Interview with Mick Moss of Antimatter

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Photo Credit: Did Parcollet

It’s been 10 years since you released “Leaving Eden,” which has now been reissued. How has your approach to your music changed since then? Or has it?

I’m constantly learning and evolving, so without a doubt my approach to music has changed over the last ten years. I always think that with every new album that I make, all of my previous albums have been simply ‘dress rehearsals’ leading up to that one. But I think it’s natural to feel as though your new work is the vital one, as you can literally see your own learning-curve and journey leading up to that point. For me, now when I listen to ‘Leaving Eden’, it feels almost dogmatic in its approach, and it was at the time. I had my really rigid ‘rules’ about what soundscapes I would and would not use, and no songs really appear to step out of line from the rest in terms of their character. On a positive note that does work to create a homogeneous feel to the whole album, which makes it feel like a complete entity. I’ve not really worked that way since. Also my approach to instrumentation and arrangement has matured since then, becoming slightly more complex. The same for my singing.

On the bonus disc of the reissue, you have commentary for each track. This worked well on the deluxe edition for “The Judas Table.” What prompted you to do that again?

Basically because it had worked so well for ‘Judas…’. The ‘Judas…’ commentary track was a total experiment for me, and as I said in that particular commentary, I had no idea why nobody had picked up on the idea yet for albums/bonus CDs as it seemed such an obvious thing to do due to the long history of DVD commentary tracks. And also because, being a rabid music fan myself, I would have loved to hear any of my favourite bands do such a thing, so I knew that it would be something of extreme value for the fans. And after ‘Judas…’ I really expected other bands to catch onto the idea of the bonus commentary and start doing it, and it was a shock to me that in the two years since then, nobody had. So by the time the 10th anniversary of ‘Leaving Eden’ came around, the idea for the commentary track was right in place. And that period of time in Antimatter’s history is so rich with stories, themes, philosophy, that I knew there was endless information to spew back out.

“Leaving Eden” was the first album that you did without your former bandmate Duncan Patterson and I found your honesty about whether you even COULD continue as Antimatter without him. What would you have done had you not continued as Antimatter?

Immediately my instinct was that the name ‘Antimatter’ was now worthless, due to the fact that since day one, everything constructed from the marketing-machine side of things had this sub-text added to it ”Duncan Patterson ex-Anathema”, which I’m sure was fine and dandy for Duncan, and for the businessmen eying up their bottom line. But in the short and long run, any quick and easy attention garnered from that was a poison chalice. That first album had some really strong material on it, and Antimatter could have found its own space as this avant-garde, melodic post rock/electronic hybrid project in its own right, gained respect in whatever quarters, and then grown. Instead the ‘ex-Anathema’ was heavy-handed and relentless, in my opinion. Sure, it gave Antimatter a foot-up but in doing so aimed it at a square demographic. It also limited the projects appeal, giving it a this narrow-range marketing as a ‘spin-off band’ which in itself infers 2nd-gen inferiority to the very fans it is targeting, so immediately that narrow range gets narrower. It also excludes people from the outset who couldn’t care about Anathema or feel antipathy towards the metal scene in general, which is funny because Antimatter was neither Anathema nor metal. And look, when you spend your whole time marketing the reason people should be interested in something to be because of its ‘Ingredient X’ rather than the music itself then you’re walking on thin ice, because by the time Duncan quit, the business machine could no longer could rely on their tagline and ‘Antimatter’ was, in my opinion, about as marketable to them as a used condom. I wholly expected the project to get dropped because, as I mentioned in the commentary, Antimatter had been boxed into a corner by this very specific promotion.

So there I was, my own music had been misrepresented, sold with smoke-and-mirrors but now the mirrors were broken and the smoke machine had run out of juice, and I’m doing this Citizen Kane slow-clap… ”Well-done boys!” So I had a decision to make, and by that point, my half of Antimatter, those songs that I’d written, arranged, birthed through the last decade, was my entire life’s work, and here I was seriously considering somehow spiritually disconnecting myself from them, from my own discography. Or, do I carry on with a name that I’ve earned half of the respect for, yet dance straight into the fire by doing so because the historical promotion of has name has been wholly one-sided? It was a long, hard period of mental processing.

