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Dream Theater => Dream Theater => Topic started by: MinistroRaven on September 15, 2021, 08:32:40 AM
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Part 1
https://youtu.be/vCoiAWQigP4
:metal
Part 2
https://youtu.be/WDlJvggvZKY
:metal
Part 3
https://www.youtube.com/watch?v=sOhNEdLxj24
:metal
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thanks
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thanks, can’t wait, honestly…
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This is going to be an unpopular opinion but I reckon this interview tells us nothing about the album itself. I do know that it is only part 1, I don't expect them to dissect the album, but, more effort could have gone into the questions.
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This is going to be an unpopular opinion but I reckon this interview tells us nothing about the album itself. I do know that it is only part 1, I don't expect them to dissect the album, but, more effort could have gone into the questions.
I think it's actually going to be a very popular opinion lol. The interview tells us nothing new about the album: some of the band members were already working on other projects at the same time when DT15 was in progress. I was hoping for some vague discussion of each of the title tracks, at least. Oh well.
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This is going to be an unpopular opinion but I reckon this interview tells us nothing about the album itself. I do know that it is only part 1, I don't expect them to dissect the album, but, more effort could have gone into the questions.
Same here :lol
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I also think these are not meant for hardcore fans who basically knew about the album since they started recording.
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I think the questions were actually quite good. Since we obviously are not going to get too many substantive details about the music itself, questions about the process are pretty great.
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Oh wow. They look so alive and hyped for the album. No wonder James wore this t-shirt. I can get the excitement.
In all seriousness, good to hear they re-visit ACOS and SFAM.
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Obvious question to which I suspect will be an obvious answer: does this video contain any music from the album (or single)?
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Most of them, especially MM, are struggling not to yawn, can't wait to see the other parts to see if one goes asleep :D
I hope there is some info somewhere in the 4 parts too.
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Obvious question with what I suspect is an obvious answer: does this video contain any music from the album (or single)?
Just little bits of The Alien at the beginning and end..
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Probably rights. Second single hasn't come out yet, and with 5 weeks until release we're not out of the album review embargo cycle yet.
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Pretty uninteresting interview to be honest. I'm not getting hyped by them revisiting older material, but i can understand the viewpoint of getting in touch with what made certain songs stand out and pass the test of time.
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Obvious question with what I suspect is an obvious answer: does this video contain any music from the album (or single)?
Just little bits of The Alien at the beginning and end..
Thank you!
Coupled with the interview apparently not being that interesting, this is reason enough to skip it :biggrin:
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You could just mute it until they start talking and then stop it when they finish talking. There is no music for the entirety of the actual interview, just an intro and outro which has a tiny bit of The Alien.
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Obvious question with what I suspect is an obvious answer: does this video contain any music from the album (or single)?
Just little bits of The Alien at the beginning and end..
Thank you!
Coupled with the interview apparently not being that interesting, this is reason enough to skip it :biggrin:
Good call! :tup
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I think the questions were actually quite good. Since we obviously are not going to get too many substantive details about the music itself, questions about the process are pretty great.
I'm into production so i'd be happier with 60 minutes of the technical side of recording the album ;D Talking about the music means nothing until you hear it.
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Holy hell, James looks less than impressed being there. :lol
I'm not all that hyped for the album truthfully, and that video did nothing to improve that.
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They all seemed like they didn't want to be there, except Mangini. JP always comes off cool and professional, but JLB with his arms crossed sinking into his chair, then seemed almost annoyed he had to answer a question.. was strange. Rudess seemed mostly uninterested as well.
Video also shows Myung is beginning to age, he now looks like he's over 30 in human years.
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Don't you usually do several interviews in one day when you're in promo mode ?
That guy might have been the final interviewer that day. It's possible.
Plus interviewers tend to all ask the same Questions - even if they know the answer.
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This is also just part 1. Less than 10 minutes of a possibly 30 minute interview or longer.
I'm curious as to why release them in parts instead of the whole interview at once.
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That's standard practice.
To make people wait ?
To get more combined YouTube plays ?
What's annoying is when they don't release them with a specific schedule.. Like this one came out yesterday ( Wednesday ) the next part might be Friday or two weeks from tomorrow.
That's a good and bad thing with shows you love like Half in The Bag. It's always a surprise when one shows up - but then it could be 5 weeks til the next one or 5 days.
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I'm not all that hyped for the album truthfully, and that video did nothing to improve that.
Why's that? Seems like a bunch of people on here are touting it as "epic" and a fan pleaser
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But they just did an interview in which they looked a bit tired. Conclusion = album SUX
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but JLB with his arms crossed sinking into his chair, then seemed almost annoyed he had to answer a question.. was strange.
Don't know 'bout this. To me, he's gaining weight till you can call him huge. Crossing arms over that huge belly is probably the only fysical pleasant way for him to sit next to each other. Portnoy was - back in the days - the only one really enjoying interviews / blogs and stuff. These guys always looks uncomfortable to me, except when they play.
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In every interview James usually looks like he would rather be anywhere else. I don’t blame him, really.
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Poor Mike, even JM got to speak more than him.
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I'm not all that hyped for the album truthfully, and that video did nothing to improve that.
