Showing posts with label Progressive. Show all posts
Showing posts with label Progressive. Show all posts

Sunday, 30 April 2017

Dream Theater 04.29.17 at Sala CUBEC!, Barakaldo


Today I don't want to write a regular review, in a technical tone. These are more the thoughts of a fan that had a great time with one of her favourite bands...
Performing The Bigger Picture
As you know, Dream Theater is now touring to celebrate the 25th anniversary of the album that made them international (as stated by LaBrie during the show): Images and Words.
It's more or less 20:00 pm, the venue is full. The stage looks impressively big, even if I'm not in the first rows and, seeing the gigantic drumset, I feel something similar to when I saw two timpani sets on the stage for the orchestra to play Mahler. It's just a grandiloquent declaration.
And finally the show starts, they come onstage and the very first chord launches me back to a lost memory of the first time I experienced what Dream Theater is (it was all thanks to a copy of the Metal Hammer magazine, now I remember). The Dark Eternal Night immediately gets us all headbanging. Soon I realize that, even though I've listened to the song a thousand times, I don't know the lyrics, but that's not a problem. Meanwhile, there are a zillion things, details, to focus on, maybe too many. Here there is John Myung, playing impossible bass lines (although at some moments not all notes played were clearly understandable, and that's a pity); there, John Petrucci runs his fingers on his guitar as nonchalantly as though he were just... don't know, writing his name. James LaBrie engages us to our full with his characteristic tenor voice (I could recognize it amongst a million), and Jordan Rudess is a technological musical display of grandeur himself, playing in unnatural positions for a keyboardist, and showing off his gadgets. Nevertheless, what got my attention during all (and seriously I mean, all) the show, was Mike Mangini playing drums. The phrasing, the clarity with which every part is heard and understood, the control he has over the whole drumset (a thousand cymbals, toms, and octobans included)... everything. That's probably why my favourite moment was the drum solo!
There are two sets to be played. The first includes a mix of different songs from different albums. The second consists of the whole Images and Words. During the first part, We enjoy songs such as the mentioned The Dark Eternal Night, The Bigger Picture, Breaking All Illusions or As I Am, the latter including a mashup with Metallica's Enter Sandman, which is introduced as seamlessly and smoothly (or even more) as a make-before-break handover (sorry for the reference, blame my profession for it). That ability always surprises me. 
From left to right: John Myung, Jordan Rudess, Mike Mangini,
James LaBrie and John Pretrucci
The second set was maybe a bit too dense for me. Many things going on everywhere, in every instrument at every moment, rhythm changes that are virtually impossible to follow. Well, it's Dream Theater, what did you expect. However, I was really expecting to hear Another Day, and my expectations were fulfilled (except that I absolutely love the sax part and it sounded a bit too synthetic). Something I'd like to highlight from this part, even though it has little to do with the music itself, is that I realized James LaBrie is a great communicator. From time to time, between songs, he talks to us, and accompanies his speech with gestures that make the whole message understandable, even though some words are hard to catch. In other words, he knows how to reach the audience, not only musically, which is something to be thankful for.
So, all in all, it was a great show. A dream come true, one could say (and it couldn't be said better). I missed some songs being played, and at times I would've liked to hear the keyboard louder, but else, it was pretty much the perfect show. Over three hours of pure progressive majesty.

PD: Sorry for the bad quality pics. There was no way to get better ones...

Sunday, 17 July 2016

INDIX 07.15.2016 at Portu Zaharra, Portugalete

Demo cover

My friend and I arrive in the venue in a quiet night, half an hour before the beginning. A wild sound check breaks the silence and I laugh: it seems they're giving the concert for all the town from there. We go for a walk and come back just five minutes before it is due to start, but it seems that not so many people have heard the call. Finally, ten minutes later, the guys decide they can't wait any longer, and it's time to start enjoying the music.

The venue is pretty small, they almost have no room to move freely. but all that is compensated by the homely atmosphere that connects the band and the (reduced) audience. It still takes a bit longer for them to get everything prepared, and I think to myself: this is a bit unprofessional; however, I don't give it too much importance.
From left to right: Jonba, Jarris, Aritz and
Güito
The first notes are heard and I am still, just paying attention, not knowing exactly what to expect, even if I have listened to their first demo. The few people there are also waiting for something and they don't move to the first riffs the band are laying. But soon the energy fills the bar. Every time I see this I get moved deep down my heart: we're five, six... ten people maybe? And they are playing wildly, as if they were headlining Hellfest or Wacken Open Air. To sum it up in just one sentence: their energy couldn't be contained in such a small place.
Nevertheless, during the first three songs, I am still trying to take in all that they are offering, paying more attention to each line and rhythm than to enjoying the music itself, and worried because someone was about to step on the cables and fall down almost continuously (this was quite funny, to be honest). Then the magical turning point arrives. The first notes of Eutanasia sound, and a bit later, there's no way back, I'm totally into it. Only a sentence hits me in the head once and over again, like a desperate scream: "Ez da eskubide bat duintasunez hiltzea?" (Isn't it our right to die with dignity?). And I also start paying attention to other details, such as the performance that goes with each song and gives it a whole new dimension...
Güito at the end of 'Azti maestro'
I can't help but smile with the next song, Ez dago ezer (There's nothing). I like the nihilistic meaning behind, personal and recognizable mark of one of their guitarists and friend of mine. And his absent look at the end of it, while playing as though he were a robot, just makes me shiver. And from then, I just let myself go crazy with every single riff, every single note, song, joke, word, everything.
The concert ends and I try to sum up all the sensations. They've got so much potential. The sound, technically speaking, wasn't at its best, the voice was at some points hard to understand, but the venue wasn't acoustically appropriate either. So, all in all, it was an unforgettable night, and I'm glad I finally attended an INDIX show.
You can find about INDIX and all their material in the following sites:


Finally, I'd love to thank my friend Rober Villanueva for taking amazing pics for this review.