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CDFN
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« Reply #75 on: September 18, 2011, 05:15:40 AM »

MP interview where he goes deep into the whole DT issue:

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=163433

As for the album, I think people expect too much from this band. Besides, it's obvious that Kevin Moore was a huge part of the unique sound and writing style they had in the first 3 albums.


It's really sad that Mike and the others stopped having a personal relationship though, I really have to wonder how it came to this, you'd think that after all those years that friendship wouldn't be so easy to destroy, I find that quite shocking.
When Mike tried to reach an agreement with JP a month later he only answered through his lawyer. After 25 years of beeing like brothers this shit is fucked up.
It's time to burry this whole thing though, what's done is done, they are very happy with MM and there's obviously no turning back.
« Last Edit: September 18, 2011, 05:26:39 AM by CDFN » Logged

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daschrier
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« Reply #76 on: September 18, 2011, 09:37:58 AM »

The same thing happened to Live. Ed basically cut himself off from the rest of the band, inner turmoil, and now they don't talk. The rest of the band has decided to keep on without him.

In regards to expecting too much from DT, it's most likely the same with any band. They're young, have desire and emotion, and as you get older that raw energy is harder to capture.
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Prime Mover
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« Reply #77 on: September 18, 2011, 07:35:11 PM »

I, for one, am proud of Portnoy for following his personal goals and not just his pocketbook. Having said that, there are many sides to the same story. I can also understand that the band members had very different personal feelings about what they wanted to do. While Portnoy might have felt drained and exhausted (probably because it sounds like he is a workaholic), Petrucci and the guys may have felt that they were on a roll and couldn't afford to lose the opportunity to keep on driving. I fault neither side for their decisions. The fact that it's put a personal rift between them is the real shame. But once again, there are many sides. It's fairly clear to me that Portnoy is a really difficult man sometimes, he's the most controlling, and possibly quite aggressive, socially. The guys may have been quietly sick of it.

He mentions Roger Waters and David Gilmour. Waters was a right asshole towards the end of his stay with Pink Floyd. He was throwing his weight around far more than any band leader should ever do, making the band a solo project, firing members for no good reason, snubbing people: media, fans, and band mates alike. It was time for him to leave. And whatever you think of Gilmour's revival (I personally love Momentary Lapse), he made it work. It's very possible that DT and Portnoy were similar, though there hasn't been nearly the control freakishness of Waters.

****

I'm starting to really warm up to the album more. On the Backs of Angles is really good, I've come to realize, and yes, it's got A LOT of similarities to Pull Me Under. However, I haven't heard any other I&W comparisons yet though.
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« Reply #78 on: September 21, 2011, 10:40:49 AM »

It just hit me how much lost not forgotten sounds like under a glass moon! I can't believe it took me 4 listens to realize this! The riffs, melodies, rythms, even the friggin' guitar solo, it's like they are ripping themselves off lol!
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« Reply #79 on: September 21, 2011, 07:22:12 PM »

Eh... while I see what you mean, the similarities are only superficial. In the end, Lost Not Forgotten doesn't "feel" anything like Under a Glass Moon. It's much more visceral, dark, and angsty. Under a Glass Moon is etherial and anthematic. UAGM is a lot more structurally coherent as well. Listening with a new ear, LNF is a lot better than it first sounded, but I'm still put off by the bone-crunching guitar tone and angry vocals.

Look, UAGM was no lyrical powerhouse, I'll be the first to say that Myung's lyrics were often trite and insipid, but even if the meaning and metaphors were silly, they had a wonderful feeling to them. UAGM is very Yes inspired, to say the least. But its much more enjoyable than:

ANGRY BADASS!
EVIL BADASS!
IMORTAL BADASS!
BADASS BADASS BADASS BADASS!
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« Reply #80 on: September 22, 2011, 05:15:57 AM »

UAGM's lyrics were written by Petrucci.
I don't mean literally how it sounds, I mean that they borrowed a lot from it. Several parts of the song are right there.