Why's that? Seems like a bunch of people on here are touting it as "epic" and a fan pleaser
Not sure. Didn't like The Alien much at all. I'll still purchase on the day of release.
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But they just did an interview in which they looked a bit tired. Conclusion = album SUX
:lol :lol
99% of interviewers suck. The vast majority of people on this board would actually ask interesting questions.
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But they just did an interview in which they looked a bit tired. Conclusion = album SUX
:lol :lol
99% of interviewers suck. The vast majority of people on this board would actually ask interesting questions.
Bosk, we need a DTF interview session!!!
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Ooh Ooh I can ask Mangini what's his favourite way to play a semibreve rest !
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Poor Mike, even JM got to speak more than him.
Yeah, I noticed that too. Hopefully "part 1" means there will be a part 2 and MM will get to shed some light on his drumming process. The album title question didn't surprise me at all, but JP's answer was baffling. They had a bunch of titles to choose from and they all agreed on that one? He also mentioned not being too unoriginal? In my opinion, the album cover and title seem to be pretty unoriginal. Not to mention the acronym is almost as long as the title itself. :lolpalm:
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Holy hell, James looks less than impressed being there. :lol
I'm not all that hyped for the album truthfully, and that video did nothing to improve that.
Yea, I’ve seen them more enthusiastic about new music before. I remember when DT12 and The Astonishing were coming out and everyone in the band seemed really pumped about it in all the related press. This interview honestly made it seem like they made the album because they had nothing better to do during the pandemic.
I’ll still check it out and am excited for it, but I definitely agree that this wasn’t their best interview.
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Weeks ago JR was very excited about the DT15 and people complained on it. Now they do an interview and people complain that they are not excited enough
:lolpalm:
Luckily I don't have a successful band and I don't have fans. Our relationship would be terrible, I guarantee it.
:lol
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the only thing that matters is if they were excited and motivated while writing and recording the album. Presumably they were but we aren't going to find out from their body language in this interview.
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I want artists to be excited about their new stuff. People made fun of Portnoy’s hyperbolic comments about BCSL leading up to release, or if you like Iron Maiden we’ve just experienced that with a new release cycle, but I love that stuff. If you just finished up a new album, I really hope you do think it’s the best you’ve ever done and I want to see you chomping at the bit for people to hear it. Not like a another day at the office. I don’t know about the JR interview but it’s great to hear that he seemed really enthusiastic in it.
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I want artists to be excited about their new stuff. People made fun of Portnoy’s hyperbolic comments about BCSL leading up to release, or if you like Iron Maiden we’ve just experienced that with a new release cycle, but I love that stuff. If you just finished up a new album, I really hope you do think it’s the best you’ve ever done and I want to see you chomping at the bit for people to hear it. Not like a another day at the office. I don’t know about the JR interview but it’s great to hear that he seemed really enthusiastic in it.
Jordan, JP, Mike and James all have been VERY excited about this album and have shared those feelings online and in interviews. They just don't seem too excited/comfortable at all during this one for whatever reason :P
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That’s good to know. Unfortunately stuff uploaded to the official DT a channel is going to be more likely to reach shmucks like me who clearly aren’t paying that much attention. ;D
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Mark me down as someone who watched a couple minutes of that interview and then shut it off. It was boring, and it didn't help that, as noted by others, most of the band looked like they wanted to be anywhere else but there.
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I want artists to be excited about their new stuff. People made fun of Portnoy’s hyperbolic comments about BCSL leading up to release, or if you like Iron Maiden we’ve just experienced that with a new release cycle, but I love that stuff. If you just finished up a new album, I really hope you do think it’s the best you’ve ever done and I want to see you chomping at the bit for people to hear it. Not like a another day at the office. I don’t know about the JR interview but it’s great to hear that he seemed really enthusiastic in it.
Jordan, JP, Mike and James all have been VERY excited about this album and have shared those feelings online and in interviews. They just don't seem too excited/comfortable at all during this one for whatever reason :P
You're right. I mentioned JR, but he wasn't the only one.
JR was very excited in an interview: he was criticized.
MM in recent days was all excited about his drum line in The Alien: he was mocked and criticized.
Now they look tired and not very effusive: they are criticized.
Maybe at some point they can reach the middle ground. :lol
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This isn't a shot at the band or the guys. I generally enjoy listening to them. Their DVD commentaries helped solidify them as one of my favorite bands. But I have no interest in these types of promo interviews.
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On the bright side, Myung was the star of this interview so far.
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On the bright side, Myung was the star of this interview so far.
I'm hoping there's a song with a bass solo where he plays a bass solo.
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OMG Myung is actually human is the new OMG Myung actually speaks!!!!!11
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Weeks ago JR was very excited about the DT15 and people complained on it. Now they do an interview and people complain that they are not excited enough
IKR?? I wonder how long will it take for people to notice that the only person in this band whose calm unaware expression looks approachable and not bored (John, John) or secretly annoyed (Mike, James) is Jordan. It's just their faces when they're not visibly smiling or animated. They're trying to look serious and not fidget too much and remember how the interview is structured, when everybody's turn is, etc.
