This is how it shakes out for me:
Moore/Rudess>Derek*
*very much enjoy Derek's post-Dream Theater fusion work though.
This is how it shakes out for me:
Moore/Rudess>Derek*
*very much enjoy Derek's post-Dream Theater fusion work though.
Moore > Rudess > Sherinian
Moore just shades it for me. I think Rudess isn't solely responsible for the more metallic recent albums. I think the fact it happened around signing for Roadrunner may be more than coincidence at least initially.
Definitely, and I'd add that it's not just melody, it's space.Originally Posted by Adrian
I am a Moore fanboy, was at that NYC gig (to premiere take the time video...glitchy btwn set A/V), love the post DT work, but imho the biggest loss for DT (thinking WDADU thru Awake): lyrics
Death inspires me like a dog inspires a rabbit
Big yes to all of this. I like the original version from NYC that has been on some boots, I dislike the EP version, and think the band fell off a cliff when Moore left.
There's a lot to be said for space.
My first DT album I heard, I bought it coz I liked the artworkNaturally the title track blew me away, so I became DT fan. The next one was Images and Words...
I'm not being awkward here, but Labrie does not appeal to my tastes.
I've always wondered what Dream Theatre could do with a 'powerful' vocalist like Gillan in his prime.
This is just a personal taste thing everyone so please don't lynch me?
Apparently there's going to be a new album this year so will be interesting to see where they go...I don't expect anything great as most of their albums are so so for me.
Most of the time I put on something from them the music feels somewhat heavy handed and forced, especially when the singing starts. I guess some of that is to do with the themes and stories of the albums but I don't think it's only that. Labrie sounds so fresh and exciting on Images, at least on most songs, but later something's missing.
"Images" is good because it's somewhat melodic but also technically complex. That was the perfect combination. I don't think it's excellent but overall it's better than any other album.
^ Do you not find Scenes From A Memory to have that same balance?
Speaking for myself, I don't think they nailed it as well. The slower restrained songs are superb, but the instrumental fireworks have worn thin for me over the years. It feels like there's too much crazy technical complexity just for its own sake without much else to root it.
That's exactly why I've lost interest in DT. There was a good balance of elements on the earlier albums that I find missing now. I would kill for something as well crafted as "Space-Dye Vest" to sit alongside all the bombast. Something that values melody and actually gives itself room to breathe. As you suggested earlier, it's the space that's missing. Filling every last space with a barrage of sound makes for an exhausting listening experience.
There is something on that one that is missing for me. I haven't listened to all of it for a while, but I think it was the most heavy up to that point. I would have prefered if the keys were more lush, flowing and more prominent in the mix. When I hear some of their material, there is a feel that the keyboard sounds could be better mixed in the overall package.
What is really missing from their music sound wise are songs like "Surrounded". That kind of sound coupled with some technical wizardy would be great.
Octavarium had some significant open and non-shreddy sections. That was also the last DT album that felt like it added something new to their style.
Agreed. That last of the Portnoy albums where they seemed to care about actual songs.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
The thing is that there could be any kind of sections or sounds on the album, but there is a possibility that you will not like it anyway. There could be all you can imagine but you still won't like it.
It's mostly about whether you like it or not. It's a lot to do with circumstance and luck - if the band hits the particular notes that you like.
I haven't heard much of Moore's projects, but I much prefer what Rudess and Sherinian have done with some of their instrumental prog fusion albums. Those are the sounds which I would like to hear in DT.
As with a great number of Prog bands they do get a tad self indulgent at times.
Would it be fair to say also, that they sometimes play three notes when two, or even one would do?
I personally feel that drumming is too far forward and was not sorry to see Portnoy leave.
The thing is that I haven't listened to the last two records without Portnoy too much either. I gave them a few spins and have not been too keen to revisit them too often. I think that they have some of the most straightforward writing in their catalogue but they aren't too interesting.
It's the same with Steven Wilson, Spock's Beard, all of those Morse and Stolt bands and projects, I give them a couple listens and have no huge desire to revisit them. Most of them are recycling the same stuff and seem to lack some creative energy after all these years and 15-20 albums.
I rather listen to some good individual songs (on most albums there are at least a couple of them) than the whole record.
I loved A Change of Seasons when it came out, but since then I've found them to be a little clinical on most of their albums. Great players, but little emotion or warmth although Octavarium has its moments. I'm not a big fan of Jimmy the Cheese either.
For me, melody and feel are more important than technical wizardry, but I totally respect their abilities. I can enjoy them but I can't truly engage with them
I remember walking out of that Score concert thinking there was no way in hell the band would ever top it. There didn't seem to be much left to prove at that point. But there is something to be said for having a career in today's music industry.
ACoS certainly one of DTs greatest epics with their usual unbelievable musicianship..A personal, heartfelt Portnoy composition with stellar performances by all. Recommend highly !! Pay NO attention to the DT and or Portnoy haters behind the curtain !!
Heh. I listened to the bootleg version so much that to this day, I still mentally fill in the "Please don't go!" part that is missing in the studio recording.
It was wonderful to finally get that on CD back in the day, and it also gave us our first taste of Derek Sherinian. The covers were nice, but I often wish they had put all of them from the Ronny Scots gig.
I often do the same thing. Please Don't Go is an earworm.
^^ I fill in the missing lyrics in Fatal Tragedy from the demos CD!!
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