But yeah, long answer. I had three options didn’t I – Continue Antimatter; Start Spin-Off Band; Quit music Business. Option 3 crossed my mind for about 5 seconds and then discarded because that was just defeatist nonsense, so I was left to choose between 1 & 2. And as I mentioned in the commentary, there was one album left on the Antimatter contract with Prophecy Productions, and I had one Antimatter album (‘Leaving Eden’) already written. That came to me as a cosmic sign, and I am a spiritual person and I do pay attention to signs. So I made the decision to do that, continue Antimatter, under the illusion that once ‘Eden…’ was handed in, the label would not opt for any further albums, nobody would be interested in an Antimatter that didn’t contain a ”Duncan Patterson ex-Anathema”, the album would get shit-on in the press, and that would be the end of Antimatter. How wrong I was. And really, thank you to the fans for taking music as music and not as a product, thank you to the press who have been wonderful throughout, and thank you to Prophecy Productions who genuinely wanted to work with me for ‘Leaving Eden’ and beyond, as I’m not going to lie, Antimatter saved my sanity and to this day I genuinely love it.

You discuss a lot of things in the commentary, including the topics of the songs. One topic that I think is very important is mental illness. It’s something many people either struggle with or know someone who does. With such a stigma still remaining with getting treatment for things like depression and anxiety, tell me about your inspiration for these lyrics (without giving too much away from the commentary).

You know, one of the reasons I wanted to do this re-release was to highlight this topic, because I really do feel that we need to break some ground here with what’s happening across the board with mental illness, and also what’s happening with suicide rates. And mental health is something that affects every demographic, every gender, every walk of life, nobody is safe from it, so I’m including everybody here when I talk about this. But more worryingly, what I would also like to bring attention to is that fact that male suicide rates are particularly abominable. Here in the UK, three quarters of the suicides are by men, and its the biggest killer of men under 40, yet little attention is given to the demographic in terms of support or awareness.

‘Leaving Eden’ is the Antimatter album that speaks the most about poor mental health, and the music and artwork are inextricably linked, having both come from the same place, albeit from different people.. the music from myself and that artwork from Adrian Owen. There was nothing contrived there. The music and the image were both spewed, exorcist-style, from inside people who were occupying the same internal landscape, that of utter depression, and then paired up with each other in the real world. Its a perfect pairing. The music was written at a time when I was in such a black place, and, as I say in the liner notes, depression has a funny way about it of filtering out all positivity, all light, and you literally feel as though there is nothing but that state, that seemingly endless state.

I want to remind people that there is an end to it, it might be soon, it might not, but there is an end to it. Positivity and light are still there, waiting for you patiently. I came out of my depression, and I have spoken to many people who came out of theirs. Dig in deep, have faith and hold on, and whatever you do, don’t try to take matters into your own hands, because better days are ahead. And I just wish that Adrian had held on, because there’s a hole in the world where he used to be. He was such a great character, a genuinely caring soul.

You also discuss the music and musicians involved in the project, one being Anathema guitarist Daniel Cavanagh. Tell me a little about his involvement and some of the other key contributors.

Danny came quite late into things. I had already decided to make the album and got the line-up together, which was the line-up from my ‘Planetary Confinement’ sessions – Ste Hughes, bass, Chris Phillips, drums, and Rachel Brewster, violin. Sometime later I was spending quite a bit of time with Danny, as he lived locally and we were talking about doing some local gigs together for some pocket money, Beatles songs and the like. One day I was at his place and he asked me what I would be doing next, and I told him I would be continuing Antimatter with an album, ‘Leaving Eden’, and he asked right there and then if he could play guitar on it. That was actually great by me, as I knew it would be a more guitar orientated album, and some of the lead guitar parts in my head were of the classic blues-rock style, so he was perfect, and I knew very few lead guitar players at that time. I recorded the album and then brought Danny into the studio for two sessions, to layer over the lead guitar parts that I had already written, and to also improvise some stuff, which he did to great effect on the closing lead breaks of ‘The Immaculate Misconception’ and ‘Leaving Eden.

Rachel, Ste and Chris had previously played with me on the last album, as I mentioned. Chris I went to school with, and was in fact a member of every single band that I had leading up to Antimatter. Ste I met in my late teens and we have been close friends for years. His bass playing really impressed me when we met. We were 17 and he seemed very advanced for that age. Rachel I met much later on when I put a night on in Liverpool. She was a member of one of the bands. A few years later when I was doing ‘Planetary…’ I remembered her violin playing and made the effort to track her down. Ironically, seeing as its her who I met the latest, its Rachel who I have worked with the most.

Stylistically, “Leaving Eden” seemed larger sounding than previous Antimatter albums. Was that intentional or more natural?