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
We don’t really know the context behind it all though, so I certainly wouldn’t be making any assumptions. And regardless of being a public entertainment figure or not, they are also human beings with families etc. I’m incredibly lucky to own my own business doing something I love, but trust me, sometimes the last place you want to be is there because you’re absolutely spent physically and mentally. No matter who you are - actor, musician, sports star or average joe - there is only so much the brain can process in one day.
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
Every job has some kind of drudgery to it. It's common to complain about drudgery.
Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
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Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
I would pay to see JP or MM in a Hot Ones interview.
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Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
I would pay to see JP or MM in a Hot Ones interview.
Me too, but I doubt they are big enough names to get on.
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
Every job has some kind of drudgery to it. It's common to complain about drudgery.
Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
Not to mention repetitive. They can do hours of answering "what was the inspiration" "how was the creative process" etc. Some artists are also introverts, and if you've never done a promo shooting, trust me the camera changes you lol I did one for a work project years ago and I turned into (more of) an idiot the moment the camera started rolling and I got asked a question.
Do we know when part 2 comes out?
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
Every job has some kind of drudgery to it. It's common to complain about drudgery.
Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
Not to mention repetitive. They can do hours of answering "what was the inspiration" "how was the creative process" etc. Some artists are also introverts, and if you've never done a promo shooting, trust me the camera changes you lol I did one for a work project years ago and I turned into (more of) an idiot the moment the camera started rolling and I got asked a question.
Do we know when part 2 comes out?
Are you just dying to see the sequel to that riveting interview? :lol
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Don't you usually do several interviews in one day when you're in promo mode ?
I've heard on the Bill Burr podcast that when you are doing promotion it's usually days of back to back to back interviews that roughly ask the same string of questions so I can imagine it being exhausting.
I never understood these complaints from public figures in any form of entertainment, if they complain. I'm sure there's a pile of dirt and a shovel somewhere that needs digging, if they're so tired of sitting in a climate controlled room, answering questions about their art, or signing autographs...
Every job has some kind of drudgery to it. It's common to complain about drudgery.
Press interviews are largely the drudgery for artists. That's all. Which is why people who do them in really interesting ways (such as Sean Evans of Hot Ones) are standouts and celebrities love doing them.
Not to mention repetitive. They can do hours of answering "what was the inspiration" "how was the creative process" etc. Some artists are also introverts, and if you've never done a promo shooting, trust me the camera changes you lol I did one for a work project years ago and I turned into (more of) an idiot the moment the camera started rolling and I got asked a question.
Do we know when part 2 comes out?
September 29. Part 3 October 10
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PART 2:
https://youtu.be/WDlJvggvZKY
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
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Haven't been a fan of those long ambient classical music breaks
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Really glad to hear JM's contribution to this section of the interview.
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Really glad to hear JM's contribution to this section of the interview.
I found it a bit wordy.
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looks like they saw the comments about their lack of energy in part 1 and decided to be more excited this time
As for the ballad-like section they talk about in the epic, I don't think they're going to repeat what they did in IT or TCOT. My guess is it'll be soft and melodic while still moving forward rather than ambient peacefulness
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
Thought the same. Hoping it's less Illumination Theory and more A Nightmare To Remember. Where it's a different section and not just ..oh...they're doing this...AGAIN......
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I hope it's not another Illumination Theory thing.
I hope it's not another Illumination Theory at all.
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I hope it's gonna be another ITPOE pt 2 which starts as a mellow piece which evolves into madness
So happy they chose to lift that restriction which caused them to write exclusively shorter songs. I hope they don't ever decide to reincorporate it
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looks like they saw the comments about their lack of energy in part 1 and decided to be more excited this time
As for the ballad-like section they talk about in the epic, I don't think they're going to repeat what they did in IT or TCOT. My guess is it'll be soft and melodic while still moving forward rather than ambient peacefulness
Yeah, it's much closer to what you describe than a full-on change of direction like TCOT or Illumination Theory. Because TCOT and IT exist, it will naturally draw comparisons with those two. But, IMO, it is much less jarring and fits the overall feel of the song much better.
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I hope it's gonna be another ITPOE pt 2 which starts as a mellow piece which evolves into madness
So happy they chose to lift that restriction which caused them to write exclusively shorter songs. I hope they don't ever decide to reincorporate it
yeah, it seems to be their natural state writing longer pieces
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That was a nice second part! I always like hearing them talk about the way they approach the composition of their music and it seems like they really enjoy talking about that aspect of their music.
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So happy they chose to lift that restriction which caused them to write exclusively shorter songs. I hope they don't ever decide to reincorporate it
That's interesting. Is it something they said in the video?
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So happy they chose to lift that restriction which caused them to write exclusively shorter songs. I hope they don't ever decide to reincorporate it
That's interesting. Is it something they said in the video?
Yeah, they mentioned it, but calling it a "restriction" is a little overblown.
For Distance Over Time, they had a declared focus on having more concise writing.
For the new album, they didn't worry about it and let the compositions go where they wanted to go.
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Regarding the 2nd verse thing: it’s one of the things I like most about DT, and one of my few complaints about a band like Metallica that NEVER vary anything between the 2 or 3 verses.
