Dreamtheater Indo Fans

Awal Mengenal Dream Theater

2008-11-05T14:50:00.003+07:00

Begini ceritanya…..
Awalnya sih udah pernah juga dengerin lagu dari dreamtheater, kalo ga salah judul lagunya itu “A Change Of Season” cuman waktu itu kedengerannya rada aneh trus lama lagi sempet juga sih mikir “ini lagu kapan berhentinya…?” abis kalo ga salah durasinya sekitar 23 menit lebih jadinya males juga ngedengerinnya, sempet juga ada temen yang ngomong “wah….ini lagu bukan untuk manusia..? ganti.. ganti…” akhirnya balik lagi ke musik-musik yang lama kaya van halen, guns n roses, extreme & mr big

Selang beberapa hari, bulan, dan tahun kemudian ada lagi temen yang bawain kaset dreamtheater cuman waktu itu beda album, dia bawa yang album “images and word” dan lagu yang dia puter waktu itu judulnya “under a glass moon”…. Sebelumnya saya udah mikir ‘pasti lagunya kaya yang dulu nih…?’ tapi pas diputer dan lama-lama ‘wah…unik juga ni lagu…?’ apalagi pas ngedenger melodi gitarnya si John Petrucci ‘wihhhh.. pokoknya muantap…’ akhirnya saya nanya ke temen saya lebih jauh tentang grup ini dan tentunya sambil meminjam kasetnya juga.

Setelah itu saya mulai mencari informasi-informasi tentang dreamtheater mulai dari album, biografi, video dan lain-lain pokoknya ‘all about dreamtheater’. Hal yang paling saya kagumi dari grup ini yaitu harmonisasi musiknya, yang “lebih punya taste”, punya skill diatas rata-rata , aksi panggung yang tidak berlebihan dan tentunya tidak monoton

Untuk saat ini lagu favorit saya yaitu fatal tragedy, home, in the name of god, dan constant motion
So…how ‘bout you guys? What’s you’re favorite songs?

Dreamtheater Bass Tablature

2008-10-26T18:25:00.005+07:00

All archives taken from Dreamtheater Official Site.

Metropolis pt 2: Scenes From A Memory
- Overture 1928, by Elder Luis Bernardinelli
- Strange Deja Vu , by Elder Luis Bernardinelli
- Fatal Tragedy, by Elder Luis Bernardinelli
- Home, by Elder Luis Bernardinelli
- The Dance Of Eternity, by Joe Britton

Falling Into Infinity
- New Millennium, by Sami Heikkinen
- You Not Me, by Bernardo BorghettiGuitar and Bass
- Peruvian Skies, by Elder Luis Bernardinelli
- Hollow Years, by Bernardo Borghetti
- Burning My Soul, by Bernardo Borghetti
- Hell's Kitchen, by Mark Kemp
- Lines In The Sand, by Robert Ballou
- Just Let Me Breathe, by Jarek Kwapich
- Trial Of Tears, by Björn Widmann

A Change Of Seasons
- A Change Of Seasons, by Stefano Zabatta
- A Change Of Seasons I - The Crimson Sunrise, by Elder Luis Bernardinelli
- A Change Of Seasons II - Innocence, by Elder Luis Bernardinelli
- A Change Of Seasons III - Carpe Diem, by Elder Luis Bernardinelli
- A Change Of Seasons IV - The Darkest of Winters, by Elder Luis Bernardinelli

Awake
- 6:00, by Bernardo Borghetti
- Caught In A Web, by Elder Luis Bernardinelli
- Erotomania, by Guitar World Magazine, January 1995
- Voices, by Brian Cox
- The Mirror, by Henrik Hansson
- Lie, by Florent Dudan
- Lifting Shadows Off A Dream, by Ronald Sidharta
- Scarred, by Jeffrey Swing
- Space-Dye Vest, by Goran Kurt

Images And Words
- Pull Me Under, by Magnus Olsson
- Another Day, by Elder Luis Bernardinelli
- Take The Time, by Elder Luis Bernardinelli
- Surrounded, by Elder Luis Bernardinelli
- Metropolis part 1, by Diego F. Acosta
- Metropolis Part 1 (bass solo), by Justin Sepulveda
- Under A Glass Moon, by Ronald Sidharta
- Learning To Live, by Elder Luis Bernardinelli

