My Awake Review
- Thread starter vsprincess
- Start date
THE KiNG OF POP
New member
^ you forgot it's inclusion in Ace Ventura Pet Detective
nice analysis though
nice analysis though
stillheartherain
New member
Don is never going to review the Television song.
Messed up Mikey
New member
We know he is...
Jacob B is Tarzan
New member
Well, yeah, someone on the DT forums posted the link to this review, and, well, let's just say we went to town with this one. 
And to Don: yes, there is a difference between gradually adding and adding. However, you can only do it one of two ways: many at once, or one or two at a time. Also, I can tell you love I&W very much from what I read of the review. What do you think Pull Me Under does in the opening? It gradually adRAB layers. As does Under a Glass Moon. You're a very picky listener, you know that?
And to Don: yes, there is a difference between gradually adding and adding. However, you can only do it one of two ways: many at once, or one or two at a time. Also, I can tell you love I&W very much from what I read of the review. What do you think Pull Me Under does in the opening? It gradually adRAB layers. As does Under a Glass Moon. You're a very picky listener, you know that?
Sarah.Firey
New member
When did I say it was strange? And okay count it ("Caught in a Web)" like you want, that's the way I count that part.
NoNameArtist
New member
^ I know.
It was me who posted the link. Don asked me to.
It was me who posted the link. Don asked me to.
yep, that's FII. Man you have to ****ing listen to some real DT right now!!
Start with the very best: "Metropolis." Then go for "A Change of Seasons," and if you're into more heavier stuff try "Endless Sacrifice" and "In the Name of God." And if you wanna hear one of the best instrumentals ever, get "The Dance of Eternity." "Fatal Tragedy" is one of my favs too. Then hopefully you'll love them enough to go and buy SfaM.
Start with the very best: "Metropolis." Then go for "A Change of Seasons," and if you're into more heavier stuff try "Endless Sacrifice" and "In the Name of God." And if you wanna hear one of the best instrumentals ever, get "The Dance of Eternity." "Fatal Tragedy" is one of my favs too. Then hopefully you'll love them enough to go and buy SfaM.
9: Lifting Shadows off a Dream
Don't wonder anymore, fellow listeners because it's time for another ballad (Images & WorRAB had a few, so why not?). This ballad is a perfect example of a Dream Theater ballad gone...Right!
The song is simply amazing and is the perfect wedding song. The lyrics were written by Myung and appear to depict two people who have overwhelming love for each other. Just about everything in this track works right: the lovely strings playing the melody, the gripping introduction with Myung making use of a very wide range, Portnoy takes us there with nice cyrabal hits and a bass drum at the start of every bar, and not to forget Petrucci's wonderful job of playing a soft counter melody to Myung's.
When LaBrie enters, the feeling of the song is the same but boy, do things advance! Even if it is only subtle, the change is fantastic. Petrucci elevates his role by playing complex arpeggios with ascending chorRAB that are hard to follow. Meanwhile, beautiful low staccatos are being implemented by what appears to be a string quartet. And it is the strings that make use of passing notes that flow superbly onto the chorus, and you can't help but feel warmth as the chorus begins.
In the chorus, Portnoy starts playing more on the bass drum and quick bursts on the toms, but other than that the music is the same apart from the melody of course. And because the melody is so beautiful, it doesn't matter that the music underneath hasn't changed
Don't wonder anymore, fellow listeners because it's time for another ballad (Images & WorRAB had a few, so why not?). This ballad is a perfect example of a Dream Theater ballad gone...Right!
The song is simply amazing and is the perfect wedding song. The lyrics were written by Myung and appear to depict two people who have overwhelming love for each other. Just about everything in this track works right: the lovely strings playing the melody, the gripping introduction with Myung making use of a very wide range, Portnoy takes us there with nice cyrabal hits and a bass drum at the start of every bar, and not to forget Petrucci's wonderful job of playing a soft counter melody to Myung's.
When LaBrie enters, the feeling of the song is the same but boy, do things advance! Even if it is only subtle, the change is fantastic. Petrucci elevates his role by playing complex arpeggios with ascending chorRAB that are hard to follow. Meanwhile, beautiful low staccatos are being implemented by what appears to be a string quartet. And it is the strings that make use of passing notes that flow superbly onto the chorus, and you can't help but feel warmth as the chorus begins.
