Posts Tagged “Mike Mangini”

The New York-based Ballet Deviare, led by dancer/choreographer Laura Kowalewski, created a routine to accompany DREAM THEATER‘s instrumental “Enigma Machine”, from the band’s latest, self-titled album. The clip was directed by Katia Spivakova and produced by Derec Dunn; the dancers are Michelle Joy, Lara Koffskey and Shannon Maynor.

Says choreographer Laura Kowalewski, who’s previously worked with DÅÅTH, ARSIS and CELESTIIAL: “When I was approached to choreograph a music video for DREAM THEATER, I was really excited. I have always admired their complex musical structure and phrasing.”

DREAM THEATER‘s latest, self-titled album (available for purchase here) sold around 34,000 copies in the United States in its first week of release to debut at position No. 7 on The Billboard 200 chart. The CD arrived in stores on September 24, 2013 via Roadrunner.

DREAM THEATER‘s “Along For The Ride” tour picked up on March 20 in Toronto, Ontario, Canada following the band’s European tour and then continues through the end of April where it will eventually wrap up in Guadalajara, Mexico on April 26.

DREAM THEATER‘s spirit of adventure and fearless musical virtuosity continues to reap dividends for the progressive metal titans who recently earned their second Grammy nomination, this time for “Best Metal Performance” for their single “The Enemy Inside” from their current self-titled album. The band — John Petrucci (guitar), John Myung (bass), James LaBrie (vocals), Jordan Rudess (keyboards & continuum) and Mike Mangini (drums) — received its first-ever Grammy nomination in 2012 for “On The Backs Of Angels” (from their “A Dramatic Turn Of Events” album) in the “Best Hard Rock/Metal Performance” category.

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Brian Giffin of Australia’s Loud magazine recently conducted an interview with keyboardist Jordan Rudess of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.

Loud: Does releasing a self-titled album mark some sort of new beginning for DREAM THEATER?

Rudess: I think it was more that we wanted to put the stamp of a self-titled album here because we felt very strong about it. We felt like we’re at this great point where we felt that people should take notice. We’ve been very clear — we’re all getting along so well; musically we’re having a great time together in the studio; and we felt that we’ve made a great album that we want people to know about. If you want to know what DREAM THEATER is about, check this album out, because we feel that this is one of the best albums that we’ve done.

Loud: What was it like reconvening to record this time with [new drummer] Mike Mangini a part of the band?

Rudess: He was really well behaved, so it was good. It was a lot of fun to have him there, unlike the previous album where we brought him in for the drum parts after the music was written. For this one, he was there the whole time. Some people know it, some people don’t, but Mike Mangini is a very upbeat character. He’s very funny, he’s got a very good nature, he’s lively and in front of the drums, he’s a madman. He can play things no one else can play. So him being there personally, with his upbeat personality, and him contributing to the dynamic to the music we were writing really gave the music a real spark. So we enjoyed that quite a lot. With “A Dramatic Turn Of Events”, we had a good time writing that, but this time, all being together working on the album as a band was great. We had been on tour with Mike Mangini for a year, we knew that we all got along, we knew that we were a very effective unit with each other playing music. The fans had all voiced their opinions and they all loved our shows.

Loud: Tell us something about “Illumination Theory”, because that’s quite an extensive piece.

Rudess: Well, I come from a Julliard classical music background, I like pieces where motifs and ideas get developed and changed and can be allowed to breathe and that track’s certainly not any sort of standard pop song format in any way, shape or form. I just love the fact that we’re just really going for it and there’s all these kind of progressive parts where there’s interesting counterpoints and harmonic changes going on, and I’m also very fond of the fact that in the middle section of “Illumination Theory”, there’s that whole section that really is very ambient and very electronic-soundscapey which leads into a string ensemble part which was actually done with the help my young protege Eren Başbuğ, a young Turkish arranger/conductor who took what I had composed on my keyboard and fleshed it out for a string orchestra. And then the string orchestra came into the studio and he came in and conducted them. That piece just has so much to it. I love when we get deep and it all gets a bit wild, and I also love that in the midst of all that madness, we really let that middle section to really breathe and slow down and be melodic like a movie score.

Loud: There always seems to be at least one song on every album that really shows what DREAM THEATER is all about and that’s definitely the track this time around.

Rudess: I think that’s really important, because a lot of the songs on this album are a little bit more concise. Believe it or not, there are two songs in the four-minute range on this album. It’s like we managed to bring our music a little bit more to the point, but at the same time we thought, “Hey we’re DREAM THEATER! We could do, we should do a track that goes for it and is more epic,” and that’s what “Illumination Theory” was more about.

