The most energetic and jaunty track here is "Curve". It is also the simplest, consisting of basically three riffs topped with assorted fret-gymnastics. But that’s no criticism, it is probably the most fun track on Suspended Animation, the layering of wah-lead and sun-drenched rhythm works a charm.
Penultimate song "Lost Without You" is a slow contemplating one. The bluesy lead playing gesticulates towards Santana, while the sparse drumming signals the tenets of stadium rock. Unfortunately this is the only track that can be branded with the name-badge of anonymity; it’s got an atmospheric aura but lacks any memorable punch.
The final song is, thank your gods, proof that the best has indeed been saved for last. "Animate-Inanimate", the somewhat title-track, is a rip-roaring feast of musical delicacies, complete with little let up in ferocity. It’s beautiful; an open-string meditative measure transfigures into an odd modal lead section, which in turn surges into a boisterous multiple-guitar fete of a riff. The song drags you through its residence, allowing just enough time to succulently indulge in each room’s sonorous charm, before hauling you off to see what the next doorway has in store. A resplendent, adrenalised efflux of musical virtuosity races you to the end, where an Eastern-flavoured part, not unlike DT’s "Home", follows you on your way out through the fade.
I’m still trying to find out if those broken windows in the album sleeve were caused by Petrucci’s Mesa Boogie Road King, but what I do know is that this album is rife with excellence, germinating with quality, a sublime composition of symphonic ingenuity. It’s obvious where the shredding on DT’s last album Octavarium relocated to, it has been alive and well living in these eight songs, and fucking hurrah for it. Kudos to you John Petrucci, you’re a credit to humanity.
And so, the great monument of Suspended Animation retreated upwards into the heavens, forever to be worshipped by the tiny souls below, its prophesised miracle no longer a secret, now available for all to hark till their days go dark and fade like the last notes of John Petrucci’s solo album.
Article comments
1 - Paul Roy
I don't know why I have put off buying this one for so long. Probably from being so disappointed by Dream Theater's last few albums. I saw Petrucci on the G3 tour, during their first go round, where he performed most of this album, and I felt that he stole the show right out from under Messrs. Vai and Satriani. Anyways, your awesome review may finally have me convinced to throw some more money Petrucci's way.
2 - Duke De Mondo
Exceptional as always, Sir Fleming! The speed with which you've let that bubblin prose of yours seep into every aspect of your writery, by crafting spellbinding "reviews" such as this, for example, which are more than anything anyone ever assumed "reviews" should be and yet strikingly coherent also with regards the in's and out's of the piece discussed, well now, it's altogether miraculous.
With regards the ol' instrumental guitar records, i've never ever been able to much get into it all. Still, i can respect no end the technical prowess on display throughout any of the examples of such i've encountered.
3 - Aaron Fleming
Paul - thank you, and a purchase would be a wise thing I'd advise.
Duke - thank you muchly for the comment!
4 - Mark Saleski
nice review aaron. i haven't bought anything Dream Theatre-related since Six Degrees of...whatever that danged record was called.
i just might have to check this one out. the mini-sample on Petrucci's site of the opening track is pretty exhilarating.
5 - DJRadiohead
My favorite components of DT have always been Portnoy's drumming and Petrucci's fretwork. I will invest in this CD directly.
Well done, Sir Fleming.
6 - Aaron Fleming
Oh yeh DJ, Dream Theater are powered by the awesome engine of Portnoy and Petrucci!
Thanks.
7 - nugget
does he stay in a major key for more than 8 barres? If so I'll buy it.
8 - Aaron Fleming
Haha, consider it a wise buy, Nugget.