Musically, the album was intended as a "classic Dream Theater album", a return to their roots after experimenting with other subjects on their last few albums. It shows their old prog rock influences while showing a more modern style that they would develop more in their next album. Basically, it's the quintessential Dream Theater album.
"The Root of All Evil" is the third part in Mike Portnoy's twelve-step suite. The quiet intro recalls the distinctive rhythm used by the last part before building up to metallic awesomeness. Like the rest of the suite, it's introspective, expressing a sincere readiness to change and be rid of your demons (in this case, alcoholism). As is typical of Dream Theater's longer songs, it has an extended solo with the guitar and keyboard trading off the melody and trying to outdo each other's musicianship.
"The Answer Lies Within" is a quieter, piano-based song that has the rest of the band slowly build up into the song, along with a string quartet. It's more of a power ballad; I don't find it too exciting and it's my least favorite one on the album.
"These Walls" begins with guitar so distorted as to be a sound effect, chugging its way into a keyboard explosion, a dense sound that gives the song an epic feel (especially in the outro). The guitar remains in the background most of the time, providing a heavy atmosphere to the drums and keyboard. Lyrically, the song is about overcoming barriers to communication.
"I Walk Beside You" is without doubt the single most poppy thing Dream Theater has ever done...and it is glorious! Boasting no solos of any kind, it's a break from the excess of the rest of the album, but absolutely beautiful to listen to; proof that Dream Theater can do more with less. Lyrically, it's one of the few songs above love that I enjoy listening to; not the sad "I-need-you-I-can't-live-without-you" love that shows up in so much popular music but real love that walks beside the beloved through every difficulty, never gives up, always puts its own desires second. But if I wrote any more it would have to be on my other blog.
"Panic Attack" is basically exactly what the name suggests: a musical version of a panic attack. It's largely based around a multirhythmic guitar riff which is tons of fun to play on Rock Band. Drummer Mike Portnoy is basically showing off on this song, cranking his usual skill and precision up to 11; there's not a simple rock beat to be found anywhere in the song. The whole thing has more time changes than I can count (perhaps someone who knows the basics of music theory could, however), especially in the bridge and solos. Awesome song.
"Never Enough" is Mike Portnoy's response to ungrateful fans who refuse to be satisfied by his awesomeness. It alternates a rapid rhythm and the slower, more "majestic" chorus. As usual, there are awesome guitar-and-keyboard solos.
"Sacrificed Sons" is about the tragedy of September 11th. It starts with a chorus of voices speaking foreign languages, which gives way to samples from the news and then a tender piano intro to the actual song. AT over 10 minutes, it starts off at a slow, solemn, pace before an extended solo. Like "In The Name of God" on their last album, it's critical of religious fanaticism.
The title track is...glorious. At 24 minutes, it's Dream Theater's longest song that isn't split into multiple parts. As is typical of their epics, its has an extended instrumental intro featuring spacey keyboards, acoustic guitars, and a flute before the vocals finally come in at about 5:30. It's absolutely brilliant and a better description of all the hidden stuff in it that I can provide is found here. In the end the song is about the cyclical nature of things; coming back full circle to where you started; fittingly, it ends the same way the first song began, turning the whole album into a big cycle. Glorious. If you're interested in Dream Theater (which you should be if you know me), I highly recommend checking out this album first.
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