Read the entire interview at Loud magazine.

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Vocalist James LaBrie of progressive metal giants DREAM THEATER will take part in a question-and-answer session at the 6:15 p.m. screening of “Dream Theater: Live At Luna Park” on October 5, exclusively at Cineplex Yonge and Dundas Cinemas in Toronto, Ontario, Canada. Tickets go on sale this Friday, September 27.

On November 5, Eagle Rock Entertainment will release “Dream Theater: Live At Luna Park” on 2DVD, Blu-ray, visual digital formats and a deluxe edition. The deluxe edition is an 11.5″ square 60 page hardback photobook containing the Blu-ray, 2 DVDs and 3 CDs presenting all the key physical formats in one release; the CDs are only available in this deluxe edition.

These releases boast the 160 minute main show — accompanied by a wealth of bonus material — and feature many of the band’s classic tracks, including “Metropolis Pt. 1”, “The Silent Man”, “Pull Me Under”, “The Root Of All Evil”, “The Test That Stumped Them All”, “The Spirit Carries On” and the recent “On The Backs Of Angels”.

DREAM THEATER began their mammoth “A Dramatic Tour Of Events” world trek in July 2011 with the final leg in South America taking place in August 2012. It was here at the Luna Park Arena in Buenos Aires, Argentina, that they decided to film the two nights that make up this DVD release.

The “Live At Luna Park” band lineup for this show is James LaBrie (vocals); John Petrucci (guitar); Jordan Rudess (keyboards); John Myung (bass); and Mike Mangini (drums). This was DREAM THEATER‘s first tour and album with their new drummer and all the tracks from that album, “A Dramatic Turn Of Events”, are included in either the main show or the bonus performances.

The bonus features offer live versions of six great tracks: “These Walls”; “Build Me Up, Break Me Down”; “Caught In A Web”; “Wait For Sleep”; “Far From Heaven”; and “Pull Me Under”. Also on “Live At Luna Park” is a documentary, the trailer for the cinema release of the film, a “behind-the-scenes” feature and the cartoon intro that ran on big screens prior to the band taking to the stage in Buenos Aires. The Blu-ray additionally features six multi-angle options on “Outcry”.

“Dream Theater: Live At Luna Park” track listing:

01. Bridges In The Sky
02. 6:00
03. The Dark Eternal Night
04. This Is The Life
05. The Root Of All Evil
06. Lost Not Forgotten
07. Drum Solo
08. A Fortune In Lies
09. The Silent Man
10. Beneath The Surface
11. Outcry
12. Piano Solo
13. Surrounded
14. On The Backs Of Angels
15. War Inside My Head
16. The Test That Stumped Them All
17. Guitar Solo
18. The Spirit Carries On
19. Breaking All Illusions
20. Metropolis Pt. 1

Roadrunner Records e-mailed guitarist John Petrucci and keyboardist Jordan Rudess to get their thoughts on these special shows.

Roadrunner Records: You played four songs with a string quartet over the two nights. Who did the arrangements?

Jordan Rudess: All the string parts were written by Eren Basbug, the young and talented Turkish musician that I discovered online through his beautiful orchestrations of DREAM THEATER‘s music and then his great work orchestrating and conducting the premiere of my own composition, “Explorations For Keyboard And Orchestra”. For two of the songs we did live with the quartet (“Beneath The Surface” and “Far From Heaven”) I had originally arranged and recorded quartet-like string parts from my keyboard, and that is what you hear on “A Dramatic Turn Of Events”. Eren was able to take those two songs and really make sure what I wrote worked for real players, as well as add some nice touches! For the other two songs, “The Silent Man” and “Wait For Sleep”, he created original quartet arrangements.

Roadrunner Records: How much rehearsal time did you have with the quartet?

John Petrucci: We played through each song with them a couple of times at soundcheck. We probably spent about an hour in total making sure they were comfortable and that they knew certain cues, etc.

Jordan Rudess: We had one rehearsal before the first show. I had sent all the music to coordinator Luis Gorelik (who is a well known conductor in South America) and he helped organize the players.

Roadrunner Records: How did their presence alter the way you guys in the band played those songs? Obviously they weren’t just sawing away in the background; they were integral to the music, so…in what ways?