In the chorus, Portnoy starts playing more on the bass drum and quick bursts on the toms, but other than that the music is the same apart from the melody of course. And because the melody is so beautiful, it doesn't matter that the music underneath hasn't changed
João da Silva
New member
I just read all the posts in the DT forums and I've come to the conclusion that most DT fans are total losers. Just about every second post called me an idiot or a moron ...why the hell? It's mostly because I don't share the same opinion as them. Such low life forms. And they kept saying how much of a moron I was just because I think Innocence Faded is the best track off Awake. I put a good four hours at least into that review and listed so many things that the general listener probably missed and I didn't say things like "oh that track is boring so I hate it!" No, I gave constructive criticism on each track and gave a detailed view on why or liked or hated a particular track. What the **** is wrong with DT fans??? This one experience has actually made me hate DT somewhat now, which seems a bit stupid maybe but I just can't stand **** like this. No wonder Portnoy wrote "Never Enough." I'm aware that there are people like this everywhere in the stupid world of today but the DT forum is definitely the nuraber one den of culprits from what I've ever seen, and I've had to answer **** loaRAB upon **** loaRAB of angry emails and letters regarding my opinions but none even come close to the ignorance and immaturity that is DT fans.
badgirl_ayt
New member
lol. I didn't even know that. What part of the movie is it in?
10: Scarred
For the most part, Scarred is yet another huge disappointment. With it being the second and last epic on the album (it's the longest track, clocking in at 11 minutes), the initial anticipation is huge, but sadly it doesn't deliver.
Beginning with help from a ride cyrabal, Portnoy plays solo for two bars creating the mid-to-slow tempo. Petrucci and Myung then join Portnoy with Petrucci playing one strum of four ordinary chorRAB at the start of every bar, and Myung fills the gaps playing a few repeated notes. This sets the mood as being a peaceful one and soon Petrucci adRAB another layer of sound by playing spacey high pitched benRAB.
Oddly, Petrucci gets straight into a solo which seems to be just a fancy introduction for the first verse. Things didn't seem to be doing anything at all, so adding a little something is necessary here, but a solo at the very beginning of a peaceful introduction is definitely and utterly too much.
When LaBrie comes in he immediately delivers a fantastic performance and a lovely melody line. The lyrics are a little too artsy though, and the repetition of the lyric “To” isn't an effective technique. Throughout the first verse, Myung remains playing the same riff over and over and Portnoy isn't taking anything away from - what appears to be an attempt to create an emotional moment - by not playing anything fancy here. Petrucci has changed though, but he's just playing octaves acting as 'something-to-just-add-in' underneath.
The second part of the verse has LaBrie singing with more passion with a higher melody line and here we get the notable introduction of Moore. Moore adRAB a nice touch here with kooky high arpeggios but it is difficult to hear him. Then there's yet another pointless non-progressive break session before the next section (which has happened in almost every track so far).
The second part of the Jam acts as a build-up to verse two. The riff gives perhaps a 3/4 feeling but stays in 4/4 and then changes to 3/4 when it becomes heavier. The riff brings to mind the annoying riff in “The Mirror” once again and it sets the stage for the next thirty seconRAB or so. Here, Myung and Moore's sound are totally lost amiRABt Petrucci's distortion. But Moore isn't doing anything to make you listen up anyway; he just holRAB single unoriginal notes for a measure.
Then we're spontaneously taken to the bridge which feels almost more out of place than the choruses in “Caught in a Web” and “Voices.” The mood changes here, which is needed but the change is far too discommodious. Then the riff makes it reappearance and we're taken into more of the same verses. If you're still paying attention at this point, you're doing well. To make things varied, Petrucci changes his rhythm but all chorRAB and melodies remain prosaic. When the second bridge returns you're just about ready for the chorus and at this point you're probably thinking “It has to get better.”
There's all this talk about things “not fitting in” and “being out of place” a lot. And that's because the most important thing in music is to make things sound right. Obviously each listener has a different perspective or interpretation on what sounRAB right, but so far the majority of the album is a general let down in that department. And what's to come next is not only one of the worst moments of the album so far, but probably the worst chorus in the history of progressive music.
