New DT album 2015?

[Tim van Duijn]

I see many people predicting their future (and ours as well since we are fans). But the thing that comes to my mind first is the fact that DT12 was a self titled album and that the reason behind that was to show who they are TODAY. Since DT12 contained pretty heavy, more accessible (argueable) and shorter songs, i don't see why they would change that with DT13. It wouldn't make sense. I DO long for the epic prog/metal/goosebump/piano ballad/rock/acoustic/technical/mellow/long stuff but i wouldn't put my money on it. Since they made a huge statement (in their words) with DT12 i think that the next album will be in the line of DT12.

[Xenon]

Self titling the album was just a marketing thing.
Opeth was making a statement with heritage too, but they kind of decided to go a step back to a more familiar sound again, so I guess no statement is for ever.

[Enigmachine]

Meh. Show me all the waveforms you want; I love SDOIT's sound.

Well, I love its sound as well, as everything sound-wise basically sounds exactly as it should apart from the slightly botched mastering. 'Misunderstood' sounds brilliant in the first half. but when the fuller chorus comes in it sounds a bit suffocated. However, I don't actually mind this and just accept that the loudness war is a modern music trend that shows no signs of stopping. I think the reason for people accepting the loudness war's effects on SDoIT but not DT12 could probably be that the way that SDoIT has a lot more dynamics within the compsitions so you aren't as overwhelmed by the volume. I do actually prefer SDoIT over DT12 in pretty much every way (despite loving both), including the sound, so I share your opinion, but I'm just pointing out that it is a bit strange that DT12 gets a lot of complaints about the bad master in the CD version while SDoIT gets no complaints for that despite being nearly as bad in that regard.

[Lucien]

Self titling the album was just a marketing thing.

So, they self titled it because they wanted more money? And no other reason?

[Kotowboy]

I do believe they are still capable of putting out a truly remarkable album. They just need to sort out the production and take a few risks again.

The next album will be their 13th album and they're supposedly getting more popular with each one.

I don't think their whole fanbase will suddenly go away if they put out an album that's a little risky.

[Enigmachine]

Self titling the album was just a marketing thing.

I half agree and half disagree with this.

I partly agree with this as non-cynical fans, when they see an album that is self-titled, may think "this is the band's most definitive album, so I must get it!" and I don't really buy the excuse by the band that it is the album that best describes them as any DT album apart from 'Awake' and FII would best describe DT at the time they made it.

However, if you disconnect with the idea of it being self-titled and more with it being "Dream Theater" as an album title, it does make sense as the album is very theatrical and bombastic (especially FAS) and the easter egg connects with the idea of the show being over and the audience leaving the room as a few people have discussed before. So, to me the title makes sense as one, so I wouldn't say that self-titling was a blatant cash grab.

[Xenon]

Self titling the album was just a marketing thing.

So, they self titled it because they wanted more money? And no other reason?

It think it was more about attention than money. Self Titling the album brought a lot of attention to them, just like the departure of portnoy did in the previous album cycle.

[Shadow Ninja 2.0]

I guess I don't see how self titling the album brought any more attention to them than any other title choice.

[Kotowboy]

" Have you heard a band just release an album that was just named after the band ? "

" lol wut - which band ? "

" dunno lol "

" lol "

" lol "

[Lucidity]

Don't get me wrong, I LOVE SDoIT, but whenever someone says that it sounds amazing, I get a little confused. Does minimal dynamic range  just not damage SDoIT as much as other albums?

Well I don't know very much about the way that music production works, but for whatever reason, Six Degrees just has a very nice sound to it for me. Is there a difference between dynamic range and actual production/mixing? Because I think perhaps just the way the instruments sound so distinct and clear has more to do with it than the dynamic contrast. But I really have no idea what I'm talking about here so I would need some things explained to me before I could add anything else...

[theaterdream]

I truly find it amazing how far in advance we as fans enjoy discussing DT's next album. And out of all the bands I've listened to over the years there has been no band that I have discussed more about with friends, researched more or anticipated the next upcoming album so much other than Dream Theater.

[Rodni Demental]

SDoIT is in the "bad" category with a Dynamic Range of 7. For comparison, DT12 is only one lower with a DR of 6. It's not like they've fallen ridiculously far in 12 years. Plus, with the HDTracks version of DT12 having a DR of 12, it leaves SDoIT looking a little suffocated, especially in something like 'The Glass Prison', where it clips at the FIRST BASS DRUM! Also, when the tom beat comes in at about 1:50, I swear that the guitar goes to about half its previous volume like it's struggling to breathe! Not such a great start for an album supposedly having a crisp, natural sound!

Don't get me wrong, I LOVE SDoIT, but whenever someone says that it sounds amazing, I get a little confused. Does minimal dynamic range  just not damage SDoIT as much as other albums?

I'm glad you mentioned this because it occurred to me too, but you explained it much better. Six Degrees is a good sounding album, but it's still super compressed. In fact, one of the the things a lot of you guys liked about MPs drum sounds is that it was 'bombastic' and in your face. Well apart from MPs selection of drums and skins, the other way he achieved this was from the pretty high amounts of compression on the drum tracks (and mix in general). So it has always surprised me that DT12 gets the attention it does regarding it's production/mixing because it's not really anything new or abnormal. Perhaps it was taken to the next level though and just stood out a lot more this time.

