Penultimately is ‘Sacrificed Sons’. A song which opens with a collage of news soundclips based around on-going international crises concerning terrorism and Jihad and whatnot. Given that, it’s not very political a track, mainly just about “don’t be silly with your misinterpretations, it won’t do no good.” Probably more focused on the likes of suicide bombers, as opposed to any deep political dialectic. Musically, another excellent song, lots of riffs pumped into that ten minutes, including a lovely melodic melancholic lead somewhere in the middle, and a heavy staccato power chord riff under the final verses, which rules greatly.
So here we are kiddies. Hope you’ve been keeping up with the narrative so far, maintaining your instalment payments, and so on. The final track is the epic title track, twenty-four minutes of proggy goodness, split up into five sections (probably to aid reviewers, in that they won’t need to go “that bit at 16:32 rules”).
The intro (which doesn’t even warrant its own official section apparently) is a superfluous mix of ambient sounds and understated keyboard, often shamelessly skipped by me.
I think I’d have to recognise the first section to be my favourite section, a glorious acoustic, melodic composition. Mainly because of its sublime third-person lyrics by John Petrucci, which I misconstrued as a positively uplifting message that life doesn’t have to go the conventional and banal way of education-job-retirement-death. But on closer inspection since those early-preconception days, it seems to be more about how one’s life philosophy can alter, someone’s motivations and ambitions can change course and transmogrify into something else (perhaps that which you previously avoided and resented).
Still, ignorance is gliss (or so I read, although that might have been a typo).
Moving on a bit, section two is another nice euphonious piece. Section three is where the musical maestros escape their cage. It opens with lots of rapid keyboard squiggles, then onto the vocal segment. Then the customary instrumental part, multitudinous time signature changes, keyboard/guitar unisons, tempo changes, all the usual fare to be expected, but brilliant I must add. Fourth section verse-based heaviness, final section comprises a rousing vocal part followed by one of John Petrucci’s best solos. A slow moody beast of a thing it is.