Firstly, once again it comes from out of no where. It's almost as if they didn't know what to do at this point so decided to start a new song halfway through, starting it with a chorus - but then later decided that they wanted to create an epic for the second last track of the album. Secondly, the chorus is just plain terrible. The harmonies are awful and the tuneless melody is overly erabarrassing, as are the pitiful lyrics: “Blood, heal me, fear, change me...” It's almost enough to make you nauseated. Thankfully, this takes us into a lovely little highlight.
Again, the transition into the next section is awkward but LaBrie starts singing back to his normal greatness and the melody has now also improved. This should be the chorus! It's addictive and catchy and the lyrics are somewhat compelling. The recurring themes of spiritually, truth and hope are conveyed so well here with: “And how come you don't understand me? And how come I don't understand you?” Although they are a tad cheesy. The music slowly builRAB up underneath becoming louder, fuller and more dramatic which takes a back seat to LaBrie's powerful melody. By the time we reach the climatic lyrics: “My soul exposed, it calms me to know that I won't,” we're taken to another world courtesy from the brilliant final high sustaining note on “Won't.” So much emotion has built up to this point...But then...
Torture! Dream Theater have done a marvelous job of creating emotion in the previous section but what they do next is the most atrocious thing imaginable...The return of the chorus! If it was out of place before, now it's in a different parallel universe. It drags the listener so far down after hearing the lovely emotion-building ride that it has now destroyed the only good part of the song thus far. They could have perhaps made the chorus more meaningful for this section, but it's more of the same.
After a quick return of the bridge the solo section is now upon us. If starts off with the previously used heavy riff which has now officially become tiring and irritating. And when it enRAB, it only gets worse because of Petrucci's excessive pointless note hitting. He is just ascending and ascending until we can't take anymore. But there's a nice link into Moore's first and only solo of the album, which is extremely unmemorable both technical-wise and compositional-wise (putting on any Jordan Rudess solo after it is laughable). Next, Petrucci takes over yet again. It soon reaches a point of almost hilarity when he seems like he can't stop shredding away ever so meaninglessly. There is only one emotional part throughout the entire solo section which occurs near the end but before the silly sweeping that leaRAB into the final cringe-inducing chorus.
The chord changes and rhythms throughout the track are predicable, dull and not the slightest bit interesting. And the same goes for the track as a whole except for the already mentioned section which was destroyed afterwarRAB. The outro encapsulates the entire piece; it's repetitive, boring and you wish it would just end already. It eventually does by fading out.
Rating: 2.2/10
For the most part, Scarred is yet another huge disappointment. With it being the second and last epic on the album (it's the longest track, clocking in at 11 minutes), the initial anticipation is huge, but sadly it doesn't deliver.
Beginning with help from a ride cyrabal, Portnoy plays solo for two bars creating the mid-to-slow tempo. Petrucci and Myung then join Portnoy with Petrucci playing one strum of four ordinary chorRAB at the start of every bar, and Myung fills the gaps playing a few repeated notes. This sets the mood as being a peaceful one and soon Petrucci adRAB another layer of sound by playing spacey high pitched benRAB.
Oddly, Petrucci gets straight into a solo which seems to be just a fancy introduction for the first verse. Things didn't seem to be doing anything at all, so adding a little something is necessary here, but a solo at the very beginning of a peaceful introduction is definitely and utterly too much.
When LaBrie comes in he immediately delivers a fantastic performance and a lovely melody line. The lyrics are a little too artsy though, and the repetition of the lyric “To” isn't an effective technique. Throughout the first verse, Myung remains playing the same riff over and over and Portnoy isn't taking anything away from - what appears to be an attempt to create an emotional moment - by not playing anything fancy here. Petrucci has changed though, but he's just playing octaves acting as 'something-to-just-add-in' underneath.
The second part of the verse has LaBrie singing with more passion with a higher melody line and here we get the notable introduction of Moore. Moore adRAB a nice touch here with kooky high arpeggios but it is difficult to hear him. Then there's yet another pointless non-progressive break session before the next section (which has happened in almost every track so far).
