Following up on the success of his recent studio album, "Impermanent Resonance", Dream Theater's James LaBrie released a 9 song Digital EP entitled "I Will Not Break" today. Check out the EP's title-track "I Will Not Break" in a static video via the IOM YouTube channel http://youtu.be/Nj8aAo3O06E
While on tour with his American power trio - supergroup, The Winery Dogs, Mike Portnoy filmed an epic and personalized invite video to his first ever Progressive Nation at Sea Cruise. Taking you band by band and leading you through the musical adventure that attendees have to look forward to at this one of a kind, floating Progressive Rock festival taking place February 2014.
What to say about this new release from Progressive Metal masters Dream Theater… if you know the band, you know the drill. You know what to expect from them. But you may be surprised. Dream Theater’s twelfth studio album effort, entitled ‘Dream Theater’, is a very mellow album from the band. Although that isn’t to say it is boring. In actual fact, it is anything but that.
Filled with iconic riffs, some top-notch drumming, eargasm imposing vocals and the some truly magnificent solos, this album is filled with so many things that make the band who they are. And I must admit, for a bands twelfth album, that is damn impressive.
The album starts with a fantastic intro track named ‘False Awakening Suite’. An impressive intro that is split in to three parts; I: Sleep Paralysis, II: Night Terrors and III: Lucid Dreaming. It’s a track that sets a mood and shows you the tone of the album. It is mezmerising and engaging to anyone who dares to listen to it and is something that will get Theater fans all over screaming at the top of their lungs. The next track was the single of the album, ‘The Enemy Inside’. This is one of the more heavier tracks on the album. Filled with iconic Petucci riffs and great vocal power, the track works well. The ever-present bass and the fantastic, ever-changing drumming makes the backbone of the track, giving it a strong, powerful feel.
The album plows through light tracks and more heavier tunes such as ‘The Looking Glass’, ‘The Bigger Picture’ ‘Behind the Veil’, ‘Surrender to Reason’ and ‘Along For the Ride’. Each track offers something new and exciting for the listener, whether it be great vocals, astonishing and beautiful riffs, a scrumptious bass-line or strange yet strongly amazing drumming. This album has a lot to offer but the two tracks that stand out on here are ‘Enigma Machine’ and the twenty-two minute long, five part epic closer that is ‘Illumination Theory’. ‘Enigma Machine’ is just one of those strong, fast-paced masterpieces that you can expect from Dream Theater. It has some heavy riffs and the vocal performance here is indeed, very, very strong.
The bass and drums keep the masterpiece in tact throughout but yet the odd time sgnature changes and little beats keep the whole thing fresh. Not to mention one of the truly most astonishing solos that has been on any album all year (from non other than guitar God, John Petucci). This track blitzs through and is something that will blow your mind. But yet if you think that was enough to satisfy, then you are wrong. If you think that that is as good as it gets then you need to feast your ears upon the closing track on this album. The album itself is astonishing but nothing quite says ‘holy shit’ like a five part epic that spans over twenty-two minutes. Theater are known for their songs of epic length and this is no exception. ‘Illumination Theory’ is something truly God-like.
A masterpiece of beautiful craftsmanship, it is a song that builds up, progresses and slows done until it reaches a climatic finish that is as powerful as a nuclear weapon. All five parts (I: Paradoxe de la Lumière Noire, II: Live, Die, Kill, III: The Embracing Circle, IV: The Pursuit of Truth and V: Surrender, Trust & Passion) add something different and the track itself is filled with mind-boggling time changes, monster riffs, truly amazing guitar mastery, mind-bending drumming, beautiful bass-lines and magical vocal power.It is a truly astonishing ending to a fantastic album.
An album filled with Rush-like anthems but with the Dream Theater punch, ‘Dream Theater’ is by far the most mesmerizing and magnificent album released so far this year. Supported heavily by its fantastic production value and a perfectly done mix, the final product is something that will blow anyone’s mind. With the ever-present time signature changes (that are noticeable but don’t ruin the tracks during the process) and with the instruments and vocals working in perfect harmony with each other, Dream Theater’s twelfth studio outing proves that they are still a force to be reckoned with.
Being Prog-Metal Gods is no easy challenge but Dream Theater make it seem like it is as easy as locking up your door. Everything here works and, although it isn’t something that everyone will like, it is bound to grab some peoples attention. If you haven’t heard of them then prick up your ears and listen to this, you are bound to find something you like here. If you already like Dream Theater then pick this up immediately, it won’t disappoint you. As for me, it isn’t the best album of the year but it is the most mesmerizing. Dream Theater, you have my
approval.
8.5/10
- Asa
This music festival at sea gives music fans an experience that a land festival just can’t match. In addition to 4 days in the beautiful Caribbean, guest will have the opportunity to see their favorite musical heroes perform numerous sets around the many stages set around Norwegian Pearl. And when guests are not attending a performance, a variety of activities hosted by the artists will fill the day.