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I believe they also wanted more 'direct' and shorter songs on DT12 too...obviously excluding IT.
Also glad to see them ditch that limitation this time around, as much as I love DOT.
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I liked part 2 way better, they're definitely enjoying being there more at this point. It would have been perfect if John Myung would've had a unplugged bass in his hands to noodle around on while the other guys are doing all the talking.. 😁
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I can hear what JR was saying about Vibe. As I said with The Alien, it sounds like the entire setlist of Distant Memories thrown in a blender and made this awesome smoothie.
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So happy they chose to lift that restriction which caused them to write exclusively shorter songs. I hope they don't ever decide to reincorporate it
i'd much rather they write exactly as the song needs and not RESTRICT themselves to We're a Prog Band - every song must be ten minutes long.
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Personally, I think they needed that "restriction" at the time because endless noodling became a crutch. They needed to relearn prioritizing writing a good song first instead of letting their virtuosity carry the song.
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I was at the gym earlier and had a listen to Nightmare and Count and was reminded how those songs could be trimmed due to the pointless noodling. I know JP is an amazing riff generator, but do we really need that many different sections in the 2nd half of the song?
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Personally, I think they needed that "restriction" at the time because endless noodling became a crutch. They needed to relearn prioritizing writing a good song first instead of letting their virtuosity carry the song.
I love DT and Distance Over Time ( and Astonishing ) because there's no regular song over 10 minutes. Apart from the epic obviously.
They're much easier to just throw on and pick a song. With Black Clouds it's more like " well I dont fancy a 10 minute song which leaves the two normal length songs
and i'm not in the mood for either of them..."
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I prefer the epics and longer songs. I have a playlist with just those and I probably listen to that the most or my live DT playlist. The noodling for me is part of Dream Theater's DNA.
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Regarding the 2nd verse thing: it’s one of the things I like most about DT, and one of my few complaints about a band like Metallica that NEVER vary anything between the 2 or 3 verses.
Nobody said you have to...
Although when Kirk solos over a verse - chorus - the riffage is usually a little different underneath.
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I prefer the epics and longer songs. I have a playlist with just those and I probably listen to that the most or my live DT playlist. The noodling for me is part of Dream Theater's DNA.
There is Fatal Tragedy type of noodling but then there is alao the Endless Sacrifice type.
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@noxon, @bosk, any idea when the promo copies will start to be distributed? When can we expect to see reviews coming out for the album?
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Guessing in October ? This Friday ? 3 weeks before the album is out ?
Reviews are just one persons tastes and opinions anyway. Has anyone ever NOT bought an album after it got bad reviews?
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@noxon, @bosk, any idea when the promo copies will start to be distributed? When can we expect to see reviews coming out for the album?
I am working with someone behind the scenes on that very issue. Not sure at the moment.
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Guessing in October ? This Friday ? 3 weeks before the album is out ?
Reviews are just one persons tastes and opinions anyway. Has anyone ever NOT bought an album after it got bad reviews?
Usually the albums that get bad reviews are the ones I end up liking the most.
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Exactly. usually its cause it's different and not what the reviewer WANTED.
Saint Anger actually got rave reviews for being so bizarre.
in 1996 - Every review for Bryan Adams 18 Til I Die was scathing. Like - same old rock n roll crap...
But I love that album to death.
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@noxon, @bosk, any idea when the promo copies will start to be distributed? When can we expect to see reviews coming out for the album?
Promos have been out for a while. Online reviews aren't supposed to be published until 10 days before the official release, so October 12.
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@noxon, @bosk, any idea when the promo copies will start to be distributed? When can we expect to see reviews coming out for the album?
Promos have been out for a while. Online reviews aren't supposed to be published until 10 days before the official release, so October 12.
I'm pretty sure Kevin at PFA and the Sony guys are sending them based on print or website, how long the publication has been around etc.....
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I can hear what JR was saying about Vibe. As I said with The Alien, it sounds like the entire setlist of Distant Memories thrown in a blender and made this awesome smoothie.
You point my vision here perfectly. Feels same way for me as well, the energy this far is overwhelming...
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
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Part 2 was great Mancini seems like such a fun and positive dude! But i wish there was a part 3 where we could just listen to JM’s thoughts. :lol :biggrin:
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
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No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
ACOS has Another World did it not? I'd class that as a middle soft section. I think it's already been said on AVFTTOTW won't be an ambient section, just a gentler moment from all the intensity.
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Why does the middle section in Count work but not IT? Count has over 3 minutes of nothing but volume swells...doesn't go anywhere and asks the audience to stay tuned for an awfully long time. The orchestral section in IT at least has some form and tension/release.
Count has a smoother exit, but that's about it. If I saw them play that song live I would get a beer at the concession stand during the ambient middle.
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
This is what I am thinking that the section might sound like. I also feel like they're describing it like the middle section of At Wit's End, or something like Medicate. I am not expecting an ambient type of stop to the flow of the epic, but I am expecting something like these types of "relief" sections that still progress the song while allowing the band to rest.
