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Dream Theater - Dream Theater re-signs with Roadrunner Records

Grammy nominated band Dream Theater, one of rock's most musically fearless and adventurous bands, has re-signed with Roadrunner Records. The group first signed with Roadrunner Records in January 2007 and has so far released three critically acclaimed albums with the label. The label first issued Dream Theater's ninth studio album Systematic Chaos in 2007 and went on to release Black Clouds & Silver Linings in 2009 as well as their most recent album, A Dramatic Turn of Events in September 2011. The band will soon begin recording a new album as part of the new agreement with Roadrunner Records.

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The band commented, "We are all very excited to be re-signing with Roadrunner Records! Over the past 5 years from the release of Systematic Chaos to our latest A Dramatic Turn of Events, we've developed strong creative and professional bonds with everyone at Roadrunner as well as many great friendships along the way."

The band adds: "Roadrunner's dedication and commitment to Dream Theater has been evident to all of us from the very beginning, and is consistent in all departments and on all levels, right on through to the top. Roadrunner is a record label that is not only great at what they do but who truly understand what Dream Theater is all about as well as the amazing people who support us all around the world whom we proudly call our fans. They are a record company we relate to as an organization firmly rooted in its ideals and mission, while always pushing the envelope in an effort to keep things moving ever forward. We've reached many career defining milestones while at Roadrunner and are all incredibly pumped in anticipation of our continued future together!"
And the usual great commentary from MS:

On Dream Theater's Decision To Re-Sign with Roadrunner Records Warner Music Group | MetalSucks
 

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Is Actually Recording
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The label first issued Dream Theater's ninth studio album Systematic Chaos in 2007 and went on to release Black Clouds & Silver Linings in 2009 as well as their most recent album, A Dramatic Turn of Events in September 2011.
Hey, that's the string of DT albums I couldn't give a shit about!

That said, great commentary - the label probably isn't the problem here. Maybe a new drummer will shake things up, now that he's involved in the writing process...
 

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i am the owl
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Maybe a new drummer will shake things up, now that he's involved in the writing process...
I think if they would have gone with Minnemann or Donati this would be the case, but idk if Mangini will be shaking things up too much. Who knows though. They definitely need to do something different though, the last few have seemed really stale imo.
 

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Thought the commentary seemed like a lot of conjecture without taking into account an important detail. A lot of the questions it asks could have been answered with one name; Derek Shulman.

Shulman was the vocalist for one of the most important progressive rock acts, Gentle Giant, who went on to become an A&R man at ATCO. He signed DT to ATCO (and later Pantera), and it was his leaving that allowed a bunch of non-prog people to get involved with DT after the Awake album. Where did Shulman go? Road Runner, going on to become president of the label, and the place DT went to once out of contract with ATCO. It sounds like Shulman has been a very good person for DT to work with, so it's no surprise that they'd be in no hurry to walk away from that.
 

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Do they even really need a label at this point? I mean, it's not like they're going to get pushed to radio, and they've already got a very dedicated following.
 

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Hey, that's the string of DT albums I couldn't give a shit about!

That said, great commentary - the label probably isn't the problem here. Maybe a new drummer will shake things up, now that he's involved in the writing process...
Perhaps getting Moore back in the band would help too. :D
 

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Boogadee Oogadee
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I think that unless they start adding some elements of genuine wrecklessness or darkness that some of the other more "fearless and adventurous" bands like Between the Buried and me have, we have seen all that DT will ever do. Polished, neat, clean, collections of musical Legos... Musical exercises that have weak or no emotional connection to the song and are therefore way too impersonal and interchangeable with other parts in other songs. I am not saying start blast beating.... But get some overexposure to some gamma rays or something and relinquish production to a darker and sinister artsy mind


Edit... Sorry for the off-topic criticism.... Wasn't trying to hate. Just .02 from somebody who has tried a few albums to get into the band.
 

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Wirelessly posted :)sponge:)

jacksonplayer said:
Do they even really need a label at this point? I mean, it's not like they're going to get pushed to radio, and they've already got a very dedicated following.
Tour support. Their tours are not cheap, and neither are their albums. Having a label fund it up front to be paid back from ticket/album sales is huge, especially since that's how they're used to operating. Going from major label support to fully independent is like suddenly paying off your credit card while spending just as much on new purchases at the same time. I'm not sure how they're doing financially, but going from a loan-and-pay-back to a next-one-paid-for-by-the-last-one model is not easy.
 

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Hey, that's the string of DT albums I couldn't give a shit about!

That said, great commentary - the label probably isn't the problem here. Maybe a new drummer will shake things up, now that he's involved in the writing process...
BC&SL was good I thought. The other two are just terrible. What I want to hear are more LaBrie/Sfogli albums. DT has pretty much run their course.
 

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I decided to have a DT only day and listen to nothing but DT and I think I figured out why I dislike pretty much everything with Rudess. It seems once "The Wizard" joined its nothing but a noodle fest. There isnt that same tension between guitar and keyboards that I loved. It seems if John is soloing, Jordan needs to double it. Like its a 500 meter race and Jordan needs to prove he can keep up. I get it, Jordan has chops, but man do something unique or just be another guitar player.