When Dream And Day Unite
- A Fortune In Lies, by Elder Luis Bernardinelli
- The Ytsejam (4), by Elder Luis Bernardinelli
- The Ytsejam (3), by Andreas Ekberg
- The Ytsejam (2), by Edward Polzin
- The Ytsejam (1), by Alex Antonio Annicchini LoschiBass Solo

Non Album Tracks
- Speak To Me, by Luis Espinal Jaquez
- Speak To Me, by Elder Luis Bernardinelli
- Eve, by Elder Luis Bernardinelli

Miscellaneous
- Opening Bass solo, by Stefano Zabatta
- The Flight Of the BumbleBee, by Justin Sepulveda
- Solar Groove, by Johann Lau

Side Projects
- Paradigm Shift (Liquid Tension Experiment), by Per Enstedt
- Universal Mind (Liquid Tension Experiment), by Justin Sepulveda

please don't kill yourself.... hell yeah.....

Dreamtheater Guitar Tablature Part I

2008-10-21T14:28:00.007+07:00

Tablature gitar ini diambil dari website resmi dreamtheater ditulis oleh para fans dreamtheater dari seluruh dunia dan mungkin ada sebagian dari tablature-tablature ini yang kurang komplit (namanya juga gratis), tapi bisa dijadikan patokan dasar buat anda yang suka NGULIK lagu.

Six Degrees Of Inner Turbulence
- The Glass Prison, by Jordan Baker
- The Glass Prison (first solo), by Alper Hubar
- About To Crash, by Que�ps Camargo de Moura
- The Test That Stumped Them All, by Yann Gilquin
- Goodnight Kiss (solo 1), by Andreas Grimell

A Change Of Seasons
- A Change Of Seasons, by Juan Luis Vidal
- The Big Medley, by Alessandro Monopoli
- Perfect Strangers, by Agustin Franci

Awake
- 6:00, by Judy Letostak
- Caught In A Web, by Piotr Traczyk
- Innocence Faded, by Adam Bodnar
- Erotomania - Tab 1, by Cheon-HyunSoo
- Erotomania - Tab 2, by Judy Letostak
- Erotomania - Tab 3, by Gary Chapman
- Voices, by Brian Cox
- The Silent Man - Chords, by Hyun-Soo Cheon
- The Silent Man - Tab, by Judy Letostak
- Lie, by Unknow
- Lifting Shadows Off A Dream, by Judy Letostak
- Scarred, by M.Kerem Ilhan
- Space-Dye Vest (1), by Ronaldo J. Jappe
- Space-Dye Vest (2), by Benoit Saumure

Falling Into Infinity
- New Millennium, by Tony E. Piccoli
- You Not Me, by Bernardo BorghettiGuitar and Bass
- Peruvian Skies, by Ardian Ibrahimaj
- Hollow Years, by Piotr Traczyk
- Burning My Soul, by Davide Scarpato
- Hell's Kitchen, by Ardian Ibrahimaj
- Lines In The Sand, by Eric Schlelein
- Take Away My Pain, by Alessandro Manilii
- Just Let Me Breathe, by Tony E. Piccoli
- Anna Lee, by Piotr Traczyk
- Trial Of Tears, by Shane Woolcock

Metropolis pt 2: Scenes From A Memory
- Regression, by Christian Fiorin Gama
- Regression chords, by Piotr Traczyk
- Overture 1928, by David Holz
- Strange Deja Vu, by Johann Lau
- Through My Words (keyboard arranged for guitar), by Juan Luis Vidal
- Fatal Tragedy, by Juan Johann Lau
- Fatal Tragedy (guitar solo) Acrobat Reader format, by Jani Yliniva
- Beyond This Life, by Karl Schnaitter
- Through Her Eyes (chords), by Pilpo
- Home, by Karl Schnaitter
- The Dance Of Eternity (PDF), by Alessandro Manilii
- One Last Time, by Avishay Mizrav
- The Spirit Carries On, by Avishay Mizrav
- Finally Free, by Andrea Narciso

Images And Words
- Pull Me Under, by Patrick Mabry/Daniel Tonya
- Another Day, by Gary Chapman
- Take The Time, by Piotr Traczyk
- Surrounded - Tab, by Gary Chapman
- Metropolis Part 1, by Justin Humberger
- Metropolis Part 1, by Brian Meloon
- Metropolis Part 1, by Elder Luis BernardinelliSolo Tab
- Under A Glass Moon, by Elder Luis Bernardinelli
- Wait For Sleep, by Walter Marano
- Learning To Live, by Felipe Aguirre Kaliks