John Petrucci: Honestly, we played the songs just as we have been and they followed us. On “Beneath The Surface” and “Far From Heaven”, they basically played the arrangements that are on the album. Original arrangements were created for “The Silent Man” and “Wait For Sleep”.

Jordan Rudess: In our rehearsal, I was literally conducting them and we all worked quickly to get things into shape and make sure the players really understood the music and what was going to happen in the chain of events on stage. The good thing was that these four songs all really are totally suitable for real strings, so it was an easy conceptual/musical addition to our presentation.

Roadrunner Records: Other than the new album (which was played almost in its entirety each night), the albums you played the most material from were “Images And Words”, “Six Degrees Of Inner Turbulence” and “Awake”. Why those albums, from your perspective?

John Petrucci: We try to create a show that has a certain curve to it. The way that it begins, unfolds and concludes are all carefully thought about. We have so much material at this point that it’s difficult to fit in songs from each album. Based on what we played on past tours as well as the flow and arc of the show, we thought these were the strongest choices.

Jordan Rudess: There are so many factors that are in play to create a setlist. Generally, we all felt that we offered a night of music that was a well-balanced mixture of our material that not only spanned a lot of our albums but also flowed really well for the course of the evening.

Roadrunner Records: On the second night, you guys played “Pull Me Under” as the encore, which you’ve been playing a lot more on tour this year than in the past few years… but only outside the U.S. Is that a song foreign audiences want to hear more than fans at home?

John Petrucci: “Pull Me Under” always goes over, no matter what country we are in. It just has that kind of power and familiarity, I guess. We really thought that it sounded great with [new drummer] Mike Mangini playing it and wanted to share that with our listeners.

Jordan Rudess: I don’t know — but I will tell you that they literally were trying to rush the stage in Buenos Aires when we played it. It was nuts!

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All five members of DREAM THEATER took part in a question-and-answer session with the registered users of the DreamTheaterForums.org web site earlier today (Tuesday, September 24). You can now watch the discussion below.

DREAM THEATER‘s new, self-titled album was released on September 24 via Roadrunner Records. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

“Dream Theater” is available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

DREAM THEATER‘s video for the song “The Enemy Inside” was directed by Bill Fishman (RAMONES, STEVE RAY VAUGHAN). The strictly conceptual clip deals with the torment of a soldier who’s struggling with reintegrating into his life back home due to post-traumatic stress disorder (PTSD).

Regarding the song’s lyrics, guitarist John Petrucci told Billboard.com: “At the time that we were in the studio working on the [new DREAM THEATER] album and I was writing lyrics, the Boston Marathon bombings happened. There was a lot of discussion of terrorism and PTSD as if affects people who witness traumatic events like terrorism, so it was just very on my mind. It linked very well with the mood of the song, and as we started to get into it, I watched some documentaries and things like that. I was like, ‘This is really something that needs to be written about.'”

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Metal Injection recently conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER. You can now watch the chat below.

DREAM THEATER‘s new, self-titled album will be released on September 24 via Roadrunner Records. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

Speaking to Ultimate-Guitar.com, Petrucci stated about “Dream Theater”: “I think it’s building on [what we did on the “A Dramatic Turn of Events” album], but taking it to the next level. One of the things I really wanted to do on ‘A Dramatic Turn of Events’ was to create something that was sonically very rich and high-def and powerful and I think we accomplished that. But on this album, I wanted to take that even further…. [I wanted to] get more cinematic with it and more earthy and aggressive and bigger. I wanted a bigger, more forward in-your-face kind of sound. I think that kind of dictated the sounds we went for while we were writing and recording and then ultimately how it was mixed. So yeah, it was kind of building on that, but taking it to the next level. You always need to progress and to try and do something different and kind of have a little bit different take on it and a different perspective. But hopefully make it better as you go.”

In January, Petrucci said of Mangini‘s work: “When people hear the drumming on this album, they’re gonna be pretty freaked out. On the last album, he did a great job, but he wasn’t there for the writing process and he was interpreting drum parts that I had programmed. Even though he used his creativity, of course, to change them up and do his thing, I feel like now he’s just Mike Mangini unleashed. It’s all him. It’s all his creativity, all his decisions and ideas and man, the guy’s an animal.”