A bit of both, and I’m interpreting your use of the word ‘larger’ as meaning the increased use of distorted guitars here… It was intentional because the album was coming off the back of the previous release ‘Planetary Confinement’, which was an entirely acoustic affair, so there was always gonna be some intentional backlash by myself in the form of stomping on the distortion pedals. And natural, because my natural range of songs is from acoustic to heavy anyway. Just take a look at my songs from the debut album, you go from ‘The Last Laugh’/’Saviour’ (heavy) to ‘Angelic’ (acoustic) and with ‘Over Your Shoulder’/’Psalms’ in the middle ground. Back in the day, while he was working on his Antimatter tracks, Duncan was never into that distorted guitar sound for his own songs, so with him gone there was always gonna be more of that as I was now in charge of the whole album rather than half.

I love remixes and they are getting to be more and more common. Did you ever consider remixing the whole album or even asking other people (no names) to remix it?

The sleepless perfectionist in me would have loved to get the whole album remixed, but sadly no multi-tracks exist of ‘Leaving Eden’, or any Antimatter album prior to it. That said, I’m happy with the mix it has from a historical point of view. To compare, I think its always weird when classic movies get tampered with, it takes away the historic authenticity. For remixing classic albums, the jury is still out with me, as a listener. Contrary to what I expected, the recent Yes remixes were pleasant, and from what I heard of the Jethro Tull stuff, they were also cool, because the remixes were faithful to the original shape yet being cleaner and holding their own more in contrast to modern productions. If I was getting ‘Leaving Eden’ remixed I’m not sure I could use the same restraint, and I’d be in danger of starting meddling a little too much… maybe…. who knows, the odd cowbell here, a little maracas there …

There are also two remixes of tracks from the album on the bonus disc, “Ghosts” and “The Immaculate Misconception.” Why did you decide to remix those 2 tracks?

Way back in 2007 I kept hold of some limited pre-mix fragments, instrumental stems, just disjointed isolated parts, as even ten years ago I had a feeling I would want to do some remixes later on, and I was dead right. I didn’t have much to choose from in the present day, I originally wanted to do something with the electric piano motif from ‘Another Face In A Window’, but that didn’t pan out. In the end I was really happy with what I did with the ‘Ghosts’ remix, I really turned that piece on its head, inverted the arrangement and made it almost unrecognisable. ‘The Immaculate Misconception’ is more faithful to the original track.

Since you did revisit the album for the purpose of the commentary, did you notice things you would have changed? Did you find yourself liking certain tracks more than others?

I didn’t really notice the album because I was talking over the whole lot of it… the album just played in the background whilst I was more focussed on the commentary, hitting all the beats and making sure I didn’t lapse into my native Liverpool accent too much, because if I did people would have been asking for refunds and wondering where the English version was. I actually noticed the lyrics more as, afterwards, I ran a special offer for the fans on the Antimatter store where they could buy the re-release plus a handwritten lyric sheet, limited to 100. So, in writing the lyrics out, I actually did notice some lines in there that I was still kinda proud of, even after all this time. Those lines in ‘Conspire’ ”Restless seas will murder me tonight, as you appease effortlessly the open mouths of hungry thieves” that really turned me on. Also on the title track ”The cost of innocence is the loss of innocence, some may pass away but some die screaming”, I’m giving the 20-something year old me a pat on the back for writing that stuff.

So what’s next for Antimatter? New music? More reissues? I am sure you are touring!

God, no touring … I’m finished mentally and physically for the time being with touring. Antimatter has been on the road for the last 5 years and I’m just burnt out. I have to stop now in order to be able to carry on an some point in the future. I’m reconnecting with home and family, getting back into a calm state of mind. I sat down recently and made a list of what I have coming up, and I pretty much have a full slate for releases for the next ten years across a number of different projects, which is fucking terrifying. Not to mention the various guest spots that I also have coming up on other peoples albums. As a workload, and being only one guy, that is just like shovelling snow in a blizzard, so mentally I just have to adopt a kind of ‘one step at a time’ mentality or I’m just going to crumble. That said, I’d rather be in this position than having nothing to work on…

To purchase the 10th Anniversary Edition of “Leaving Eden,” click here.
Facebook: www.facebook.com/antimatteronline
Website: www.antimatteronline.com

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Single Celled Organism – “Splinter in the Eye”

a0244364989_16Single Celled Organism is a neo-prog project by Jens Lueck from Germany. Neo-prog can really be a generic, vanilla form of prog in my opinion. It takes a lot to break free from the very SAFE sound of this sub genre. IQ and Marillion are two bands that have succeeded. I am sure many people love anything that is neo-prog since it all sounds quite similar. Such is the case for Single Celled Organism. I had higher hopes.