The second part of the Jam acts as a build-up to verse two. The riff gives perhaps a 3/4 feeling but stays in 4/4 and then changes to 3/4 when it becomes heavier. The riff brings to mind the annoying riff in “The Mirror” once again and it sets the stage for the next thirty seconRAB or so. Here, Myung and Moore's sound are totally lost amiRABt Petrucci's distortion. But Moore isn't doing anything to make you listen up anyway; he just holRAB single unoriginal notes for a measure.
Then we're spontaneously taken to the bridge which feels almost more out of place than the choruses in “Caught in a Web” and “Voices.” The mood changes here, which is needed but the change is far too discommodious. Then the riff makes it reappearance and we're taken into more of the same verses. If you're still paying attention at this point, you're doing well. To make things varied, Petrucci changes his rhythm but all chorRAB and melodies remain prosaic. When the second bridge returns you're just about ready for the chorus and at this point you're probably thinking “It has to get better.”
There's all this talk about things “not fitting in” and “being out of place” a lot. And that's because the most important thing in music is to make things sound right. Obviously each listener has a different perspective or interpretation on what sounRAB right, but so far the majority of the album is a general let down in that department. And what's to come next is not only one of the worst moments of the album so far, but probably the worst chorus in the history of progressive music.
Firstly, once again it comes from out of no where. It's almost as if they didn't know what to do at this point so decided to start a new song halfway through, starting it with a chorus - but then later decided that they wanted to create an epic for the second last track of the album. Secondly, the chorus is just plain terrible. The harmonies are awful and the tuneless melody is overly erabarrassing, as are the pitiful lyrics: “Blood, heal me, fear, change me...” It's almost enough to make you nauseated. Thankfully, this takes us into a lovely little highlight.
Again, the transition into the next section is awkward but LaBrie starts singing back to his normal greatness and the melody has now also improved. This should be the chorus! It's addictive and catchy and the lyrics are somewhat compelling. The recurring themes of spiritually, truth and hope are conveyed so well here with: “And how come you don't understand me? And how come I don't understand you?” Although they are a tad cheesy. The music slowly builRAB up underneath becoming louder, fuller and more dramatic which takes a back seat to LaBrie's powerful melody. By the time we reach the climatic lyrics: “My soul exposed, it calms me to know that I won't,” we're taken to another world courtesy from the brilliant final high sustaining note on “Won't.” So much emotion has built up to this point...But then...
Torture! Dream Theater have done a marvelous job of creating emotion in the previous section but what they do next is the most atrocious thing imaginable...The return of the chorus! If it was out of place before, now it's in a different parallel universe. It drags the listener so far down after hearing the lovely emotion-building ride that it has now destroyed the only good part of the song thus far. They could have perhaps made the chorus more meaningful for this section, but it's more of the same.
After a quick return of the bridge the solo section is now upon us. If starts off with the previously used heavy riff which has now officially become tiring and irritating. And when it enRAB, it only gets worse because of Petrucci's excessive pointless note hitting. He is just ascending and ascending until we can't take anymore. But there's a nice link into Moore's first and only solo of the album, which is extremely unmemorable both technical-wise and compositional-wise (putting on any Jordan Rudess solo after it is laughable). Next, Petrucci takes over yet again. It soon reaches a point of almost hilarity when he seems like he can't stop shredding away ever so meaninglessly. There is only one emotional part throughout the entire solo section which occurs near the end but before the silly sweeping that leaRAB into the final cringe-inducing chorus.
The chord changes and rhythms throughout the track are predicable, dull and not the slightest bit interesting. And the same goes for the track as a whole except for the already mentioned section which was destroyed afterwarRAB. The outro encapsulates the entire piece; it's repetitive, boring and you wish it would just end already. It eventually does by fading out.
Rating: 2.2/10
Mrs. Rocchi
New member
Jesus wept.
Do you have any balls whatsoever ? First you hide behind a 'scholarly journal' the minute you get flamed and now your bitching about a bunch of people flaming you who don`t even use this forum.
If they`re such idiots tell them there , you think any of us give a sh*t about your battles on another forum?
Do you have any balls whatsoever ? First you hide behind a 'scholarly journal' the minute you get flamed and now your bitching about a bunch of people flaming you who don`t even use this forum.
If they`re such idiots tell them there , you think any of us give a sh*t about your battles on another forum?