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Finally, after 30 years of relentless touring and melodic progressive metal studio production, Dream Theater have found their home on Inside Out. I can’t really imagine a better label for these guys at this point in history and have to say that I never really have understood what they were doing on labels like Atlantic and (especially) Roadrunner. Fortunately, that is all in the past now. I think most fans will also be excited that not only have they returned to a much less concept-based and much more song-oriented approach, but they’ve also opted for a much more traditional, non-commercial studio approach to the recording process. By now everyone has read about the “farmhouse” sessions that were originally slated to be only for the purpose of recording “demo” tracks. The band, however, loving the spontaneous nature of their surroundings, found a way to record the entire album on site. The result is a much more “live” studio feel, with much less processing and a more organic sound. After the huge production and layered tracking of The Astonishing, these songs were recorded with fewer tracks and layering – the result nothing less than … astonishing!
Hence, this music is somewhat of a return to form. There is a heavy guitar emphasis throughout, and the drums take a much larger place in the mix, so it’s obvious that Petrucci and company wanted to make a “heavier” record. As with all great artists, the album cover often sets the tone. I love the modern simplicity of the Hugh Syme rendering and the brilliance of the Distance/Time formula is so reminiscent of prog greats like Rush. While the starkness of the image might indicate a more modern “electronic” leaning, there is little to none of the modern electronic elements present here which many prog metal bands have incorporated into their music in recent years. This speaks to the sincerity of these guys as pertaining to their commitment to incredible musicianship and superb songwriting. By this band’s own standards, 60 minutes seems to be a short album, but every moment of this one is highly engaging – a definite step away from personal instrumental improvisation and a very purposeful effort in the direction of “bandsmanship.” It’s condensed for sure, but effective and beautiful in the simplicity of execution.
The opener, “Untethered Angel,” feels pretty much like a “routine” Dream Theater song. Often that first track is the one that “updates” the listener on where the band has been since the last studio release and where they are headed. It is a safe start, although unrivaled by what is to come. “Paralyzed” follows, introducing a slightly more laid-back and ominous riff. This song has a definite Awake vibe and will be a welcome return to the slightly slower, incredibly melodic, yet still technically brilliant vibe that was song prominent on Images & Words/Awake. Of the pre-release singles, this was the song that really made me a believer that the band was truly attempting to recapture that magical sound of their early years. It works … it works really well. “Fall Into The Light” is similarly something new, yet something familiar (in a good way). This song has a great opening guitar/bass segment where Petrucci and Myung are in perfect sync and then Mangini’s snare “rolls” right into LaBrie’s vocals. “Too much love is not enough for us … I was once too blind to see.” I hear Rush in the acoustic guitar break, followed by this perfectly textured guitar solo. It all builds back up in such wondrous fashion, anchored by the blistering keyboard work of Rudess, and then everything cycles around to LaBrie’s chorus. This is just such the quintessential DT song on so many levels.
While these songs are a great representation of what this album has to offer, the other tracks are equally compelling. D/T isn’t their most diverse work musically, but every song has something important to say. I love the lyrics to songs like “S2N,” “Barstool Warrior” and “At Wit’s End” because they speak to the quiet desperation so many are experiencing daily. Where The Astonishing theme was a bit of a fantasy stretch, the songs on D/T speak to the suffering and turmoil of reality, right here and now. One of the “return to form” hallmarks would be how the instruments back away their aggression during the vocal segments allowing LaBrie’s vocal melodies to really shine. There is a sense of “space” within these songs. Just listen to the beautiful piano lead on “Barstool Warrior,” which is followed by this beautiful guitar solo. Myung’s bass opens the Rush-like “S2N, “a fast-paced number that feels modern, yet firmly grounded in prog rock soil. I love Jordan’s contributions on this album. He has clearly made an effort to be less “circus-like” with his sounds – his keyboards fantastically supportive and yet creative.
The piano and guitar interplay on the balladic “Out of Reach” is yet another moment of flashback to songs like “Another Day” (oh, do I hear those words reflecting here?).
In some of the interviews, Petrucci indicated that the finale for this album was an obvious choice. If by that he meant “Pale Blue Dot” then I might have to disagree. In some ways, this song feels like more recent DT because there is an emphasis on the instrumental. Don’t think “Illumination Theory” type epic-ness though, because this song is only about 8 and a half minutes in duration. While its blisteringly fast and technical (featuring some of Mangini’s much revered insanely fast hand work), the song ends almost too abruptly. If not for the bonus track “Viper King” I might conclude that the album ends on an almost “unsatiated/unsustained” note. But the 70’s era prog groove and melodies on this bonus song are too infectious, making it (rather than “Pale Blue Dot”) the perfect closer.