“Splinter in the Eye” falls victim to some obvious things. The spoken part in the three minute intro song is something you need to hear once (I could have done without that). A host of shorter songs that are mellow and interchangeable designed to further the concept (yes it’s a concept album of course) rather than be interesting to listen to. Worst of all, the longer and more musically challenging songs all have quiet moments to allow their vocalists to sing. It becomes very predictable and by the time I was at the title track I actually said “oh come on!” out loud.

The male and female singers have decent voices but are also rather generic and I suppose cannot handle a melody over anything complex. Musically the band CAN PLAY but they abide by the neo-prog rule nowadays and never fully cut loose. Songs like “Growing Up,”New Horizons” and “The Virus” lack the teeth that I need from all prog bands. It seems most people forget that progressive rock can be (and should be) as aggressive as progressive metal. IQ has an edge and always did. That’s huge.

Instead, Single Celled Organism sound quite sterile. Nothing is surprising or unusual. However, there’s clearly an audience for this band. If you like the bands you read about on many other prog websites or hear on many prog radio shows out there, Single Celled Organism are a band you should check out. For me, I need a lot more tension and intrigue. This is too milquetoast.

Rating: 4/10

Tracklist:

1. Prologue (The Mark Of Cain)
2. Growing Up
3. TV Show
4. Flying Home
5. New Horizons
6. Flies In My Head
7. I Can’t Feel
8. The Call
9. The Virus
10. Splinter In The Eye
11. I See You (The Regret)
12. Epilogue (Her Poem)

Bandcamp: singlecelledorganism.bandcamp.com

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Lucifer Was – “Morning Star”

Lucifer-Was-Morning-Star-Artwork-e1510176957945I will start by admitting that I did not know who Lucifer Was was before being offered this album for review. Upon my first listen of their album Morning Star, I was struck by how classic sounding it was for a release in 2017.

Digging for information about the band led me to their Facebook page, where I learned that they have been around since the 1970s – but their first album wasn’t released till 1997! – and that two of the songs on the new album have their origins in tapes from the early era. This will be their seventh release.

This is heavy progressive rock (with a hint of krautrock) with a strong production. It feels really “in your face” to me, in a good way. There is power in the guitar tone. And I am a sucker for the drum sound too.

My favorite track is the epic album closer, Pure. The organ is bliss.

The sound of the album may be rooted in a classic time, but it isn’t staid.

I found this an enjoyable, head-nodding listen.

If you like a heavy sound with your prog, I think you will enjoy Morning Star.

Rating: 7/10

Tracklist:
1. As It Comes
2. A Forest Of Zaqqum Trees
3. Tube Music
4. Cold Up Here In The North
5. Sea Of Sleep
6. Sunday Morning Griever
7. Pure

The players:
Jon Ruder Lead vocals
Thore Engen Lead guitar, acoustic guitars, zither, vocals
Dag Stenseng Flute, vocals
Anders Sevaldson Flute
Einar Bruu Bass
Kai Frilseth Drums, percussion
Arild Brøter Drums, percussion
Andreas Sjo Engen Guitar, cigar-box slide guitar, vocals
Arne Martinussen Organ, piano, Mellotron, harpsichord

Produced by Thore Engen & Jørgen G. Henriksen
Recorded in Oslo, Norway, January – July 2017

Record label: Transubstans

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Sectile – “Sectile” EP

SectileThere are times when a review is easy to write. Usually it’s when I really love something or really hate something. For Dublin’s Sectile, it’s actually neither of those. Their self titled EP is okay for what it is. The problem I have is that the band aren’t quite committed to a direction. So what is it?

The band sound like a hard rock band trying to become a prog metal band. Unfortunately, two of the tracks are definitely not prog at all. In fact, both “A Fool’s Reward” and “Silver Moon” sound more like 80s metal (think Tesla) than prog metal. And I think the band are good at that, it’s just not a style I am into. “A Fool’s Reward” in particular has a bit of an annoying hook that’s up and down more than a child’s teeter totter. Things get more progressive at times on the other two tracks, “Invisible Threads” and “Comes With The Rain.”