“Dream Theater” track listing:

01. False Awakening Suite
I. Sleep Paralysis
II. Night Terrors
III. Lucid Dream
02. The Enemy Inside
03. The Looking Glass
04. Enigma Machine
05. The Bigger Picture
06. Behind The Veil
07. Surrender To Reason
08. Along For The Ride
09. Illumination Theory
I. Paradoxe de la Lumière Noire
II. Live, Die, Kill
III. The Embracing Circle
IV. The Pursuit of Truth
V. Surrender, Trust & Passion

Directed by Bill Fishman (RAMONES, STEVE RAY VAUGHAN), the strictly conceptual clip deals with the torment of a soldier who’s struggling with reintegrating into his life back home due to post-traumatic stress disorder (PTSD).

Regarding the song’s lyrics, John Petrucci told Billboard.com: “At the time that we were in the studio working on the [new DREAM THEATER] album and I was writing lyrics, the Boston Marathon bombings happened. There was a lot of discussion of terrorism and PTSD as if affects people who witness traumatic events like terrorism, so it was just very on my mind. It linked very well with the mood of the song, and as we started to get into it, I watched some documentaries and things like that. I was like, ‘This is really something that needs to be written about.'”

“Dream Theater” will be available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

Interview:

“The Enemy Inside” video:



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Rod Whitfield of SF Media recently conducted an interview with keyboardist Jordan Rudess of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.

On the band’s new, self-titled album:

“Yeah, I’m so excited about it. I think it’s definitely one of our best, and we feel so good about it that we decided to stamp it with a self titled name, so everybody’s happy.

“We just feel that the band is at such a great point, personally and musically, that it was really time to mark this down, and say ‘Hey, you know what? If you want to know about DREAM THEATER this is it.’ It’s really a representation of who we are as people at this point in time. It was a fantastic year before this on the road with [recently added drummer] Mike Mangini, and getting him fully integrated into the band.”

On what Mike Mangini has added to the DREAM THEATER songwriting process:

“Having him come into the studio with us gave us that extra spark, not only musically, but he’s also such a lively, energetic fun guy. So it brought us to this very strong, unified and powerful level. Having him there was just a treat, because he’s such a unique person, his playing is really individual, and the way he thinks, he offered some really interesting ideas. Especially in the realm of rhythm, it was very cool.”

On the differences in the personalities and playing of Mike Mangini and former DREAM THEATER drummer Mike Portnoy:

“Yeah, I feel so lucky in my career to have worked with some of the greatest drummers, and guitarists as well, but we’re talking about drummers, and Mike Portnoy is one of the greatest drummers out there. We had a great time playing for many years together. And now we’re playing with Mangini, it’s a whole ‘nother wonderful musical experience. And what’s really cool is that all these great drummers that I’ve played with, they’re all so different, but what’s especially cool about Mangini is that, not only is he a different kind of a drummer, but he can also fit like a glove into the music. So when we play the older DREAM THEATER songs, it feels very comfortable. Even though he has a different approach, it kinda fits like a glove, if you will. So that’s obviously why he got the gig, because he can do that, but he can also offer some fresh and exciting ideas into what we’re doing.”

Read the entire interview at SF Media.

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dream theater

Dream Theater: proggy style

Many longtime Dream Theater fans feared the worst when iconic drummer Mike Portnoy left the fold in 2010. The rather suitably titled A Dramatic Turn Of Events followed a year later, introducing Mike Mangini to the prog metal world and kickstarting the most significant new chapter in the band’s entire history. With Mangini now firmly embedded within the Dream Theater collective, the prog legends’ new, self-titled album has arrived, promising more direct involvement from their new sticksman and a breathtakingly bold addition to their legacy as true innovators of progressive, forward-thinking music. Check it out via Roadrunner.

In a whole different universe comes the blinding new album from London smashers, TRC. While 2011 debut Bright Lights was a definitive highlight of the UK’s fast rising hardcore scene, Nation is a monstrous collection of thunderous groove metal riffs, endless hooks and a star turn from frontman Chris Robson, whose lyrical prowess has grown immeasurably. If you want to see rap metal done right, this is your next album right here. Grab it now via SOAR/Century Media.

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Alison Hell has apparently been thrust into the fashionable zombie age, judging by the gory chick clawing and gnawing on a heart in 3-D fashion for ANNIHILATOR‘s fourteenth album, “Feast”. At least Jeff Waters and company make the most of the moment, delivering a largely fast, well-entertaining ride.

Moving on past the ooh and ahh hologram cover spiffing up the ECO-book version to “Feast”, this album is by-and-large a serious ass-kicker. Stacked with heaps of thrash, killer shredding, smelted solos and superb drumming, “Feast” throws a few monkey wrenches into the scheme using the same exploratory spirit of “All For You” without dramatically altering the crunchy-yet-crisp feel of this record.