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
Well, both of those sorta do actually. A Change of Seasons has “Another World/The Inevitable Summer" section, having a solid breather before “The Crimson Sunset” finale, and Octavarium actually has the longest ambient section out of any of the epics by far, clocking in at nearly 4 minutes - it is just placed at the very beginning of the song…
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No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
ACOS has Another World did it not? I'd class that as a middle soft section. I think it's already been said on AVFTTOTW won't be an ambient section, just a gentler moment from all the intensity.
Another World isn't what I'm talking about. That's still a full band section, and isn't static in mood. I'm not saying epics shouldn't have different sections that add to the dynamics of the piece.
I'm talking about having a middle section to "give the band a chance to catch their breath" for the sake of it, which IT seems to be, and to a lesser extent, TCOT except I don't find it to be that so much because the remainder of TCOT after the ambient section is still softer and builds up to a crescendo. IT just feels like they stuck that ambient and orchestral sections in the middle of a rockin' piece of music, and I don't feel the power and emotion of the ending since I don't think it was 'earned'.
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
Well, both of those sorta do actually. A Change of Seasons has “The Inevitable Summer" section, having a solid breather before “The Crimson Sunset” finale, and Octavarium actually has the longest ambient section out of any of the epics by far, clocking in at nearly 4 minutes - it is just placed at the very beginning of the song,,,
but we're talking about a softer section in the middle of an epic, which obviously isn't what Octavarium does, as that piece is basically one 20-minute crescendo that peaks with "trapped inside this Octavarium!" with the final minutes being the grand finale, with one final peak reprising the Someone Like Him theme at the very end (it's giving me chills just thinking about it)
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JP mentions the middle section of AVFTTOTW is its own section, providing relief from the more metal section.
I hope it's not another Illumination Theory thing. The Count Of Tuscany one worked, so I hope this one does as well.
ugh, unfortunately, that's what it sounds like...
You could tell how the AVFTTOTW section will sound like just by vague descriptors?
No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
I would say the long ambient sections where almost nothing is happening harmonically and a guitar--whether it be through volume swells or any other means-- is just snaking around aimlessly are played out. If the band can find a way to have these 'breaks' from all the riffage stay engaging (I think IT is, though I do sometimes skip it) then I think a super long song will be a success. With Octavarium you are waiting an egregious amount of time before the song gets moving on the runway. I find it super tough to do those sections without making them sound like wallpaper.
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Well, the intro to Octavarium and the middle section of TCOT is not aimless noodling. They both showcase some of their respective pieces main themes.
If you don't like Pink Floyd or ambient music, then I guess you could see it as "aimless".
but I agree that an ambient middle section in the middle of a rock or metal song or epic, is played out.
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No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
ACOS has Another World did it not? I'd class that as a middle soft section. I think it's already been said on AVFTTOTW won't be an ambient section, just a gentler moment from all the intensity.
Another World isn't what I'm talking about. That's still a full band section, and isn't static in mood. I'm not saying epics shouldn't have different sections that add to the dynamics of the piece.
I'm talking about having a middle section to "give the band a chance to catch their breath" for the sake of it, which IT seems to be, and to a lesser extent, TCOT except I don't find it to be that so much because the remainder of TCOT after the ambient section is still softer and builds up to a crescendo. IT just feels like they stuck that ambient and orchestral sections in the middle of a rockin' piece of music, and I don't feel the power and emotion of the ending since I don't think it was 'earned'.
Ok, I get that. In response to your point, "ugh, unfortunately, that's what it sounds like...". I meant specifically for the next epic that's not the plan. It's actual music being played (just softer than the rest of the piece) not just pads and birds and random stuff.
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No, but the whole "middle softer (often ambient-like) section of a grand epic" has been played out, and not just by DT.
That's what makes Octavarium and ACOS more special, those epics don't do that.
What I like about ANTR is the middle section "Beautiful Agony" is its own section of music, and keeps the momentum going, and not just the 'relief' for the band.
Same with Six Degrees of Inner Turbulence (Goodnight Kiss)
Softer middle section worked in Close To The Edge, but that doesn't mean it's necessary in every other epic.
ACOS has Another World did it not? I'd class that as a middle soft section. I think it's already been said on AVFTTOTW won't be an ambient section, just a gentler moment from all the intensity.
Another World isn't what I'm talking about. That's still a full band section, and isn't static in mood. I'm not saying epics shouldn't have different sections that add to the dynamics of the piece.
I'm talking about having a middle section to "give the band a chance to catch their breath" for the sake of it, which IT seems to be, and to a lesser extent, TCOT except I don't find it to be that so much because the remainder of TCOT after the ambient section is still softer and builds up to a crescendo. IT just feels like they stuck that ambient and orchestral sections in the middle of a rockin' piece of music, and I don't feel the power and emotion of the ending since I don't think it was 'earned'.
Ok, I get that. In response to your point, "ugh, unfortunately, that's what it sounds like...". I meant specifically for the next epic that's not the plan. It's actual music being played (just softer than the rest of the piece) not just pads and birds and random stuff.
Hopefully you are right. We'll find out soon enough.