When Dream And Day Unite
- A Fortune In Lies - Tab 1, by Jeff Chew/Thomas De George
- A Fortune In Lies - Tab 2, by Ernie Schnack
- The Ytsejam, by Daniel Gottschlag
- The Ytsejam, by Fabian Berthold
- The Ytsejam, by William T. Bajzek
- The Killing Hand, by William O'Donnell
- Aferlife (intro), by Alessandro Manilii

Non Album Tracks
- Cover My Eyes (intro), This is a GIF file by Amy Krajewski
- Cover My Eyes, by Piotr Traczyk
- Eve, by Ken Higginson
- To Live Forever guitar solo, by Marco Russo
- To Live Forever (2), by Alessandro Manilii
- To Live Forever (1), by Eric Schlelein
- To Live Forever, by Alessandro Manilii

Miscellaneous
- Example 31 From the "Rock Discipline" video, by Marco Göbel
- Tarantella, by Stéphane Ferrari
- Tarantella,As played live by John Petrucci on Once In A LIVEtime by Alessandro Manilii
- The Flight Of the BumbleBee As played live by John Petrucci on Once In A LIVEtime, by Nazmul Abedin
- Chopin's Etude in A minor, Opus 10, no. 2, as tabbed by John Petrucci for Guitar World magazine by John Grivas
- Epilogue (from the Sega game "Necronomicon"), by Frode Thorkildsen

Side Project
- His Voice (Mullmuzzler), by Zero Assoluto
- State Of Delirium (Planet X), by Zero Assoluto
- Fate Speaks (Explorers Club), by Shane Woolcock
- Chimes (Platypus), by Josh Thow

Liquid Tension Experiment 2
- Acid Rain (full version), by Alessandro Manilii
- Biaxident, This is a zipfile (37,960 bytes) which contains three versions:
Acrobat PDF, PowerTab and PDF by Axis
- Another Dimension (Power-Tab version), by Alessandro Manilii
- When The Water Breaks (guitar intro) PDF, by Alessandro Manilii
- When The Water Breaks, by Ossi Peltola
- Chewbacca, by Zero Assoluto
- Hourglass. PDF, by Alessandro Manilii

Liquid Tension Experiment
- Paradigm Shift, by Ignasi Bosch
- Kindred Spirits, by Johan Treptow
- Freedom Of Speech (guitar solo), by Andy Sekelsky
- State of Grace, by Shawn Mull
- Universal Mind. PDF, by Alessandro Manilii

Dream Theater - Octavarium Albums

2008-10-13T12:34:00.004+07:00

Review on Wikipedia:
Octavarium was released on June 7, 2005, and took the band's sound in yet another new direction. Among its eight songs is a continuation of Portnoy's "Alcoholics Anonymous" suite ("The Root of All Evil", steps 6-7 in the 12-step plan), as well as the title track, a musically versatile 24 minute epic rivaling "A Change of Seasons". Octavarium received mixed reviews from fans and has been the subject of spirited debate.Octavarium was the last album under their seven-album deal with Elektra Records, which had inherited the contract upon its absorption of EastWest Records.

The Track List:
1. Root Of All Evil (8.14)
2. Answer Lies Within (5.33)
3. These Walls (7.36)
4. I Walk Beside You (4.25)
5. Panic Attack (8.13)
6. Never Enough (6.46)
7. Sacrificed Sons (10.38)
8. Octavarium (23.59)
9. Mirror (4.17)

Download here....
Dream Theater 2005 Octavarium (72.66M)

Dream Theater - The Dream Of The Beast Albums

2008-10-13T12:12:00.005+07:00

Single albums from Dream theater, "The Dream Of The Beast". a tribute to Iron Maiden here the Track List:

1. Invaders (7.43)
2. Children of The Damned (9.06)
3. The Prisoner (11.24)
4. 22 Acacia Avenue (11.48)
5. The Number of The Beast (8.14)
6. Run To The Hills (4.05)
7. Hallowed be Thy Name (14.02)

Download Here
Dream Theater - The Dream Of the Beast (75.54M)

use IDM for crazy faster download

Systematic Chaos Albums

2008-10-12T15:45:00.004+07:00

Review on MetalReview:
"Systematic Chaos marks the 9th studio album from this New York based group of phenoms and is a record that puts the band back on track with the heavier structured approach heard on their Train of Thought album, after the slightly disappointing and less than exciting Octavarium release. As pointed out in my review of their Score DVD, Dream Theater is a band that you either love or hate, and this album is sure to please the former and will keep the haters hating. Simply put, it’s Dream Theater…nothing more, nothing less, and the fact their fan base continues to grow by the week – with little to no help from FM radio, mind you – tells me they are obviously doing something righ"