I think it proves that it's not as simple as just using less compression in the mixing process. Because SDOIT proves that a lot of people are perfectly happy with a compressed album, so long as it fits the albums advantages and is more subtle. You can also create the feeling of dynamic range within a loud waveform that doesn't look like it'll allow for it, as demonstrated by well mixed tracks like' Disappear and Misunderstood. And sometimes even the static silence in between can have the same dynamic range (volume) as the music in some cases (The Bigger Picture).

Lets just say I'd hate to be in the shoes of whoever is responsible for mixing the next album. Because after the big phat sound of the self titled album, if the next one is suddenly more quiet people will accuse it of sounding 'thin' or something (see ADTOE reactions). The pressure is on. 

[Kotowboy]

Octavarium and Falling Into Infinity are my two favourite sounding DT albums.

[Lucien]

Octavarium and Falling Into Infinity are my two favourite sounding DT albums.

[RaiseTheKnife]

It really annoys me when the CDs and DVDs have the same exact photo on each disc when a set is released.  Look at Black Clouds special edition.  How many times have I loaded the instrumental disc by accident.   Too many times.  Also, LALP - i have to squint to read the tiny print on the edge of the disc to determine which one is the bluray.  Its sooooo annoying.  If they are not gonna label each CLEARLY (#1, 2, 3 or whatever), at least use a different photo for each disc!!!

Anyone else feel this way? Or I'm I too analog with this whole "still uses discs" thing?

[As I Am]

Personally, I'd like a change from the shredding, and go back to producing great solo spots in songs like "Voices", "The Spirit Carries On" & "Lines In The Sand"...JP has strayed from those beautiful and emotional guitar solo's too much lately.

[Grizz]

Metropolis Pt. 3 - The Very Last Dance Pt. 1

Based on the exponential trend, this would be first of six to nine albums representing Metropolis Pt. 3, involving another incarnation of Metropolis, The Miracle, and The Sleeper. What happens? Damned if I know, and damned if the lyrics effectively convey the story.

[Grizz]

To me the more time goes on, the more it vindicates Mike. They should have taken a break. Maybe not 5 years but I would rather be here today with BC&SL as their last album, still with Mike on drums. Just me.

Yeah, you're probably the only one. Even though I'm a huge MP fan, I wouldn't for a second entertain an idea where he's still in the band and we have no ADTOE & DT12.

He's right. Portnoy should have tried to take a break, but like 5 years before. So SC and BC&SL would not exist and Mangini would have join the band in like 2008

Yeah, this would probably have a negative impact on how my life unfolds, so no thanks.

[Mosh]

Personally, I'd like a change from the shredding, and go back to producing great solo spots in songs like "Voices", "The Spirit Carries On" & "Lines In The Sand"...JP has strayed from those beautiful and emotional guitar solo's too much lately.

Breaking All Illusions.

[TheLordOfTheStrings]

"Metropolis Pt. 3: Beating A Dead Horse Pt. 1: Rehashing Old Ideas"

[rumborak]

Octavarium and Falling Into Infinity are my two favourite sounding DT albums.

To add to this discussion, there are other reasons why an album, even when its dynamic range (DR) is bad, can still sound great, like SDOIT for example.
One key aspect for example is how full the sonic space is. FII sounds great not just because it has a high dynamic range, but also because the producer decided to cut a lot of stuff that was in the initial recording. If you listen to the album, there's a lot of sections where a certain instrument doesn't play anything, or only very sporadically.
DT has forgotten to shut up. Every instrument, at any given point in time, is essentially playing, and in order to cram all this stuff into the limited sonic space, you need compress the shit out of it.

[Dellers]

Better production and mixing is what I want the most. Especially better sounding drums, louder and better sounding bass (Myung plays a MusicMan FFS!) and more variation. Pretty much every other prog and metal band I know of sounds several times better than DT, which is kinda ridiculous when DT is one of the biggest bands within these genres. Just hire one of those guys who are able to make other bands sound great, or get Kevin Shirley back. Shirley even made the bass sound great and loud enough, something that isn't all that hard to begin with. If all other mixers are talentless, why not just bring back a guy who can make every instrument shine?

[King Postwhore]

Octavarium and Falling Into Infinity are my two favourite sounding DT albums.

To add to this discussion, there are other reasons why an album, even when its dynamic range (DR) is bad, can still sound great, like SDOIT for example.
One key aspect for example is how full the sonic space is. FII sounds great not just because it has a high dynamic range, but also because the producer decided to cut a lot of stuff that was in the initial recording. If you listen to the album, there's a lot of sections where a certain instrument doesn't play anything, or only very sporadically.
DT has forgotten to shut up. Every instrument, at any given point in time, is essentially playing, and in order to cram all this stuff into the limited sonic space, you need compress the shit out of it.

I do agree with this.  I love sections were certain instruments can breath.

[Kotowboy]

I'd be happy with another ADTOE.