As I stated in the thread about epics in GMD, not every epic needs to use Close to the Edge as a blueprint for an epic piece of music. CttE does the middle ambient section thing, but to great effect (and Yes was possibly the first band to write an epic with the song structure that CttE has)
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Well, the intro to Octavarium and the middle section of TCOT is not aimless noodling. They both showcase some of their respective pieces main themes.
If you don't like Pink Floyd or ambient music, then I guess you could see it as "aimless".
but I agree that an ambient middle section in the middle of a rock or metal song or epic, is played out.
I do like some ambient sections here and there and I do like my Pink Floyd, though they can be guilty of this too: if it's more than a minute, and the harmony isn't doing anything, the melody is going nowhere, the rhythm section is taking a break or on loop, I think the song is entering snooze territory with very rare exceptions. I just find 3 minutes of that to be insane.
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Well, the intro to Octavarium and the middle section of TCOT is not aimless noodling. They both showcase some of their respective pieces main themes.
If you don't like Pink Floyd or ambient music, then I guess you could see it as "aimless".
but I agree that an ambient middle section in the middle of a rock or metal song or epic, is played out.
I do like some ambient sections here and there and I do like my Pink Floyd, though they can be guilty of this too: if it's more than a minute, and the harmony isn't doing anything, the melody is going nowhere, the rhythm section is taking a break or on loop, I think the song is entering snooze territory with very rare exceptions. I just find 3 minutes of that to be insane.
I don't, I think it's perfect, and sets up the next section well, and the entire 8vm piece is one big crescendo, so starting out ambient makes the most sense.
I also don't think the first several minutes of PF's Shine On You Crazy Diamond is too long, either. It all works for me.
However, I do think the ambient section is way too long in IT, but I also think that entire epic is a compositional mess.
I think the context of the piece is what makes an ambient section work in songs like this.
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Well, the intro to Octavarium and the middle section of TCOT is not aimless noodling. They both showcase some of their respective pieces main themes.
If you don't like Pink Floyd or ambient music, then I guess you could see it as "aimless".
but I agree that an ambient middle section in the middle of a rock or metal song or epic, is played out.
I do like some ambient sections here and there and I do like my Pink Floyd, though they can be guilty of this too: if it's more than a minute, and the harmony isn't doing anything, the melody is going nowhere, the rhythm section is taking a break or on loop, I think the song is entering snooze territory with very rare exceptions. I just find 3 minutes of that to be insane.
I don't, I think it's perfect, and sets up the next section well, and the entire 8vm piece is one big crescendo, so starting out ambient makes the most sense.
I also don't think the first several minutes of PF's Shine On You Crazy Diamond is too long, either. It all works for me.
However, I do think the ambient section is way too long in IT, but I also think that entire epic is a compositional mess.
I think the context of the piece is what makes an ambient section work in songs like this.
Why do you think IT is a 'compositional mess' if you don't mind my asking? Seems like a somewhat extreme thing to say.
EDIT: I should mention I agree the placement of the Octavarium ambient section makes more conventional sense and the transition into the next section is way smoother vs IT. As you say, 8VM is one big crescendo. I was originally only referring to what happens inside those 3:30-4m (both sections are similar in length).
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Erwinrafael had a great comment somewhere that beautifully lays out why it's not a compositional mess
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I like the ambient and orchestral sections by themselves, but I don't think they work in the context of the other sections, which I also like. On the whole, I just think it could have been re-arranged and some transitions could have been smoother.
Writing a good epic is not easy. Not every epic is going to work, I can list plenty of epics from other prog bands that I think aren't their best.
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8VM and IT are structured differently. 8VM is structured like a < which for me does not work narratively if the concept is that we go in circles. IT is structured like a U , with the first half mirroring the second half, playing on the narrative of questions (what are you willing to live, die, kill for?) then answers (mothers for their children, etc).
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8VM and IT are structured differently. 8VM is structured like a < which for me does not work narratively if the concept is that we go in circles. IT is structured like a U , with the first half mirroring the second half, playing on the narrative of questions (what are you willing to live, die, kill for?) then answers (mothers for their children, etc).
While it's not a perfect mirror, the chord progression immediately after "the story ends where it began" is the same as Someone Like Him
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8VM and IT are structured differently. 8VM is structured like a < which for me does not work narratively if the concept is that we go in circles. IT is structured like a U , with the first half mirroring the second half, playing on the narrative of questions (what are you willing to live, die, kill for?) then answers (mothers for their children, etc).
And AVFTTOTW (I think I'm going to just shorten it to "View") is structured like neither. It does have a softer section in the middle, as has been said. But as has also been said, it isn't really like the soft sections in TCOT and IT. So don't pay any attention to Darkshade. He hasn't heard a note of the new album other than the singles, and he likes to troll and instigate.
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8VM and IT are structured differently. 8VM is structured like a < which for me does not work narratively if the concept is that we go in circles. IT is structured like a U , with the first half mirroring the second half, playing on the narrative of questions (what are you willing to live, die, kill for?) then answers (mothers for their children, etc).
And AVFTTOTW (I think I'm going to just shorten it to "View") is structured like neither. It does have a softer section in the middle, as has been said. But as has also been said, it isn't really like the soft sections in TCOT and IT. So don't pay any attention to Darkshade. He hasn't heard a note of the new album other than the singles, and he likes to troll and instigate.