The track list:

1. In The Presence of Enemies Pt.1 (9:00)
2. Forsaken (5:36)
3. Constant Motion (6:55)
4. The Dark Eternal Night (8:51)
5. Repentance (10:43)
6. Prophets Of War (6:01)
7. The Ministry of Lost Souls (14:57)
8. In The Presence of Enemies Pt.2 (16:38)

If you want to download it, well here we go....
So guys buat yang pengen nge-donlot album ini klik url dibawah ini
Download Dream-Theater Systematic Chaos Albums

or copy this url...
http://loadingvault.com/link.php?s=+Dream++Theater+2007++Systematic++Chaos++m4a+&d=rapidshare.com&e=.rar

size:~100mb

have fun
be nice n be cool.....

Video interview with James LaBrie by The Mirror

2008-10-12T15:38:00.001+07:00

"During Dream Theater's recent stop in Bonn, Germany, German Fanclub The Mirror conducted an interview with James LaBrie.

Interviews with John Petrucci at Blistering.com

2008-10-12T15:10:00.001+07:00

by: Christa Titus - www.blistering.com

Blistering:
When Atlantic absorbed Elektra, you weren't able to leave at that point; Warners still held you to that contract.

John Petrucci:
Yeah. There were several changes, actually. When we first got signed it was Atco Records and then eventually changed to EastWest and then Elektra, and all are different. So many different people came and went; we had so many different A&R people, presidents and this and that, but the deal stuck, yeah. They renewed every single option we had. It was an eight-album deal.

Blistering:
It seemed like they put out your record, and that's it. There wasn't any promotion.

Petrucci:
Yeah. That was a big thing . . . we sort of felt like that we were a little too self-sufficient, that obviously we were doin' our job makin' the best records we can and putting 'em out. But then at that point, when it was time for the label to take over and promote, do their job, it wasn't really there. Hopefully, and it seems like so far, it will be different this time.

Blistering:
What kind of things does Roadrunner have set up to promote you guys that's different or that you haven't had done for you in a while?

Petrucci:
At this point, it's all promotion . . . promo tour, doing basically more for us than [has been] done in a long time. And they're promising us a presence worldwide . . . we play all over the world, and we need support out there. We play concerts, and nobody's there from the label . . . it's disheartening, so [that's one thing I'm] looking forward to.

Blistering:
When is the last time you'd say you did this much press for a Dream Theater album?

Petrucci:
Ah . . . That's actually a good question, you know. When we put out "Images And Words" and it did really well for us, there was a large presence by the label, and then the setup for the followup was great, but not much since then, really . . . there's always been some press and some setup, but this really seems to be the most. The other big thing is that we haven't done a music video in ages. [The band shot one for first single "Constant Motion."] I think 10 years or something like that. That's one of the first things that they did with us.

Blistering: There's also the special edition of the CD. Have you guys done anything like that in a while?

Petrucci: No, not really. We really haven't. That's another thing. Kind of offering more. I think it's really important to sort of keep up with the demand . . . People can get things so easily now, you need to constantly be offering things, and the fact that what's being offered on the special edition is kind of a making-of the album, and it's really spectacular. So I think fans are, they're really gettin' their money's worth on that . . . [and] the 5.1 mix as well.

Blistering:
When it comes to writing lyrics, for this album the press materials say they are more fiction-based. Are your lyrics usually more based in reality?

Petrucci:
The last couple of albums have been more based on reality, they're based on family and sort of personal reflections, but I've done both. "Scenes From A Memory" was an entire concept album that was a fictional story, and I've certainly written like that before. But this record, I almost wrote from, you know, it's fantasy. It's almost like anime and, you know, stories like that. I'll tell you, it was a lot of fun writing from that perspective, it really was. It kind of gave me a ton of freedom I enjoyed.

Blistering:
Was there anything you were watching or reading or heard about that made you go in that direction?

Petrucci:
Not particularly. I just wanted to write something different. I felt that the music was very animated and very dramatic, and that it was really, one of the key elements is that you have to create characters and tell stories in a short song context, not a full concept album, so it was a challenge. But I thought the music really called for that, the drama of the music.