The problem on “Invisible Threads” is for one the riff sounds more awkward than prog and their transitions need a lot of work. Things are VERY abrupt through out. “Comes With The Rain” sounds like a power ballad with some prog leanings. The end of the track is the stand out moment on the EP. But by then, it’s obviously too late. The band are good musicians and lead singer Gabriel Gaba has a good voice, though more raspy and bluesy which doesn’t quite fit the more prog moments. And I am not really digging the falsetto.

Sectile are a good metal band. I think it’s cool that they clearly want to be a prog metal band but I am not sold on it based on these 4 tracks. Perhaps with time that will change though. For now, it’s not my cup of tea. If you enjoy solid, well played metal with quality vocals, Sectile is probably your cup of tea.

Rating: 4/10

Tracklist:
1. A Fool’s Reward
2. Invisible Threads
3. Silver Moon
4. Comes With The Rain

Bandcamp: sectileofficial.bandcamp.com
Facebook: www.facebook.com/sectile

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Kansas – “Leftoverture Live & Beyond”

kansasReplacing a vocalist as dynamic and unique as Steve Walsh is damn near impossible. Kansas did it before when John Elefante was recruited in 1982. He did a decent job and it kept Kansas afloat until Walsh returned in 1985. Now with Walsh leaving again, the band wanted to continue. While their current studio album “The Prelude Complicit” is more about missing Walsh and mostly Kerry Livgren’s songwriting, their current live album “Leftoverture Live & Beyond” spotlights how well current vocalist Ronnie Platt can handle replacing Walsh.

As the years have gone on, there’s no doubt that even Walsh couldn’t really do what he used to do back in the day. However, if you have to replace him, wouldn’t it make sense to get someone who can nail everything live? While Platt sounded good on the new material on this live album (since he was involved in writing and recording it), the earlier material is more of a problem. There are times he does okay and other times that his pitch is way off.

Additionally, he just doesn’t have the tone that Walsh and even Elefante did. Oddly enough, bassist Billy Greer has that tone! He does all of former member Robby Steinhardt and sounds more like Walsh (as he always has). Check “Miracles Out of Nowhere” for a prime example. It makes me wonder why they didn’t just promote Greer to lead vocalist since he is a great singer. Genesis did it way back when! Platt’s issues are often the higher notes when it comes to pitch and his mid range often sounds very thin. But he does the best he can and I know I could never sing any of those songs at all.

Musically, the band sound great live. The only time that sounds off (which is really weird) is the opening segment of their classic “Carry on Wayward Son.” They use a taped intro for it which is a shame and then the opening riff sounds clunky and the opening solo sounds off too. They do recover after that. It’s part of the second disc on which the band plays “Leftoverture” in its entirety. On the first disc, the band play a good mix of old songs and three new ones, including both “Icarus” tracks to start the show.

I’m not a huge fan of live albums. I suppose I should have started by saying that. Live videos can be fun but nothing replaces being at the show. And I find that very few live albums ever make me want to listen to those versions of the songs over the original studio versions. Such is the case here with “Leftoverture Live & Beyond.” It’s a nice effort by a band that wants to continue but it winds up reminding me what I loved and miss about the classic Kansas lineup.

Tracklist:

Disc One:
1. Icarus II
2. Icarus Borne on Wings of Steel
3. Point of Know Return
4. Paradox
5. Journey from Mariabronn
6. Lamplight Symphony
7. Dust in the Wind
8. Rhythm in the Spirit
9. The Voyage of Eight Eighteen
10. Section 60

Disc Two:
1. Carry On Wayward Son
2. The Wall
3. What’s on My Mind
4. Miracles out of Nowhere
5. Opus Insert
6. Questions of My Childhood
7. Cheyenne Anthem
8. Magnum Opus
9. Portrait (He Knew)

Label: Inside Out Music
Website: www.kansasband.com

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Virgil & Steve Howe – “Nexus”

cbb21336-34e9-4a67-a945-b7cfbcdf2de3“Nexus” was to be the first connection between father and son. Steve Howe on guitars and his son Virgil Howe on everything else. Sadly, the younger Howe’s death on September 11, 2017 turned this album into his epitaph. The bond between them is clear through out the album. They speak the same musical language and while this is further away from Steve’s past releases on his own and with Yes, he blends perfectly with his son’s more ambient and electronic leanings.