On the contrary, I haven't heard a note of the new album, including the singles; and I like to engage in lively debate on occasion.
Trolling would mean I'm looking to get a rise out of others for the sake of it, just to tick others off, with no interest, or display of knowledge, in the topic of Dream Theater and their music (or other topics on DTF) in order to get attention, cause trouble or upset someone. I have no ill-intent when I visit DTF. If others are offended or put off by my comments, that is their problem. I cannot control that. I don't bully, name call, or harass anyone here.
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It does have a softer section in the middle, as has been said. But as has also been said, it isn't really like the soft sections in TCOT and IT.
So more like ACoS or ItPoE or neither?
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It does have a softer section in the middle, as has been said. But as has also been said, it isn't really like the soft sections in TCOT and IT.
So more like ACoS or ItPoE or neither?
Yeah, more akin to those two. I don't want to mislead expectations, but I would compare it a lot to the Beautiful Agony section in ANTR.
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I wonder if A View (song) has a similar vibe to The Courage To Be (the song, not the album) by Lux Terminus
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can anyone who is in the know confirm if we are likely to get a 2nd single?
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You mean 3rd ?
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You mean 3rd ?
yes, 3rd :facepalm:
havent had my coffee yet...
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Speaking of THIRD :
https://www.youtube.com/watch?v=sOhNEdLxj24
DTHQ INTERVIEW Part 3 .
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Speaking of THIRD :
https://www.youtube.com/watch?v=sOhNEdLxj24
DTHQ INTERVIEW Part 3 .
Thank you, now we can argue about something else :)
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Speaking of THIRD :
https://www.youtube.com/watch?v=sOhNEdLxj24
DTHQ INTERVIEW Part 3 .
Thank you, now we can argue about something else :)
NO. :angry:
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Interview was ok. They spoke about the two singles which is cool. I was hoping for a track by track discussion but maybe we will get that when the album is out.
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I'd rather a YouTube upload of them playing the entire album in their new studio.
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Interview was ok.
I just think this interview format is not right for them. They're confident, but they're also humble, and to sit in a semicircle like this to expressly promote the new album ...well, they just look uncomfortable.
Which is weird because they are all really engaging.
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I think Michael Scofield did well with the questions he asked ;D ... JK! I enjoyed listening to them talk a bit about the songs. This is meant to promote there is a new album coming not more not less.
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AVFTTOTW's riff is in 23/8, i knew it
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Uh oh, JP said the new album is the best sounding album of their entire discography, which would include... IaW
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Uh oh, JP said the new album is the best sounding album of their entire discography, which would include... IaW
:lol
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Uh oh, JP said the new album is the best sounding album of their entire discography, which would include... IaW
:lol
He should know better than to set up his legion of fans for disappointment :lol
Also pretty sure when DT12 came out he said it was their strongest to date so I guess he is used to making hyperbolic statements!
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I'd rather a YouTube upload of them playing the entire album in their new studio.
I'd like to see them do another forum Q&A like they did for DT12 and L@LP. I can imagine that would be a headache to arrange, though.
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I enjoyed the part about The Alien. I like the lyrics to The Alien a lot and finding out it came from a three hour Rogan/Musk interview would definitely do it.
It's not the most notable subplot of Mangini-era DT but I like how he pushes the band into these really intense rhythmic ideas. It's a lot of the same energy as balls and chunk but with the manicness of it dialed to 11.
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I enjoyed the part about The Alien. I like the lyrics to The Alien a lot and finding out it came from a three hour Rogan/Musk interview would definitely do it.
It's not the most notable subplot of Mangini-era DT but I like how he pushes the band into these really intense rhythmic ideas. It's a lot of the same energy as balls and chunk but with the manicness of it dialed to 11.
Yup. And that's how you stay young.
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I enjoyed the part about The Alien. I like the lyrics to The Alien a lot and finding out it came from a three hour Rogan/Musk interview would definitely do it.
It's not the most notable subplot of Mangini-era DT but I like how he pushes the band into these really intense rhythmic ideas. It's a lot of the same energy as balls and chunk but with the manicness of it dialed to 11.
Totally agree. It's one of the key reasons I feel his presence has elevated the band's output in the years after he joined. It just opened up a world of rhythmic possibilities and cool drum parts.
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AVFTTOTW's riff is in 23/8, i knew it
Which is basically 5 bars of 4/4 and then a bar of 3. OR 6 bars of 4/4 and you just drop one crotchet at the end.
OR
3 bars of 6/8 time with a bar of 5/8 on the end.... Probably easier than counting to 23.
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AVFTTOTW's riff is in 23/8, i knew it
Which is basically 5 bars of 4/4 and then a bar of 3. OR 6 bars of 4/4 and you just drop one crotchet at the end.
OR
3 bars of 6/8 time with a bar of 5/8 on the end.... Probably easier than counting to 23.
I'd say the best way to count that is in 3 x 6/8 + 5/8 ... 1 headbang every 6 beats :biggrin:
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AVFTTOTW's riff is in 23/8, i knew it
Which is basically 5 bars of 4/4 and then a bar of 3. OR 6 bars of 4/4 and you just drop one crotchet at the end.
