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This is one of DT’s more expansive pieces, with Rudess keyboards taking a more prominent place than Petrucci’s guitar. This works to sort of break up the monotony and help the band grow. It also means that we get to see the various facets of a Rudess oriented project, namely, the jazzy flow of his chords and speed are reminiscent of Genesis circa 1977. Elsewhere, Petrucci throws down his trademark multi-faceted riffage, tunnel solos and math progressions. Portnoy is restrained but even. Myung is, as always, solid. James Labrie, ever the hit or miss link, manages to howl dependably.