Kudos to Jeff Waters for keeping the criminally-overlooked Dave Padden on board all this time, especially now that his singer has of late been picking up rhythm guitar duties on the road. “Feast” was laid out with Waters fielding guitars and bass (Alberto Campuzano handles the latter outside of the studio), but it still feels more of a collaborative effort with Padden‘s trusty dynamics and fluid pounding from drummer Mike Harshaw.

Harshaw is terrific all over this album, as sharp as anyone Waters has corralled into the ANNIHILATOR compound. Harshaw has proven himself worthy of stepping onto Mike Mangini‘s pedals, laying down steady mosh and thrash pulses throughout “Demon Code” and “No Way Out”. He’s especially huge with his snub-nosed snare rolls on the shifty genre-collision of “No Surrender”.

“Feast” gets rowdy in a hurry with the thrashy “Deadlock” and “No Way Out”, while “Smear Campaign” alternates between mid-tempo power lines and stepped-up thrusts. “No Surrender” then presents one of the album’s curveballs, mingling some funky licks all over the verses ala LIVING COLOUR before walloping the song with massive metallic rivets on the choruses and bridges. Lifting “No Surrender” through a mosh-driven middle section and an out-of-nowhere gloom arc filled with the sounds of a presumed zombie attack, then a scorching solo from Waters, the left-of-center tinkering throughout “No Surrender” is flat-out weird. Yet it’s also a welcome sojourn back to the thrash-prog motifs of ANNIHILATOR‘s early years. Waters also loads “One Falls, Two Rise” at the end of the album with one of the busiest rounds of progression he’s ever attempted.

“Wrapped” struts out with dukes up on a mostly straightforward rawk jive that gets the benefit of some wicked top riffs and a fret-scratched solo. Then the murky anti-ballad “Perfect Angel Eyes” interrupts the headstrong chaos of “Feast”, keeping a strong slow pulse with a nifty bass loft and a subliminal static hiss lurking overtop the acoustic spiral of the song. After this point, “Feast” gets back on the gas with only a few noodlings scattered throughout “Demon Code” and the uppity “Fight the World” (which has a nifty slow fakeout intro before rumbling into speed mode) before the decorative signature swaps come all over “One Falls, Two Rise”. Padden‘s soaring vocals on “One Falls, Two Rise” hit new timbres on the opening verses than we normally hear out of him and they’re wonderful, even more so once the song blasts into a thrash arc and Padden dips into his trademark blend of clean-growl. The song takes a hundred directions from that point and Padden adjusts himself flawlessly as if by instinct.

The ECO-book version of “Feast” comes with the bonus disc “Re-Kill”, fifteen re-recordings from the back catalog, half culminated from ANNIHILATOR‘s celebrated couplet “Alison Hell” and “Never Neverland” and the rest spread throughout the non-Padden years. While the entire notion of heritage acts releasing bonus discs with redos has become passé, “Re-Kill” is harmless if perhaps a little insulting to Coburn Pharr and Randy Rampage. As much as it’s a joy listening to Dave Padden through ANNIHILATOR‘s last handful of studio albums, it’s more than enough for us to hear him take down “Alison Hell”, “Fun Palace” and “Word Salad” onstage. The man’s created his own legacy, modest though it may be, just like his benefactor, Jeff Waters.

That aside, “Feast” is still a hell of an enjoyable trip and Jeff Waters‘ enduring faith in Padden has paid off. From “Metal” to “Annihilator” and now “Feast”, Padden has forced Waters to raise his game, even if Padden sowed the seeds on “All for You” and “Schizo Deluxe”, two ANNIHILATOR albums that deserve more respect. “Feast” is a culmination of both of those albums while hearkening back to the early days in spots. All delivered with excellent production and a tasteful sense of style. The repeat and tweaked guitar intros to many of the cuts on the album reveals a return to songwriting fortitude in Waters‘ always-changing mindset. No need to gush about Waters‘ fret prowess on “Feast”. That comes as an automatic selling point. With much congratulations due, “Feast” is an album destined to keep a-rolling more than a few times simultaneously in your player.

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A three-minute “blooper reel” filmed during DREAM THEATER guitarist John Petrucci and singer James LaBrie‘s recent European promotional tour for their new, self-titled album can be seen below.

“Dream Theater” — the band’s 12th studio release overall, and fourth with Roadrunner Records — will be released on September 24. The nine-track disc was recorded at Cove City Studio in Glen Cove, Long Island, with Petrucci producing and Richard Chycki engineering and mixing. It’s the band’s second album with drummer Mike Mangini, and the first one on which he was a part of the writing process from Day One.