The way Moore and Petrucci played against each other but yet complimented each other was awesome. Derek did something very similar, not as good as Moore, but still complimentary.

Jordan needs to go or at least change what he thinks he should be doing otherwise I will probably never enjoy another DT album again.
 

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Yep, I'm just not a Rudess fan. He can certainly play but I don't find what he does interesting. I miss the push / pull that used to happen with Derek / Kevin. You could swap Rudess for Rusty Cooley and I doubt you would notice except for the sudden lack of "show tunes" sections.
 

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I decided to have a DT only day and listen to nothing but DT and I think I figured out why I dislike pretty much everything with Rudess. It seems once "The Wizard" joined its nothing but a noodle fest. There isnt that same tension between guitar and keyboards that I loved. It seems if John is soloing, Jordan needs to double it. Like its a 500 meter race and Jordan needs to prove he can keep up. I get it, Jordan has chops, but man do something unique or just be another guitar player.

The way Moore and Petrucci played against each other but yet complimented each other was awesome. Derek did something very similar, not as good as Moore, but still complimentary.

Jordan needs to go or at least change what he thinks he should be doing otherwise I will probably never enjoy another DT album again.
I don't think it's Rudess's fault, though. I did for a while - I miss Moore-era DT, and I've always thought Rudess could be replaced with another guitarist and no one would know the difference - but then the "An Evening With..." duets and "Octavarium" kind of changed my mind. His playing is gorgeous on the former, and the extended introduction on the title track of the later is absolutely great, very Pink Floyd.

I've kind of systematically went through the whole band in that regard. It's not Rudess, it's not Petrucci, who's solo disc was awesome, I thought it was LaBrie, but his solo disc from a few years back was great too. No one notices Myung so I'm pretty sure it's not him either. And LTE was really Portnoy's thing, and was also great, so I don't think it's him either.

I just suspect that DT as a band realizes where their bread is buttered, and goes out of their way to write flashy compositions with dozens of tempo and key changes, with extremely technical solos and as many solo sections as they can squeeze in, and puts the songwriting on the back burner. Their solo projects then become a chance for them to actually write songs, which is why I suspect I like most DT solo projects but haven't been able to get into much the band's done in years.
 

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That said, great commentary - the label probably isn't the problem here. Maybe a new drummer will shake things up, now that he's involved in the writing process...
It's speculated that part of the reason for the boringness of their recent stuff was Portnoy's desire to take things in a more mainstream metal direction. If you ask me, it's that, and the fact that Rudess is just a crappy songwriter who overplays too much. He may write some brilliant technical stuff, but it's rarely anything I actually enjoy listening to.

IMO, both James Labrie albums were MUCH better than the last few DT discs.
 

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While I agree, it seems that the Rudess-Follows-Petrucci-and-Petrucci-Follows-Rudess era of DT is universally regarded as subpar work. I dont know if that idea is a Rudess inspired method (aka not creative enough to create tension in DT), or if it was a band decision, or what. But it needs to stop.

I agree that separately they do great work, but for some reason they keep falling back on Rudess and Petrucci noodling with each other. And that is so boring to listen to.
 

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Yep, I'm just not a Rudess fan. He can certainly play but I don't find what he does interesting. I miss the push / pull that used to happen with Derek / Kevin. You could swap Rudess for Rusty Cooley and I doubt you would notice except for the sudden lack of "show tunes" sections.
This. Exactly this.
 

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It's speculated that part of the reason for the boringness of their recent stuff was Portnoy's desire to take things in a more mainstream metal direction. If you ask me, it's that, and the fact that Rudess is just a crappy songwriter who overplays too much. He may write some brilliant technical stuff, but it's rarely anything I actually enjoy listening to.

IMO, both James Labrie albums were MUCH better than the last few DT discs.
Have you heard the "An Evening With..." disc, though? I mean, I'm assuming you have, but if not I'll throw it on the next time you're around. There's actually some gorgeous stuff on there. I thought Rudess was the keyboard equivalent of a boring shredder for years, but I'm kind of coming around to the idea that he does that shit because he thinks that's what the band needs from him.

Edit - and the introduction here, I think, is gorgeous. To be fair, a lot of it I believe is Rudess playing pedal steel and not keyboard, but I'd like to hear more of this side of his playing on DT releases:

 

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I just suspect that DT as a band realizes where their bread is buttered, and goes out of their way to write flashy compositions with dozens of tempo and key changes, with extremely technical solos and as many solo sections as they can squeeze in, and puts the songwriting on the back burner. Their solo projects then become a chance for them to actually write songs, which is why I suspect I like most DT solo projects but haven't been able to get into much the band's done in years.
This is exactly it, right there. As many complaints as they get, they also have a big, devoted fan base that eats this stuff up. I'm not sure today's DT fans would go for an album that focused on textures and space, or on more streamlined songwriting.

When you listen back to the first DT album, it sounds like an entirely different band, and that extends to Petrucci and Myung too. To me, that's still the best songwriting they ever did. Even Images and Words starts to get a little too much into Berklee whiz kid stuff in places.

They've put themselves into a restrictive box by being "the chops band" and by going narrower a decade ago when they should have expanded their musical reach.
 
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