Dream Theater

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Detective Beauregard said:
I completely agree. The minutes leading up to it are sorrowful and emotional, then BOOM! we've suddenly been warped to Phrygian wankery that doesn't fit the song AT ALL. Then it comes back in and it's big and epic and grand again, and it feels like those few minutes in the middle drag the song WAY down.
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I think you and Dream Theater differ on the definition of Dream Theater. To Dream Theater, those few minutes of Phrygian wankery are the point of their entire existence.

terrell39 said:
This posting will show I am too picky but...When watching Dream Theater live, the guitarist John is on my right. Yet when listening to a studio recording, when a song has a break and only the guitar is playing, the guitar is in the left channel.
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Yes, but from John Petrucci's point of view, he's always on the left. And from John Petrucci's point of view, John Petrucci's point of view is the only point of view.
 
MrKnickerbocker said:
I think you and Dream Theater differ on the definition of Dream Theater. To Dream Theater, those few minutes of Phrygian wankery are the point of their entire existence.



Yes, but from John Petrucci's point of view, he's always on the left. And from John Petrucci's point of view, John Petrucci's point of view is the only point of view.
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Unfortunatly that is probably how the band is thinking which I think is backwards and self centered because the band plays for the audience so the finished product should be recorded to be played back to our vantage point.
 
terrell39 said:
Unfortunatly that is probably how the band is thinking which I think is backwards and self centered because the band plays for the audience so the finished product should be recorded to be played back to our vantage point.
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I highly doubt they're even thinking of that when it comes to recording albums. Dream Theater is heavily influenced by Metallica, where Hetfield was always panned to the left with his chugging rhythms when the rest of the band wasn't playing. My guess is that's why Petrucci does it this way.
 
It is a little strange that a band so dedicated to perfectly replicating the studio recordings live doesn't have the soundstage set up the same as in an actual live environment.
 
Some people on the DTF have already heard the new album on listening parties... and their reactions made me really impatient and really scared at the same time.

However,
it seems Jordan will stick to the simple piano a lot in this one, so all you synthaters will be probably happy :D
 
Since seeing the official trailer my excitement level is at - 3 (because that was pure shit. Like watching a bad 3.5 rated movie trailer on IMDB or something :p) but I'm still hopeful that the actual album will be good.
 
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Collin said:
I'm having trouble being excited for it. I just don't think it's gonna be very good.
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Same here.

Dream Theater has started to sound quite samey to me in their latest releases, add the very cheesy looking concept and my expectations are very low.
 
I... don't know. People who have heard it have said it's something radically different (warning lights), according to one review it is "stupefyingly complex, cinematic and ambitious almost to the point of lunacy" (yipee) and - if I understood correctly - there are allegedly almost
no long solos, instrumental passages, synths and "typical DT sound", or just very rarely
(ohmygod, so it'll either be either absolutely amazing or total sh*t).

I am just not sure whether I like or not the fact that this burst of creativity and their statement for the next 2-3 years is going to be a rock opera, because I usually rarely like those things. I mean, even The Wall, great as it is, pales to the three previous albums. And I take Ayreon albums more like regular albums (and it's not that hard to do, while with The Astonishing it seems it's going to be necessary).

You might admit I could have said the same about Scenes, but then again 1.) I am not that a great fan of it - I like it alright and it's definitely great, but I don't get what the hysteria is all about 2.) with Scenes I already know that at least 5 songs kick ass even when taken separately (FF, Home, BTL, TDOE, TSCO... you could make an argument about Fatal Tragedy, too) ... which you couldn't say about most of SDOIT (the song - I love it, but break it apart and it's just about only "good"). So I'm kind of afraid that if I won't be willing to listen to the whole 2 hours+ package, I won't be able to return to it as often as I'd like.

Also, DT12 left me a bit disappointed. Yes, I still think Behind the Veil should be much longer (you get this epic intro-verse-chorus which sounds like a lead-in into a much bigger song and then it suddenly ends, as if someone said "this must be under seven minutes, at any cost") and I don't understand how the same people who hate the shifts in Dark Eternal Night or Ministry of Lost Souls can praise Surrender to Reason or IT with all of their abrupt ass-pull shifts (seriously, even prog should have its limits).

However I found out recently I actually like DT12 even more than I used to, at least. In fact, I love pretty much every DT album, so I probably shouldn't be afraid at all. :)
 
JudasMyGuide said:
you could make an argument about Fatal Tragedy, too)
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What do you mean, you could ...;) Fatal Tragedy is one of the best songs there. Strange Deja-Vu also kicks ass! This is what new DT needs the most actually - something as ass kicking as the songs on Scenes.Not a fucking Sci-fi drama.

OK, I'm biased. I was first introduced to DT in 1999 when the Scenes album came out and everyone was flipping out over The Dance of Eternity. DT used to be a super talented group who knew how to be extraordinaire musically while still kicking ass and being part of the metal scene. That's why people loved early DT.
 
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SixesAlltheway said:
What do you mean, you could ...;) Fatal Tragedy is one of the best songs there. Strange Deja-Vu also kicks ass! This is what new DT needs the most actually - something as ass kicking as the songs on Scenes.Not a fucking Sci-fi drama.

OK, I'm biased. I was first introduced to DT in 1999 when the Scenes album came out and everyone was flipping out over The Dance of Eternity. DT used to be a super talented group who knew how to be extraordinaire musically while still kicking ass and being part of the metal scene. That's why people loved early DT.
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Why were they flipping out over The Dance of Eternity in particular?
 
Yeah. Back in 1999 if people hadn't heard of Dream Theater you would play Dance of Eternity for them first....just to floor them you know. Nothing like that was around in metal of 1999 and DT was a metal band still but then they had this crazy song in the middle of the album!!
 
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It's funny, but when my mortal enemy in high school once suddenly brought to school burnt copies of the DVDs Live at Budokan and Live Scenes and gave them to me, saying "keep it. you might like that band, you know" - still one of the weirdest things that ever happened to me - I randomly selected a song... Dance of Eternity. Really. And I loved it. A weird coincidence. :D
 
I think The Dance of Eternity is still the DT song most people go nuts over. I know I've gotten friends into DT on that song alone and it's still the one a lot of casual or non DT fans bring up. Plus it's arguably their most technically challenging song.

Saapanael said:
On the contrary, I have become quite excited.
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This. Some of the descriptions on there (A swing section? Sign me up!) have you really got me excited.
 
I'll need to listen to it a couple of times to get the full picture. First impression is decent.

I went for a lurk on the DT forum today and found out that most people think of Black Clouds as one of their worst albums. I for one love it and honestly can't see why it is not received better. Can someone enlighten me?
 
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