Anyway, Bridges in the sky and breaking all illusions are fantastic songs, though the first half is weak, overall it's a very good album.
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« Reply #81 on: September 27, 2011, 02:17:21 PM »

I feel like Lost Not Forgotten was written after playing lost odyssey...
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« Reply #82 on: September 30, 2011, 08:34:12 AM »

I have listened more to the new album (ADTOE) and I have to say I am more impressed each time I listen to it. I feel like it is DT of old with some new contemporary elements added in. No ridiculous angry screams. 5 minute guitar solos that don't feel like they gel with the rest of the song. Just a great album. Greatest song for me is Breaking All Illusions while the weakest would be Build Me Up, Break Me Down...it is that scream in the background that kills it for me. Actually, I was wrong saying no screams.
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« Reply #83 on: November 10, 2011, 04:38:09 PM »

Already bored of this album.

What's really missing from new DT is the magic. All of their older stuff, up until 6DOIT, had a nice "romantic musical" quality to it, while still being metalish. Now they're just another metal band.
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« Reply #84 on: November 16, 2011, 02:15:41 PM »

Yeah, I miss 6DOIT... that really was the end of an era, and went out with a bang. Funny thing, at the time of its release, so many people complained about 6DOIT, bitched about this and that. Now, many DT fans rank it up with their favorite albums, or like me, their very favorite DT album. Not so sure why the change of heart.
« Last Edit: November 16, 2011, 02:19:12 PM by Prime Mover » Logged


eelhouse.net
- order the new album

Currently Playing: Metroid Prime 2, Trails in the Sky, Bioshock: Infinite
Currently Listening to: Devin Townsend, Dream Theater
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« Reply #85 on: November 16, 2011, 05:09:40 PM »

I fucking loved it from the start, it blew me away. I actually stopped going to DT's forum because of all the bitching, I couldn't believe all the hate I was seeing for such an amazing album. It definitely grew on people though, great albums do that.
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« Reply #86 on: November 17, 2011, 01:14:01 PM »

That was the first album that I got a few tracks before release. I think Glass Prison and Misunderstood. I only had a minidisc player at the time, and threw those on it. I road my bike around campus listening to it constantly, and was blown away. Then when the album was released, I road to Elyria, the next town over (about 40 minutes) and grabbed it. Happy day.

Speaking of which, I used to always have an adventure every time DT released an album during college. SfaM was the first time I biked to Elyria. I got lost, and spent 5 hours looking for the bike path back... I ended up really far away. Live Scenes from New York was the 9/11 cover debacle. It was released on 9/11 and depicted a stylized picture of the NYC skyline inside the flames of a burning apple. Portnoy made a public apology and it was all over the news, immediately the album was pulled from stores. So I rushed in to grab the last few copies with the original's cover. Should be DT collectors item someday.

But yeah, 6DOIT never ceases to amaze me. These days, probably Blind Faith and Solitary Shell are my highlights. SS, IMO, is the #1 pop song that DT has done, and they've never come close since. Blind Faith has this cool crazy celtic vibe in the middle section that just FLIES!
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« Reply #87 on: November 18, 2011, 09:23:58 PM »

I'm still listening to the new album and still enjoying it. There are a couple things I'll bring up though. James has a good voice and there will be songs where that is really displayed such as Far From Heaven, Breaking All Illusions and the other two slower tracks on the album (their names escape me). Then you have songs like BMU BMD...why does it need to sound angry and then have that screaming running through the chorus? I don't think I've listened to that song 2 times through yet. I find it incredibly out of place on this album. I used to think DT was above songs like that. It almost seems like a left over song from SC or BC&SL. Two albums which I have to say for the most part I don't like at all
.
Someone here said that DT was missing the "Magic" of old. I agree partly. I have to admit I prefer the lighter brighter more positive side of DT rather than the angry heavy metal side. I feel like any band can write that kind of music but DT has been above that that from time to time. I recently listened to some songs from 6DOIT. While musically I like most of it but the way James sings some of them I find it hard to listen to. Blind Faith is probably my favorite track on that album musically, but the way he sings the chorus Blind Faith is just painful to listen to. Why does he have to scream it? Even some of their older stuff...the songs are gorgeous but the singing is hard to understand at times what is actually being sung. Take a song like Another Day from I&W. It is a beautiful song...very emotional and a slower song by DT. There are parts that get to a point I can't really understand the lyrics because James is kind of singing/screaming them. I guess it was just his style back in the day. Today, mostly except for 80-90% of the new album he seems to sing in an angry style. Why? Lost Not Forgotten is a prime example and so is BMU BMD.  I think a song like The Count of Tuscany would be one of my favorites if it wasn't for the speed and angry sound of the middle section. The beginning and ending are so creative and magical sounding.