“Dream Theater” will be available in a wide range of distinctive versions, including standard and special edition CDs, 180-gram double LP, and a limited-edition boxed set.

DREAM THEATER will be on tour in Europe in January and February 2014, and in North America in March 2014.

“Live At Luna Park”, DREAM THEATER‘s live concert, which was previously scheduled for release in May via Eagle Rock Entertainment, will now drop in North America on November 5 as a Blu-ray, 2DVD, 2DVD + 3CD, Blu-ray + 3CD, deluxe edition with 40-page book, Blu-ray + 2DVD + 3CD, and digital video via iTunes.

“Live At Luna Park” was filmed over two nights in South America — home to one of DREAM THEATER‘s most ardent fanbases. The DVD was filmed August 19 and August 20, 2012 at Estadio Luna Park in Buenos Aires, Argentina after a 15-month world tour, hitting 35 countries.

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Peter Hodgson of IHeartGuitarBlog.com recently conducted an interview with guitarist John Petrucci of progressive metal giants DREAM THEATER. A couple of excerpts from the chat follow below.

IHeartGuitarBlog.com: The previous album seemed like you were trying to make the definitive DREAM THEATER album, whereas this one seems a little more relaxed, more exploratory. Is that an accurate assessment?

Petrucci: We definitely approached “A Dramatic Turn Of Events” like we had something to prove as we were writing it, and we wanted to make sure we created something that was going to really assure our fans that we were here to stay and that everything was okay and that we were moving forward in a positive way. Definitely the tone of that album comes across that way, for sure. Now, this one: after that album came out and thankfully was received so well, we had a successful tour where we were able to learn more about Mike Mangini as a person and as a drummer, and we were able to, as you said, go into this album and let our hair down and forge ahead with a new sound, a new approach, maybe more experimental. I think that the music on this album comes across as having a more gusty rock thing. When we were doing some of the solo sections, we wanted to capture the vibe of playing live and improvising and playing with that kind of real fire that happens when you’re playing together as a band. That’s how we wrote it and that’s how we think it’s coming across. With the last one, there wasn’t a drummer in the room as we were writing it, so it’s probably more controlled-sounding, and this one is — and I’ve used this term before to describe Mangini — unleashed. Freer-sounding.

IHeartGuitarBlog.com: Did you do anything in particular as a producer to facilitate that way of working?

Petrucci: Yeah, absolutely. From the beginning, in order to capture that, what we did totally differently was not only did we set up in the studio where everyone’s playing live, but we made sure that the sounds that we were capturing at that very early stage were usable sounds that could be performances on the album. So we took some extra time in the beginning to get all the drum sounds, the guitar sounds, bass and everything, so as we were writing, if we captured that moment of fire and passion when it was written, we were able to actually keep that and integrate it along with whatever we had overdubbed as well. And that was really, really helpful. As a producer, I was able to hear what the album was sounding like right from the beginning. I didn’t have to wait for the mix to hear how the guitar would sound once it was hyped up. Everything was already sounding that way. When you’re hearing on the album is what it sounded like from day one, pretty much.

IHeartGuitarBlog.com: It must be a strange moment before the album comes out, when you’re sitting on it and hearing feedback from people who have heard it but the general public hasn’t got their hands on it yet.

Petrucci: Absolutely! I’m dyin’! It’s like you have something you’re so proud of and you just want to say, “Check this out! Listen to this!” There’s this feeling of excitement and anticipation and a little bit of anxiety, but generally it’s pride. You feel like you worked really hard on something and you just can’t wait to share it. That’s what it’s all about: sharing it and having that experience with our listeners that we’re really lucky to have.

IHeartGuitarBlog.com: Well just looking at the reactions to “The Enemy Inside” when it was released…

Petrucci: Yes!

IHeartGuitarBlog.com: I don’t think I saw any negative comments!

Petrucci: Y’know what? Yeah! That was so awesome! That was so incredible to see. And it just puts a smile on my face. I love our listeners because they’re very discerning but they’re very passionate and really supportive of what we do, so when I saw that kind of reaction I was like, “Y’know what? That’s freaking awesome.” Because to put out something you’re proud of and to have people react in the way that you would hope means that you’re all on the same page, and it’s just a great beginning to this whole process.

Read the entire interview at IHeartGuitarBlog.com.

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