Beginning in the late 80s as a band called Majesty, this 5 piece powerhouse of prog metal has unleashed upon the world release after release of spectacular musicianship and fantastic songwriting. 2005 saw the release of their 8th studio album, titled Octavarium.

During the recording of the band's 7th album, Train of Thought, drummer Mike Portnoy announced that the band was heading towards making a full blown metal album. This decision I think ultimately lost them a few fans on the release of that album, but also brought a few more into the fold. Similarly with Octavarium, Mike announced that this time they would be returning to their prog roots and making a much more progressive album without so much balls and chunk.

Upon first playing of Octavarium, the opening track could lead some listeners to think that Mike was pulling their leg. "The Root of All Evil" opens the album and comes on quite heavy and chunky (following the now apparently trademark convention of starting the new album with the last note of its predecessor) and sounds quite aggressive. Being the next part of Mike's AA series of songs, dealing with his alcoholism and journey out of it, "The Root of All Evil" is laden with personal lyrics and, like other parts of the series, borrows melodies from the other songs. To those uninitiated in Dream Theater it could sound like they are just repeating themselves, however one must look deeper than just what hits your ears.

The second track takes a big departure from the heaviness set up by the first with the gentle "The Answer Lies Within". Making good use of strings, the band has employed the use of a string quartet on this track. Going away from the use of Jordan Rudess' (keyboards) usual massive arsenal of synth sounds the use of a string quartet really fills out the song and adds a very nice feel to it. "The Answer Lies Within" is a top track, however it is perhaps a little long and repetitive on the choruses in the outro.

Like a progressive kick in the teeth the band follow up the nice soft ballad with distorted guitar noodling that leads into the keyboard riddled opening riff of "These Walls". This song to me demonstrates why Mike Portnoy really is fantastic at what he does. The drumming during the verses is quite reserved and doesn't sound complex and all over the place until you listen to the amount of cymbal fills he is putting in there and the timing of them. The track is one of those that reveal something new on each listen.

Probably the most commercially aimed song on the album, "I Walk Beside You", follows up with a very non-threatening tempo and arrangement. Dubbed by many listeners as "the U2 song", I guess if I tried hard I could see Bono up there singing it for African kids…but as a song by Dream Theater it is quite different from their usual mid-tempo offerings. With not a guitar solo in sight, many have and will scoff at this song. There are quite a few songs on the album that don't have the usual 16,000 notes per second guitar wankery that many DT fans love and expect from John Petrucci (guitar).

Returning to the realm of balls and chunk comes "Panic Attack". The franticness and choppiness of this song really does compliment the title well. John Myung (bass) begins the intro with one of his only shining moments on the album with a fast bass line that leads into the main riff of the song. Laden with twiddly guitar and keyboard solos, this track is sure to keep the "play it fast, and fast!" fans happy.

"Never Enough" comes across as a "damn I hate my ungrateful fans" type track with lyrics penned by Mr. Portnoy reading very much like "I do so much for you and all you do is complain", not to detract from the song, which is quite good and keeps the heaviness up for the most part. Many people have complained that this track is a Muse rip. I don't really know much Muse, so can't personally comment on that.

"Sacrificed Sons" comes in as the second to last track on the album and is very much a reaction (if not a few years late) to the 9/11 terror attacks and the ensuing violence and rise of terror related violence in the world and it's justification by religion and religious extremists. The intro is filled with samples of news reports surrounding the terror attacks and the song enters with a 6/4 feel that has an almost swing or waltz feel to it. The first song on the album to feature a full orchestra, the title track being the second, it steps up the instrumentation used earlier on the album with the string quartet. Quite an eerie feel permeates through a lot of this song and I think is in a great spot on the album, right before the epic and intense title track, "Octavarium".

Well. Octavarium comes to a close on the title track. 24 minutes it runs, and it travels through just about every type of music and sound you can think of within its 24 minutes. Comprised of 5 parts, following on the theme of 8's and 5's that seem to be throughout the album and its packaging, the song begins with a very slow and ambient feeling intro. Jordan makes use of his new toy - the Continuum - giving a very spacey feel to the intro. Filled with references to other songs in the lyrics and the theme of coming full circle, one cant help but feel that this song is a nod to the bands influences and those who have inspired them. A great track of epic proportions, it finishes the album of on a very long and progressive note.

Overall I think that like Train of Thought this album will again lose some more fans and find some new ones. Although I think with its move back to some more progressive elements it could win back some of those that tuned out after Train of Thought. The whole band performs brilliantly throughout and James LaBrie (vocals) shines on every track. A very polished and well produced album with a good dynamic range especially evident in the title track.