When I started listening to this music, Dream Theater was indeed one of the few bands that really snapped my ear and guided me to my upcoming steps in the endless heavy metal path, probably like no other band. In this magical quintet, Kevin Moore (and John Myung too) always held a more lobbying part -  they could be described as silent forces in a 5-star team; with one great difference: Kevin occasionally acted like a real protagonist and with 2 sublime compositions, conquered once and for all the hearts of all those who favored this music.
Wait For Sleep and Space Dye-Vest. And if the 1st one was merely lost in the blazing, heartbreaking, lyrical and most impressing masterpieces of what the writer proudly names as the absolutely perfect album in the hard sound history, then the 2nd  one couldn't but touch, the least, any human being regardless of musical preferences with it's tragic, almost suicidal atmosphere.
I'm 100% sure that if Mr. Moore took a look at this review, he would stop reading it after the 8th word. But that's the truth, at least for all those who met him with DT and not 5 years ago with his current project. Life goes on though, and so dp people. Whoever compromised with Chroma Key's sophisticated nature and put on the edge the memories, had now another great chance to enjoy his/her favourite musician and an unfailing, restless mind. Yes, Kevin might hold the fame of being a troubled mind, an intolerant and impossible person to pull together, it's still silly though to deny him his charisma.
His 1st attempt, Dead Air For Radios (1998) was rather crowned with success; the fact that even a great share of metalheads enjoyed an unfamiliar to them sound, was more than just proof that Mr. Moore did a fine job. Songs like Colourblind, Undertow and America The Video could merely ease our lengthy thirst for a Space Dye-Vest part II or something of equal emotional magnitude. Unfortunately, You Go Now (2000) didn't reach the high standards of the band's debut. Far more electronic and hypotonic, with scattering bright moments and with a rather tiring flow. Songs though, like Oxygen and  Get Back In The Car could deservedly stand next to the composer's top moments.
4 years later and with the possibilities of an eventual return to his roots being completely erased, his followers (as many as those are) had nothing to expect but a decent album after the previous half-disappointing album. Unfortunately Graveyard Mountain Home's arrival makes even more vivid the signs of Moore's declining career. No guitars (as if there were any in the previous albums), almost no drumming, a more instrumental viewpoint which physically leads to insufferable boredom because of the music's minimalistic nature, no nothing. Even those who pulled their heads' hair with joy because of Dead Air For Radios will hardly find any solid moments in this album. And it's not that it doesn't suit my general taste in music, after all I'm very proud of possessing the 2 previous albums and apart from this, you could also ask my chief editor about how much I busted his balls while I was waiting for this album [Chief Editor's Note: Yup].
Disappointment. Artists with Kevin's range shouldn't set themselves in such traps and offer so mediocre works. And the worst part of the case is, that with this album Kevin substantially justifies those who always believed that his solo career was just a waste of time, and waited for his return to the prog masters. As far as I'm concerned, I'd recommend you to first hear 3 or 4 songs before purchasing this album, otherwise it's very possible you'll end up punching yourself for such a waste of money.