Blistering:
Since your songs are so long, how do you know when a song has hit its end?

Petrucci: Haaaaa. That's a good question. I don't know. It's hard to say. It just kind of naturally happens as we're constructing the song. Speaking about the longer ones, there will be some point in the song where we start to develop a plan as to how we're gonna get back, how we're gonna end it. The time it takes to get to that point might be different, but, you know, some of those longer songs start as very stream of consciousness and very improvised. But they eventually, the structure starts to develop and it kind of dictates how long the song's gonna be and when it's gonna end.

We know. We'll realize at some point, "Oh, what we have to do is go here, there and there, and then that theme that we played in the beginning, we'll do it in the end. It will be grand." And everyone's like, "Yeah, yeah, that sounds great."

Interviews with Mike Portnoy at Blistering.com

2008-10-12T14:52:00.004+07:00

Mike Pornoy Interview By: Christa Titus - www.blistering.com

Blistering:
What made you decide to go with Roadrunner?

Mike Portnoy:
After spending 15 years with the Atlantic Group and Elektra, we had gotten a taste of the ups and downs of what the corporate major label has to offer. At this point in our career, we've really built up our audience very well on our own and have a great, great, great fan base that has sustained us through all these years and enables us to really continue what we're doing without any kind of mainstream exposure. So we wanted to get away from that whole kind of corporate major-label approach, and Roadrunner is really I think the best label out there right now in terms of their roster.

I really respect the bands on the label. They range from more commercial stuff like Nickelback to the extreme stuff like Slipknot and everything in between, so musically, they're a great label. But also they have the muscle of the major labels out there, but they really have a very independent spirit, which really helps [for] the whole camaraderie when it comes to working with a label and being hands-on with their bands. A perfect balance, really

Blistering:
I was surprised that once the Atlantic Group absorbed Elektra that it didn't let you out of your contract because it didn't actively promote you guys for the longest time

Portnoy:
No. Oh, no

Blistering:
What was behind that?

Portnoy:
Album after album they kept renewing our contract, and [laughing] we kept hoping they would let us go, you know? But I think the reason they kept picking up the option is because our fan base is so strong that they're gonna sell half a million records worldwide every single time with absolutely need to market or promote us. Basically for the last several albums cruised on the strength of the fan base and basically just funded the record and put it in stores, but from there, we did all the work for a year at a time on the road, through the strength of the Internet and our fans, so, for them, it was an easy money-making situation

We would have loved to have been let go, really; we would have loved to. We were trying to get out of there many years ago and get with a label that really could further this career rather than just simply maintain it . . . Another problem with the labels every time around is they would shift personnel and staff. We started the contract with Atco Records, then it turned into EastWest, then it turned into Elektra, then it turned into Atlantic, and each and every time something like that would happen there was never time to re-establish relationships with any of these people because it was always constantly changing.

Blistering:
Is there an overall theme to this album, or how would you say "Systematic Chaos" is different from your other albums?

Portnoy:
I think it's different because there is no overlying theme or concept. [Our] last album [2005's "Octavarium"] and several of our last albums were kind of all tied together by these grand concepts, and this time around we made a conscious decision to not have a grand concept, to just have a group of individual songs, which was the way we used to write when we were younger . . . we weren't thinking of writing albums, because at that point we were just writing songs. So this album is very much in that kind of old spirit of just bangin' it out, and each song is a whole individual journey

Blistering:
With the song lengths you guys work in, how are you able to tell, "OK, this is long enough"?

Portnoy:
Obviously, we don't have a very good gauge of that [laughs] because all the songs are in excess of 10 minutes. You know what, every once in a while we'll purposely go out of our way to try to write a short song, and those are the experiments for us, to write a short song. But the times when we [let] ourselves write without any limitations, you know, they end up being long songs.

But we go until we feel that the journey is complete and the ideas that are all on the table have been fully realized and worked on. So we don't really limit ourselves. We try to just let the song go naturally where it wants to go, and for us writing long songs is totally natural. The struggle has never been to play, the struggle has always been to not play. And those are the challenges. Once in a while we'll purposely try to write a [shorter] song, and that's when we'll write something like "Forsaken" or "I'll Walk Beside You." But for the most part we let the music naturally run its course, you know, that's when we end up with the typical Dream Theater songs.

