions to the mix. Jazz percusion technique here is used with taste, forwarding the music, rather than becoming an instrument for divergence into hedonist egotism. Despite this, in The Lamb Lies Down on Broadway, none of the elements actually jumps out at the listener: the technical merits are so perfectly fused with the living flow of the music they may be overlooked. In this we may find great contrasts with Yes, whose brilliance was always a close-neighbor to instrumentalist prowess, threatening to and eventually taking over precedence of deeper motivations that move true art (as we see in Relayer).

To finish our brief discussion on this definitive album for progressive rock, we would be remiss in failing to attend to the reasons it achieves such excellence. Considering Nietzschean Apollonian versus Dionysian interplay, a reasonable speculation might start by pointing out that the most superficial and recognizable sounds in this album are distinctively ground in their seventies era. Even the use of avant-gardisms remains within the framework of the experimentation of its time and exemplifies what Pink Floyd were never able to properly approximate. The Lamb Lies Down on Broadway does not reject its contemporary influences, but through them accepts the band’s chronological appearance in history and maximizes their channeling of ulterior and less ephemeral reasons.

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