The funny thing about all this is that for most bands for whatever reason I wouldn't care this much. I don't know why that is other than I can say when I discovered DT their music made an impression on me. It sounded so fresh and creative from all the mindless rock and metal out there. DT wasn't afraid to do what wasn't popular. They wanted to be original and have a sound their own. I just wish they would still fully embrace that instead of now some 20+ years later trying to sound like other bands. I will say the new album is a step in the right direction. I just hope on the next album they push forward down this same path. Leave all the generic metal cliches behind and be themselves again.

Only time will tell. But one has to wonder how many albums do they actually have left in them. I mean, the older we get I would imagine it gets harder and harder to play such complex music. Aren't most of the guys in their mid or late 40s now?
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« Reply #88 on: November 19, 2011, 08:16:48 AM »

I agree but like you said, it's a step in the right direction. Breaking all ilusions and bridges in the sky show DT at their best, unlike the count of tuscany where they fell into the trap of partially destroying the song's potential with a very uninspired and generic middle section, I think these 2 songs manage to fully realize the band's potential to write great prog epics in the vein of classics like learning to live.
I also have to say that this is the life might actually be their best ballad, it's really good. I'm glad that out of all these songs only one suffers from "the over the top unnecessary instrumental section" syndrome, that song obviously being outcry, but it's still a decent track and let's not forget that there are also people that go into a DT album looking for that kind of stuff.
That old sound people seem to be looking for was how DT sounded with Kevin in the band, it's pointless wanting that back, this is how DT sounds with Jordan just like falling into infinity was how DT sounded with Derek. The keys make up a huge part of the band's sound and when you change the person playing them the end result will be different.

I do like a lot of their metal output though. A nightmare to remember, the glass prison, in the presence of enemies... but I was a metalhead before getting into DT. I understand that people coming from bands like Rush, Yes, etc have a hard time getting into that stuff. But I was listening to Metallica, Pantera and Sepultura when I got into them so at first I was attracted to the heavy stuff though they ended up opening my mind to the fantastic world of prog, just like they did for so many people.
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« Reply #89 on: November 19, 2011, 07:17:22 PM »

Well, I started with progmetal and progrock, but the metal that I've always liked is usually either powermetal, or extreme/death (Devin Townsend and Opeth, respectively). The one black hole in my book is thrash metal... I've never been into it. Never really liked Metallica, for instance. It's always had this "asshole" quality to it that most other metal styles seem to avoid. Death is so extreme and over the top, there's nothing "badass" about it, it's just crazy... and I can appreciate that. Powermetal is all drama and energy, two things I love. But there's this "look how fucking badass I am" about thrash metal that I've always disliked. Post 6DOIT DT has a lot of thrash influence, and has that "look how fucking badass I am" quality to it, worse yet... DT aren't badass, their 40+ family men who built their reputation on institutional musical virtuosity... so it's kind of fake.

About Jame's scream choruses. Go back and listen to Under a Glass Moon and Take the Time. Those have some awful high scream sections that put Blind Faith to shame. BF is absolutely tame in comparison to TTT for instance. At least you can understand what he's saying in BF, and it's basically an operatic recitative: it's one/two notes used to deliver a spoken phrase, so it's pretty clear. It doesn't hurt that you get a cool call/response with Mike/James.

Only a few albums completely forgo the high pitched chorus screams: Falling into Infinity really. Awake has a few (end of Voices, and parts of Scarred), SfaM definitely has it's share. So Blind Faith really is pretty status quo. But on top of that you get great instrumental passages, some solid lyrics (one of DTs weaker elements).
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Watching: Star Trek: TOS, Slayers, Doctor Who (as usual)
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