There are some tracks that are more acoustic and others that feature Virgil’s passion for electronic music. But those moments never take over any of the tracks. Instead, they are more like sprinkles atop a musical cupcake. It’s miles away from Virgil’s DJing and remixing. The songs are all piano based tracks that Virgil wrote and send to his father to add guitar too. It wasn’t until after Steve added his guitar that Virgil revealed the remaining instrumentation for each track. It turns out to be a process that worked perfectly. The album is a treasure trove of atmospheric beauty.

The album starts with the beautiful title track which is a lovely acoustic duo. “Hidden Planet” still has an acoustic base to it but has synths and electronic percussion, coupled with Steve’s guitar work. The lush “Leaving Aurora” showcases Virgil’s piano work as does “Nick’s Star” which is a tribute to a friend of Virgil’s who passed away. It becomes even more poignant with Virgil’s passing. “Dawn Mission” is another stellar track.

“Nexus” is an incredible tribute to the talent of Virgil Howe. Sadly it makes you want to hear more like this from him and that’s no longer possible. It is a sad listen if you think of it in those terms but consider the joy that went into creating this album and you’ll hear it in another light. My condolences to the entire Howe family. Rest in peace, Virgil Howe.

Rating: 9.5/10

1. Nexus
2. Hidden Planet
3. Leaving Aurora
4. Nick’s Star
5. Night Hawk
6. Moon Rising
7. Passing Titan
8. Dawn Mission
9. Astral Plane
10. Infinite Space
11. Freefall

Label: Inside Out Music
Release Date: 17 November, 2017

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Dream Theater at the Palace Theatre, Albany NY on November 14, 2017

23473018_10156074170883938_7719840119486177290_nI saw Dream Theater for the first time back in 1993 on the Images and Words Tour at the Palace Theatre in Albany, NY. So it was very cool to see them yet again, but this time 25 years after that first time on the Images, Words and Beyond Tour. The first set was the “Beyond” set which had 2 songs that I could live with never hearing again in “The Dark Eternal Night” and “As I Am.” The latter contained a snip of Metallica’s “Enter Sandman” which just confirmed what I’ve always said about the song. It’s a re-write of that song.

But other than those two songs (and that they cut “Don’t Look Past Me” for the first time on the tour), the rest of the songs were excellent choices. It was nice that John Myung had a solo spot featuring his rendition of the Jaco Pastorius song “Portrait of Tracy.” In addition, it was nice to hear “To Live Forever” which was written during the Images and Words era. “Breaking All Illusions” was a great closer to the first set.

The second set contained all of “Images and Words” in order plus solos from John Petrucci on the outro of “Take the Time,” a drum solo from Mike Mangini in the middle of “Metropolis Part I” and an improv piece prior to “Wait for Sleep” by keyboard wizard Jordan Rudess. Musically the band were in top form. Singer James LaBrie told a lot of fun stories in between the songs and for the most part did a good job on the old stuff. But he didn’t try many of the insanely high notes and did strain a bit on others. But it was an excellent effort on 25 year old songs.

23517851_10156074170888938_9204488800009433604_nAt one point, LaBrie asked what a certain button in front of his feet did and asked “Does this button make my voice go higher?” So it was nice that he has a sense of humor and also the crowd was clearly with him the whole way. While this is 3/5 of the band I saw way back in 1993, they still treated I&W with respect. Perhaps acknowledging the contributions of former members Mike Portnoy and Kevin Moore would have been nice, I can completely understand why they didn’t. Especially Portnoy who has been a constant distraction since he left six years ago.

The band returned to do the 23 minute “A Change of Seasons” as the encore, since it also was written for “Images and Words.” I kinda wanted them to revert back to the old arrangement of the song but again, I understood that most people are used to the official 1995 released version. It sounded great and made the perfect finish to a fun night of nostalgia. I am definitely older but so is Dream Theater and it felt like we are aging together. That’s a comforting feeling.

Setlist:
Set 1:
The Dark Eternal Night
The Bigger Picture
Hell’s Kitchen
To Live Forever
Portrait of Tracy (Jaco Pastorius cover by John Myung)
As I Am (With Enter Sandman)
Breaking All Illusions

Set 2: Images and Words
Happy New Year 1992 – Intro Tape
Pull Me Under
Another Day
Take the Time (outro – John Petrucci guitar solo)
Surrounded
Metropolis Pt. 1: The Miracle and the Sleeper (with Mike Mangini drum solo)
Under A Glass Moon
Wait for Sleep (with Jordan Rudess improv intro)
Learning to Live

Encore
A Change of Seasons

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