OR
3 bars of 6/8 time with a bar of 5/8 on the end.... Probably easier than counting to 23.
Then imagine one instrument doing the first and another instrument doing the second. Holy polyrhythmic madness, batman.
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AVFTTOTW's riff is in 23/8, i knew it
Which is basically 5 bars of 4/4 and then a bar of 3. OR 6 bars of 4/4 and you just drop one crotchet at the end.
:biggrin:
OR :biggrin: :biggrin:
3 bars of 6/8 time with a bar of 5/8 on the end.... Probably easier than counting to 23.
Then imagine one instrument doing the first and another instrument doing the second. Holy polyrhythmic madness, batman.
Well, Mike did say on one of his latest instagram videos that in that song he's playing a pattern with his hands and some sort of "helicopter" sound triggered by his electronic pedals in another time signature :biggrin:
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I've enjoyed the whole interview and it's another way to raise my expectations.
The part where they mentioned that in the past the recordlabel seems so point out who would be mixing and producing the album and the way they feel being released of that... and be able to pick Timmy and Andy... I feel familiar with that. Because - to me - that's what I think (beside the overwhelming positiveness that Mangini brings all along) is what I like so much 'bout Dream Theater nowadays. Not being forced in whichever direction and totally able to make the music they want. And very nice to see the many shoutouts on the producers by any of the members.
Also I love the part where they expelled to make an epic, they first get rid of all boundaries there could be and starting crafting until there's evolving something epic-worthy. I am so much looking forward to this track. Because even the least of the epics in my opinion (In the Presence of Enemies) is so beautiful and whenever I listen to it, I realize it's been way too long since the last time I did.
I really liked the way Petrucci mentioned the vocal power of LaBrie, "building up places where James can do a beautiful solo where he digs everyone in..." or some like that. Nice to see they still admire LaBrie for who he is and what he brings. My sympathie for LaBrie has grown skyhigh over the years, where I first didn't like his voice that much. I've learned to appreciate the beauty of it.
And last but not least, brilliant so see Myung building up an crescendo with all the layers involved, like the headspace and lifting it off by saying, "it's Rush-inspired..."
sidenote, since English isn't my familiar language, sorry if it lacks or cracks here and there...
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I've enjoyed the whole interview and it's another way to raise my expectations.
The part where they mentioned that in the past the recordlabel seems so point out who would be mixing and producing the album and the way they feel being released of that... and be able to pick Timmy and Andy... I feel familiar with that. Because - to me - that's what I think (beside the overwhelming positiveness that Mangini brings all along) is what I like so much 'bout Dream Theater nowadays. Not being forced in whichever direction and totally able to make the music they want. And very nice to see the many shoutouts on the producers by any of the members.
Also I love the part where they expelled to make an epic, they first get rid of all boundaries there could be and starting crafting until there's evolving something epic-worthy. I am so much looking forward to this track. Because even the least of the epics in my opinion (In the Presence of Enemies) is so beautiful and whenever I listen to it, I realize it's been way too long since the last time I did.
I really liked the way Petrucci mentioned the vocal power of LaBrie, "building up places where James can do a beautiful solo where he digs everyone in..." or some like that. Nice to see they still admire LaBrie for who he is and what he brings. My sympathie for LaBrie has grown skyhigh over the years, where I first didn't like his voice that much. I've learned to appreciate the beauty of it.
And last but not least, brilliant so see Myung building up an crescendo with all the layers involved, like the headspace and lifting it off by saying, "it's Rush-inspired..."
sidenote, since English isn't my familiar language, sorry if it lacks or cracks here and there...
Your English is better than many native speakers, so no need to worry about that :)
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AVFTTOTW's riff is in 23/8, i knew it
Which is basically 5 bars of 4/4 and then a bar of 3. OR 6 bars of 4/4 and you just drop one crotchet at the end.
OR
3 bars of 6/8 time with a bar of 5/8 on the end.... Probably easier than counting to 23.
I'd say the best way to count that is in 3 x 6/8 + 5/8 ... 1 headbang every 6 beats :biggrin:
Come on! You need to think more like Dream Theater does. They're obviously going to shift time signature every bar. Something like 5/8, 6/8, 5/8, 7/8 :lol
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thank you chwik…
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:\ :\ DUHHH
It's OBVIOUSLY 23 bars of 1/1
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That must be how they manage to play their stuff so easily. Its hard to screw up the counting if you only have to count up to 1 at all time :justjen
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:\ :\ DUHHH
It's OBVIOUSLY 23 bars of 1/1
That's what I was thinking. :)
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:\ :\ DUHHH
It's OBVIOUSLY 23 bars of 1/1
Actually, I don't think that would work. Denoting a semibrieve (whole note) would only really work for an incredibly slow piece of music.
A whole note is divisible by 2 and 4, so it's not a whole lot different than 2/2, 4/4, 8/8, etc...
Now something like 1/8, or 1/16, that is probably closer to what you mean, but the counting would still be different for something like 23/8, which can still be broken down into 5 bars of 4 and 1 bar of 3 or whatever variation you can think of, depending on the sound and feel of the music.