[tiagodon]

Mike Mangini might be like this right now: "Jesus, I want to play, I want to explore my drum kit, I want to play the impossible! Please, DT, let me do that!!!! These 2 last albums are boring!!!!!"

Mangini deserves a new 6 Degrees of Inner Turbulence!! That's how the next one should sound!

[theseoafs]

Mike Mangini might be like this right now: "Jesus, I want to play, I want to explore my drum kit, I want to play the impossible! Please, DT, let me do that!!!! These 2 last albums are boring!!!!!"

 

Have you ever even read an interview with the guy?

[rumborak]

It would be nice if MM focused on grooves and cool rhythms more than the flashy stuff. Gotta say, I do not know a single pattern from the last album, whereas I know most of MP's.

[nikatapi]

It would be nice if MM focused on grooves and cool rhythms more than the flashy stuff. Gotta say, I do not know a single pattern from the last album, whereas I know most of MP's.

While it might not be so catchy and memorable, MM's playing is pretty mindblowing on some songs.
Take The Looking Glass for example, the part before and during the guitar solo with the bass riff, Mike does some cross hihat stuff that i still haven't figured out, but it sounds so satisfying, especially on the live version.

What i expected from Mike and hasn't been delivered is the feeling of the drums over a particular time signature, something that MP did a lot, playing different stuff over the same time signature/riff, which is very fun and impressive at the same time. On the contrary, i think that MM plays most rhythms (even the complex ones) in a 4/4 feel, which makes it sound a little boring even if the rhythmic changes are interesting.

I'm not sure if i'm making a point or i sound stupid 

[rumborak]

Nope, I know exactly what you mean. MP used to shift patterns under the same riff, which was really cool. I don't think MM does that at all.

[Mosh]

Oh yea. That was always really cool because in turn it made it sound like the band was doing something crazy rhythmically, when in fact they were playing the same pattern as before. It was like a faux polyrhythm.

MM has complicated drum patterns too, but they only make his playing sound complex. He could do more to compliment the others IMO.

[Lucidity]

I feel like MM does way more doubling of guitar and bass patterns in his drum patterns, whereas MP's drumming seemed more to me like it added a new rhythmic texture into the sound and didn't just echo what everyone else was doing.

[Lucien]

Octavarium and Falling Into Infinity are my two favourite sounding DT albums.

To add to this discussion, there are other reasons why an album, even when its dynamic range (DR) is bad, can still sound great, like SDOIT for example.
One key aspect for example is how full the sonic space is. FII sounds great not just because it has a high dynamic range, but also because the producer decided to cut a lot of stuff that was in the initial recording. If you listen to the album, there's a lot of sections where a certain instrument doesn't play anything, or only very sporadically.
DT has forgotten to shut up. Every instrument, at any given point in time, is essentially playing, and in order to cram all this stuff into the limited sonic space, you need compress the shit out of it.

I completely agree.

[Kotowboy]

I feel like MM does way more doubling of guitar and bass patterns in his drum patterns, whereas MP's drumming seemed more to me like it added a new rhythmic texture into the sound and didn't just echo what everyone else was doing.

Despite my reservations of MP as a person - his drumming was fun to listen to and sounded great.

MM seems far too technical and not nearly musical enough for my tastes.

His "drumsolo" is just an exercise in drum techniques. Not really very musical.

There's that moment in the LALP drum solo where he starts one section of his solo and holds up his hand and mouths "five". And I actually cringed because

He was making everyone aware of how technical his solo was and not how musical it was.

But as a person - MM is fantastic. I just think he is far too focused on technique to just sit back and play to the music.

[theseoafs]

There's that moment in the LALP drum solo where he starts one section of his solo and holds up his hand and mouths "five". And I actually cringed because

He was making everyone aware of how technical his solo was and not how musical it was.

I think you're reading too much into this.  It's just a fun tidbit for those in the audience who 1) spoke English and 2) understood enough music theory to know the significance of the number 5 with regard to what he was playing at the time.  Everyone else didn't notice or care; it's not like he stopped playing to grab the mic and say "hey, did you see that awesome technical shit I just did?  Crazy, right??"

In any case MM is way more restrained than MP when it comes to what he plays on record and live outside of his solos.  Obviously MM cares far more about making sure he complements the band's overall sound than taking center stage, which is something I can't say about MP.

[Xenon]

I feel like MM does way more doubling of guitar and bass patterns in his drum patterns, whereas MP's drumming seemed more to me like it added a new rhythmic texture into the sound and didn't just echo what everyone else was doing.

Despite my reservations of MP as a person - his drumming was fun to listen to and sounded great.

MM seems far too technical and not nearly musical enough for my tastes.

His "drumsolo" is just an exercise in drum techniques. Not really very musical.

There's that moment in the LALP drum solo where he starts one section of his solo and holds up his hand and mouths "five". And I actually cringed because

He was making everyone aware of how technical his solo was and not how musical it was.

But as a person - MM is fantastic. I just think he is far too focused on technique to just sit back and play to the music.

What bothers me about MM is that if you listen to his performances outside DT he is fantastic, and much more fun to listen.
Maybe he run out of ideas, or maybe DT guys tell him what they wanted and he did it very well.