2007-2008 tour program messages

(James LaBrie)

A crowning moment in DT’s career was the memorable and pinnacle event of playing Radio City Music Hall. There couldn’t have been a sweeter way to end the Octavarium World Tour.

Following the show we took a much needed and deserving break until September of 06 when we were back in the studio to begin writing for the new album.

The approach was slightly different then some of the previous albums where there would be an idea or blueprint of where we should or might go directionally. This time was as organic as you can get. We literally went into the studio room and let come out what was within at that particular moment. Eventually cultivating the seeds into sections, songs and ultimately an album. Obviously it's a lot more involved then these words might indicate and communication is the key element throughout the entire process.

I am extremely proud of Systematic Chaos and hope it will similarly affect you. Which brings us to why we are here this evening.

It seems we are once again in concert delivering an exciting display of visuals along with the sonic assault of new and previously released songs from our various albums/discs. Can’t wait to experience the new material live and to be face to face with our fans world-wide.

Have a great time this evening and see you next time around.

Cheers!

(John Myung)

After a lengthy break it feels good to be back touring again. I’m in the process of checking out different basses at the moment. I played an Ernie Ball Bongo bass for most of the Systematic Chaos recording, and will be playing different versions of that bass along with my usual Yamaha bass. In addition to new gear I’ll be using new amps by Mesa Boogie Amplification for clean and overdriven sounds, the overdriven sound will be from a Triple Rectifier in combination with a 750 Block or Titan for clean sounds. I walked away from the Systematic Chaos sessions feeling really good about how I played and the way it sounded.

Hope you’ve been well.

See you out on tour.

Take care.

(John Petrucci)

Welcome to Dream Theater’s world of “Systematic Chaos”! A world of music that is at times seemingly arbitrary but always deliberate. I’d like to take a moment to help you understand the origins of our musical style as we see it...

DT’s music is often described as being “progressive metal”. The metal part is easy to grasp. Loud distorted guitars, aggressive double bass drumming, dueling solos, soaring vocals with tons of attitude, etc., derived largely from the impact that bands such as Metallica and Iron Maiden had on us collectively. The progressive part however, is a bit vague as it means something different depending on whom you ask. In my opinion, being progressive (in any field) means taking chances. It means going against the conventional, breaking old rules and making new ones. In music, it is truly one of the most rebellious styles although I’m sure there are many people that would argue that fact. Where did that concept come from?

Well, all the members of DT have been musically schooled in both the classical and jazz mediums. At places like Berklee and Julliard, we learned about “the rules” as applied to both genres. But where did it all start? The original classical composers were making these rules out of creative exploration and yearning from the beginning. The great classical masterpieces are filled with all the progressive elements that you will find in the modern day interpretations: Pieces with different movements involving feel, tempo, time and key changes amidst both demanding technical and melodically sensitive musical passages. Insane unison and harmony lines. Reoccurring themes with varying orchestrations and of course, lengthy compositions. Sound familiar? On the other side, what about the jazz masters with their soulful journeys through rich, lavish harmonic content and spontaneous dizzying improvisations? Yet another stylistic element present in progressive rock and metal.

Having said all that, what about our process? At times DT’s music can seem a bit disconnected like during moments in Metropolis, The Dance of Eternity and The Dark Eternal Night. At other times there is a definite feeling of form and structure as found in songs like Peruvian Skies, I Walk Beside You and As I Am. The fact is, no matter what the song or passage, everything exists for a reason. Whether worked out collectively or individually, whether derived from spontaneous inspiration or crafted deliberation, each drum fill, guitar solo, vocal melody, keyboard line and bass riff has a meaning and purpose. Being progressive could mean a 25 minute song, it could mean a ragtime piano breakdown sandwiched between two Mudvayne inspired 7-string riffs, never returning to the same verse form twice in a song arrangement or stretching the limitations of any given instrument’s normal role. Why? Why not?? Incidentally, it should also be said that Dream Theater is only the tip of the iceberg. There are volumes of unbelievably insane music out there to sink your teeth into that will blow your mind! I guess the point is that Systematic Chaos means that there is a method to the perceived mayhem!

I appreciate everyone taking the time out to read about my lengthy take on the descriptive origin of DT’s music. For those of you who find yourselves embracing and getting lost in the disarray, thank you for appreciating and understanding where we’re coming from! For those of you who find yourselves thinking “Why the hell would anyone do that?” well, if you are reading this, you are here joining the experience and just as much a part of the DT family! To everyone...