With 15 decks of fun, Norwegian Pearl offers guests access to 13 bars and lounges, 19 dining experiences, one outdoor pool, four hot tubs, and spa treatments to help forget about the world left behind. Onboard concerts aren’t the only things that rock on Norwegian Pearl - passengers looking for more activities can visit the outdoor climbing wall, bowl a few frames at the onboard lanes, or tempt lady luck at The Pearl Club Casino. Progressive Nation cruisers will also have the opportunity to explore the sandy beaches of Great Stirrup Cay, Bahamas, their very own private island getaway. A host of beachside activities and games, the gigantic “Hippo” water slide, and access to food and beverage service will make the stay on Great Stirrup Cay an unforgettable experience.
Forthcoming announcements are scheduled to follow detailing artist-hosted activities, theme night information, contest additions, and activities! For full details and to sign up for the pre-sale, fans should visit www.progressivenationatsea.com
According to the above magazine ad; Periphery’s new album comes out July 3rd and will feature a guest solo from Dream Theater’s John Petrucci.
This doesn’t bode well with Spencer Sotelo though; from his Formspring:
“Bad planning on somebody’s end. We were just as surprised as anyone else when we saw that revolver had put the release date out there when no official announcement has been made.”
I’ll be honest; I used to hate Periphey because of Spencer’s vocals on their debut self-titled. After their 2011 release of the Icarus EP, I quickly changed my stance. Having a chance to catch them on their headline tour with The Human Abstract, I was blown away by Spencer’s ability to hit high notes live. The band is currently in Europe in a support slot for Dream Theater and took time to answer some questions.
Spencer:
How do you go about writing vocal melodies and hooks over such intricate progressions, timings, etc. I can imagine approaching instrumentals with lyrics to fit into them can be quite daunting. Is it just yourself writing them or do the rest of the band have a say?
For the new album, I wrote all of the vocal melodies and lyrics. ive just gotten used to the band’s sound over the past 2 years and have adapted to writing over the complexity of the music.
How do you ensure that your influences simply “influence” the writing on your albums and not affect the uniqueness of your sound? With that said, do you feel that you’ve stayed true to your own unique sound as much as possible on the last album?
Since I didn’t have much of a hand in writing the vocals for the last album due to time constraints, you can expect to hear a different approach to all the singing and screaming on this next record.
In your live performances, as soon as your start screaming or growling, you have a much harder time singing more demanding vocal parts. Eventually by the end of the set it sounds like you find it almost impossible to sing higher notes. What impact has this had on how you arrange your set list, and how you take care of your voice outside of your performance?
You may be watching videos where my voice is suffering from not having enough rest or I may have been sick. Screaming has never hindered me being able to hit higher notes.
What made you decide that you would do two records in one year as most bands would simply ride the tide on the one album?
We are starting on the next record after completing this one we are currently working on. We are not making any promises about when the second one will be out. If it is finished this year then we will release it, but we are definitely not rushing it by any means.
Misha:
State your name and profession please.
Misha Mansoor, Dark Mage
What’s your view on the whole “djent” label/genre? It’s doing really well as it has spawned a lot of bands. (even though it’s just a guitar sound)
I think that people aren’t entirely sure what it is, and neither am I. I write music the same way I always have, and if people want to call it that, then that’s fine by me. It has grouped us with a lot of really cool upcoming bands, so that’s definitely a perk, but our approach has always been progressive: do whatever you want, so long as it sounds good.
How do you build the songs for what finally makes the album? Do you come up with a story that allows you to imagine a soundtrack to it or does something you play just inspire you?
It’s just ideas that come out of nowhere, sometimes they become songs, sometimes they dont. I dont really have much control over the creative process, when it happens, it happens!
How has it been with the label for you guys? A lot of bands have been saying very positive things about the label, but some bands have also spoken negatively of it. Ash himself is very outspoken. How has it been working with Sumerian for you guys?
We work great with them. Ash and Shawn are excellent and innovative businessmen and i think Sumerian are one of the few labels who are looking at ways to work with the current music industry and getting creative with it.
Have there ever been any incidents in the studio where you felt you couldn’t work with the band? (ex. fighting over every little detail?
We all actually get along quite well in the studio, if there are issues we discuss things and find a compromise where everyone is happy.
What are your thoughts on the continual volume increases in the industry, where music has just gotten louder, or more crushed, at the expense of dynamic range?
I think that there should be no general rule about anything when it comes to music. If people want to make louder music, they should be allowed to do so, if they want to keep it soft, they can do that too. I think it’s silly to force opinions on things that are so subjective.
How was it working with Veil of Maya on their upcoming release?
They are good friends of mine and it was just like hanging out, watching movies, having a good time while making an album. The vibe was awesome and the whole thing went by so fast somehow even though we pretty much wrote the album at my place, really proud of that album!
Last question; Will we ever see a full band version of my favorite Bulb track, Heliovice? How many Bulb tracks have turned into Periphery songs?
Perhaps, the best Bulb tracks become Periphery tracks, it just has to fit the vibe and make the cut.