One of the criticisms I’ve had of this band during much of the past decade and a half is that many of their songs seem too much about instrumentalists flexing their muscles and not enough about just writing great songs. I heard the band say in an interview that the “academic” side of music wasn’t as important to them … that the “melody and message are not secondary to us.” I would have to agree that on Distance Over Time, this is in fact the truth. While many will debate that this wasn’t really the case over the past 4 or 5 releases, these songs do connect in a way which seems familiar. Perhaps it was the “live together/play together” scenario that pulled these songs together. Regardless, D/T is the most Images/Awake era sounding material we’ve heard from these guys in forever. I liked The Astonishing, but this is quite possibly the best Dream Theater since Scenes From A Memory, certainly the best in the Mangini era. Like the prodigal son, over “distance and time,” Dream Theater have thankfully come home.
As an additional note, the triple gatefold CD packaging is beautiful, featuring the brilliant cover artwork in glossy finish. The back panel has a slightly textured feel - all laid out with perfect graphic design. The lyric booklet is nicely illustrated - each song a picture of its own with the lyrics - and I like the red d/t cover. Unlike many CD booklets, this one is the full size of the digipak, yet it still fits nicely into the sleeve provided. Will post more once vinyl version arrives.
**Update 2/28/2019**
Thankfully, for all of us who are tired of the over compressed standard releases, the band has released high-def versions, in addition to the vinyl, of these tracks. If you really want to hear what this band recorded for the D/T sessions, you will want to score one of these versions. The artbook edition is well worth the price. It contains the original CD, but also the instrumental versions of all 10 tracks. I have to say the instrumental CD sounds somewhat better than the original with vocals CD. But forget all that … the Blu-ray 5.1 DTS master blows them all out of the water. I have not heard a better sounding DT recording yet than the 5.1 DTS. The sound is so perfectly balanced and all kinds of percussion and bass are jumping out of the speakers without distortion, despite high volume. While many 5.1 mixes focus too much sound through the center speaker, I really like how this mix keeps the “stereo” sound field a priority, yet the full effect is quadraphonic. And, the animations that go with each song are extremely well-done – they enhance the album artwork for each track and add interpretive information. The book that accompanies the 2CD/BD/DVD set has extra, extensive liner notes that really put this whole recording and music concept into perspective. Great stuff.
The vinyl sounds amazing as well, packaged in double gatefold with anti-static sleeves. While the lyrics are included in the artbook, they are not included in my version of the vinyl (white discs that came with the Deluxe Edition). This edition is light years ahead of the deluxe version of The Astonishing, which was not only months late in delivery, but pales in comparison to the beauty and quality of this version.
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Reviews with images
Dream Theater has spoiled we fans. Prolific musically is DT, that a single CD feels way too short.
I'm going to 'put myself out there'. I have followed Dream Theater since 'Images and Words', buying every CD as they have released them, anticipating. Only one CD disappointed, as I had bought it at a CD store driving miles for it on release date, putting it in the player of my truck with my young son in the truck with me, the language and angst on Train of Thoughts , Pissed me off! DT is too classy for Rap Trash Words and Angst / hate. Having that out, and that I love this band, and expect the best from them, I am not disappointed with D/T by DT ;). I just hungered for another double CD from them. As a drummer myself, I appreciate that no drummer is alike in style / nuance. Skill is determined by Blood, Sweat and Blisters. Mike Portney is one among many that is top of his Profession, but who's the best is like saying Velvet Cake is better than Lemon Meringue Pie. All the whiners about the Drummer switch in DT are clueless! Mike Portnoy IS Amazing, and I follow his work in Flying Colors, Neal Morse Band, and collect all of his collaborations, as I do Jordan Rudess solo work, and where Jordan helps, like Gleb's solo from IAMTHEMORNING. Mike Mangini, you are my favorite drummer of all time. You stepped in when Portnoy stepped out, being DT's anxiety until your good heart showed them and we understanding fans, as you not only stepped in, but stepped up, and SHINE. Mangini is genuine, and for me the nuance that Mike brought to DT is refreshing. Thank God all musicians are unique. ' Imagine' a world where everyone sounded like the Beatles. I love the Beatles, but I sure like Lemon Meringue Pie too.D/T is another good work by Dream Theater, love it. But so is Neal Morse Band 'Similitude of a Dream' and "The Great Adventure". I LOVE the talent out there that colors my days in beautiful sonic tapestry. God Bless Musicians that put their heart into their Craft! You ALL have my profound respect, as you are respectful of each other. Steve Wilson, you stepped down as you Dis'ed Greta Van Fleet, gain some class by finding some humility...you're not my cup of Tea. Greta VF are awesome in their realm. Play and grow, Carry On! Ric Scothern Utah
