"Gigantour" chronicles the first year of the metal music festival of the same name, containing two tracks from each band (in the case of headliners megadeth, three). Main stage band The Dillinger Escape Plan is not present, which in my opinion only works for the betterment of the album. They are replaced instead by Anthrax, who were not present at the taped Montreal show. The packaging is no help in identifying when the Anthrax material was taped. As a matter of fact the packaging is more or less a joke, with an unimaginative cover just listing band logos, and simple credits and small photos inside. On a slightly hilarious note, with the exception of Symphony X, full names, including middle initials when applicable are included. It's very strange to read "Michael S. Portnoy" or "Kevin James LaBrie" on a credit, even stranger that apparently Dream Theater has a member named "Jordon Rudess".

Lousy packaging aside, let's take a look at how it sounds. From the moment "Panic Attack" starts it's apparent that "Gigantour" is meant to be a non-stop adrenaline-fest. The success of this endeavor varies, but Dream Theater certainly don't disappoint. After the surprisingly energetic Panic Attack the band launches into The Glass Prison which seems to be even faster and crazier than the 2001 album version. Fans have waited quite a while for a live version of this song, and the band plays it perfectly, with an interesting highlight being Mike Portnoy's highly enthusiastic backup vocals. (Dream Theater - A)

With no let up in between, almost as if the same band were going into their next tune, Anthrax starts off with "Caught In A Mosh" which embodies a lot of the fun and energy of these types of shows. "I Am The Law" is even better, featuring some great vocals and audience participation. (Anthrax - A)

Life Of Agony starts off their section with The Day He Died, a sorrowful lament that does not lack in energy or heaviness. I was a bit reminded of Iced Earth, in particular songs like "Last December" that manage to convey a sorrowful tone while still being fast and crunchy. "Love To Let You Down" is even better, with the band finding their groove in this highly energized, highly polished performance. (Life Of Agony - A-)

When Dry Kill Logic comes on with "Lost" it quite honsetly stops the album cold, the stench of late 90's metalcore is quite apparent. The track manages to bounce back slightly after a while, hitting on a fun groove, but it ends abruptly then, at a little over two minutes. "Paper Tiger" is a lot better, showing that even a bad band can put on a god performance. It still hasn't recovered from the train wreck that was "Lost" but slowly the album finds it's groove back. (Dry Kill Logic - C-)

On "Better Than Me" Bobaflex borrows from just about everybody. In case you hadn't known, their gimick is their two singers, neither of whom would obviously be able to carry the band on their own. It's obvious that the band are better than the vocalists but so many sections are dependant on vocals with the band taking a miminalist approach that the song isn't worth saving, especially with the laughably bad angst lyrics. On "Medicine" it once again alternates between instrumental sections that are quite passable and vocal sections that are quite forgettable, bringing up an idea of a very poor man's Alice In Chains. (Bobaflex - D+)

On the second disc, Megadeth starts things off with "She Wolf" and despite being an album-perfect performance and a favorite of mine, I couldn't help notice the formulaic nature of the performance, as if Dave was bored with it. He comes back in a big way on "A Tout Le Monde" which I couldn't help but skip back and play again. The burst of energy has some residue on "Kick The Chair" but the missing samples and seeming lack of interest in Dave's vocals made me wonder if he was concentrating more on getting everything note perfect than having fun. (Megadeth - B-)

On "Transgression" fear factory blow my mind with absolute heaviness and quick brutal bursts of vocals that made this band a favorite of mine at Gigantour. "Archetype" is just as good, delivering almost all of the fun of actually being in the crowd, shouting along with the band. (Fear Factory - A)

On "Born" Nevermore does the opposite of what Megadeth did, they clearly don't care if they're playing album perfect, (even though they are) the wreckless abandon that goes into this already chaotic song helps a lot. On "Enemies Of Reality" warrel proclaims "We are the enemies of reality...and we want chaos!" This track is a favorite of mine, and the raw uncompromising sound of this recording makes it perfect to wail along with. (Nevermore - A)

I felt it rather tasteful for it to end with Symphony X, who wound up not getting the first stage spot that they were initially offere, due to changing their minds a few times. They're certainly a lot better than Dillinger Suck Plan. I gotta say though I was a bit worried at the beginning of "Inferno (Unleash The Fire)" with Russel's AC/Dc squeals. The band is spot on, but the vocals suffer from a raspyness that doens't become him. As he sounded better than fine at the show I went to, it's clear that he was hurting at Montreal. This along with innapropirate shouts of "Are you ready??" halfway through the song made this a weak effort. On "Of Sins And Shadows" he manages to bounce back after a while, so that it actually sounds like Symphony X, however it's still rather a bit letdown after having heard them so perfectly play this song in Pennsylvania. Like Megadeth, it seems they were so concerned with projecting an image, in this case the "badass" persona that does is not becoming of this band. (Symphony X - C+)

Overall, The performances are for the most part good, I was even surprised that Dry Kill Logic had attained becoming listenable. Bobaflex still sucks. Megadeth seemed stale, which is a shame, and Sympnony X came off as having a bad day on a good tour. Dream Theater, Anthrax, Fear Factory and Nevermore were clear highights, with a surprisingly good Life Of Agony chipping in. Final Grade -- B