We look forward to continuing on this progressive metal musical adventure for years to come and welcome to the Chaos!

(Mike Portnoy)

Well, well, well my friends....it looks like it’s that time again!

After the big 20th Anniversary finale at Radio City Music Hall (which of course you all have now shared with us via Score), I distinctly remember sitting in a limo the next day driving home with my family and saying “well...now what??? how on earth do we top that???” I guess “that” really did feel like the closing chapter to the band’s first 20 years...

After taking the summer off (well “off” for me is a bit of a loose term...I directed the Score DVD, shot my new instructional DVD and recorded an album with Neal Morse!), Dream Theater reconvened in September of 2006 at Avatar Studios and began work on the first chapter for DT’s next 20 years! And the finished result 5 months later is what we now all know as Systematic Chaos.

I think this new album really encompasses everything that DT is about...ranging from the metallic (Constant Motion, The Dark Eternal Night) to the melodic (Repentance, Forsaken) to the epic (In The Presence Of Enemies, The Ministry Of Lost Souls). As always, making the album was a great, creative process and working with Paul Northfield really helped breath some new blood into the sessions as well....

And that brings us to NOW.....It’s great to be back on the road seeing all of your lovely faces once again. Travelling around Planet Earth and getting to play our music for you is surely one of the biggest joys in my life (other than Marlene, Melody, Max, Bongo and Maggie!) Of all the hats I get to wear in Dream Theater, performing live on stage for YOU may be the one that gives me the most satisfaction. Every other aspect of our career is very rewarding for me as well (writing, recording, producing, directing, etc.) but they are all creative outlets with no immediate feedback and no live interaction and gratification. Playing live and feeling your excitement, devotion and passion in the air at the shows is really quite an experience that I have the utmost gratitude for. It helps me rise to the occasion each and every night (even if we are playing Pull Me Under for the 2000th time!)

So with that, let’s begin the journey of the next 20 years....

Carpe Diem

(Jordan Rudess)

One of the miracles in my life is Dream Theater. While recording this last album and during the process of my own preparations for the tour, I realized there is a serious “higher power” that circles around our band. Granted this is an organization of very talented people, but even beyond that I am always amazed at our own unique creative process.

Take for example the creation of The Dark Eternal Night, one of the tunes on our new album: JP came in early one morning and starting seriously getting into some 7 string intensity (as only he can do). He was working on his own with headphones and a bit of sound was leaking through the amp room, so I could hear the rumbling heaviness of the idea but not the details. I knew he was up to something! I was busy in my own world programming some sounds and getting setup for the day. Later when Mike and JM came in, JP presented his idea in all its glory. The boys hashed it out while I participated, but from a slight distance, in the sense that this was a real “guitar” born concept! About the time my head and ears were spinning (and ringing) from all of this, Mike and JP decided that it was time to take a listen to this section in the control room and get an idea of what all this was sounding like.

As soon as we stopped and the boys went out of the live room, a musical idea came into my head. Sometimes the silence after the storm is my inspiration. In my head was spinning the opening riff of the “wild progressive” odd meter section! I kept it to myself and actually almost didn’t share it because of the thought it could be too “weird,” but what the hell – I actually sang it to the boys when they were done listening to the “heavy.” Good thing I became brave, because after giving it a go with instruments in hand, it turned out to be a really cool section. Actually, one of the great moments in the studio was after we finished writing that whole section and came in to the control room to hear all the crazy parts of it edited together to get a feel for the arrangement. After hearing it we were all on the floor laughing hysterically. It was one of the funniest studio moments I can remember in Dream Theater history. Funny, because it has SO many changes and bizarre quirky rhythms. It captures Dream Theater at our most wacky prog madness!!

As Mike says, DT never has any problem coming up with musical ideas, it’s organizing them! Luckily the ideas fly wildly when we are together and MP is DT’s musical architect, making sure that in the end they actually do get “organized!” I’m always grateful to be in a band with talents like MP, JP, JM and JL and blown away for this whirlwind of musical energy we all call Dream Theater.

After I finish writing this, I am actually leaving to go rehearse that section of music with the band for the upcoming Chaos in Motion World Tour. Should be interesting!

Enjoy!