Blistering:
Your product manager at Roadrunner says the label is going to give radio a shot with one of the album's songs. Since you've built a career on not having radio since "Images And Words," do you think you could break through to an extent?

Portnoy:
I think every one of our albums have had songs with radio potential. If you walk back to the last few, "Octavarium" had several tracks that totally could have been on the radio. Same with "Train Of Thought"; we've always had that. Whether or not the label chooses to pursue it or radio chooses to play it, it's out of our hands. We write what we write, and we don't write singles and radio songs. But I think if you look at our catalog, they're there if people want to pursue that. I think it's a natural. This album, a song like "Forsaken," I think is a natural song and can easily sit beside any of the stuff that's on the radio today.

But we don't over-concern ourselves with that aspect. We're not in the business of writing singles. We're in the business of writing albums, and if radio or mainstream media chooses to play any of 'em, then that's a bonus. But I think the reason that our band has sustained this far is because we haven't relied on that.

Blistering:
What is it about "Images And Words" that you think brought you guys to the mainstream, but then subsequent albums you guys were separated from it?

Portnoy:
That's a good question. I think it was it was the right album at the right time, and you think it would have been the wrong time, because that was when grunge was breaking through, but maybe we were kind of that response to grunge . . . I guess maybe a lot of musicians felt frustrated because bands weren't playing anymore, so maybe they reacted to that album because of that time. It was also our first album on a major label, so I guess there was an inevitable first push into the mainstream, which opened a lot of doors. But I don't know. I don't think it's a formula, because the way we wrote then is the same way we write now, so I don't think there was a formula or an equation.

Blistering:
The song "Repentance" is related to your writing a song on each album about the 12 Steps. How was that song put together? I thought it was neat how on the song there are voices confessing things at the end. I also understand that you have been in recovery for some time. Were some of those confessions things you had heard at meetings; were any of them out of your own life?

Portnoy:
I guess there's three levels to that question. One is the personal side, which for me, the 12 Steps is something that has saved my life and helped me grow as an individual. I've been sober for seven years now, so the personal side of it, for me, it's very therapeutic to write about each one of these steps, and I've been doing this now four albums in a row as part of this big ongoing series of songs that are going to ultimately connect together. So on the personal level it's been very therapeutic, because the 12 Steps are practiced in my life, and to write about them kind of cements them into my being, and to share them with other people that may get it or understand it or possibly be interested in pursuing it on their own, then that's great.

Then there's the musical side of it. It was part of this big picture that I kind of conjured up many years ago with this idea of writing these interconnecting songs that would spread across four or five albums, and when it came time for this latest chapter, we knew we wanted something that was a bit more of a breather because the previous three chapters were so aggressive and bombastic, and so we wanted to write something that was more kind of hypnotic and that also goes along with the lyrics, which are about regret and being sorry and making amends. So the musical side called for this kind of hypnotic, trancey song.

And then the third element would be with the guest voices . . . When I was writing the second half of the song, the ninth step, which is all about making amends to people you've harmed, I didn't wanna write about things out of my own personal life because it would have been too specific to me. When I've been writing all these lyrics I wanted it to be general, that people can relate to. So I had an idea to give it more of that spacey, Pink Floyd feel to maybe get some spoken-word contributions, and I invited a whole bunch of guest artists. [There are 11; they include Steve Vai, Joe Satriani and Porcupine Tree's Steven Wilson.] I thought it'd be good to have each one of them to have an open forum to talk about whatever they want, things from their own life that they regret or that they wanted to make amends to certain people, and they all contributed these different spoken-word things and I pieced them together.

Blistering:
What would you say Roadrunner is doing differently or you guys haven't had done for you in a while when it comes to promoting and marketing this record?

Portnoy:
We really [feel] like a team again. Many albums, we would deliver the record, and the label would kind of just put it out, set it up ever so slightly with some ads or whatever, and basically left us on our own, whereas now we're feeling a real team spirit again. On one hand it's great because we've maintained our artistic independence, and basically we delivered the record when it was finished and we didn't even sign with them until the record was finished, but they've given us complete creative freedom. But once we delivered the record, they're just doing all the things that a label does for their bands. They're involved with marketing and interviews and press and different ideas.

For instance, the special edition is a perfect example. [A special edition of "Systematic Chaos" contains a 90-minute DVD and a 5.1 Surround Sound mix.] I've been wanting to do a special edition for our last several albums, and the label was just never interested in going any further than what they minimally had to do. Whereas with Roadrunner immediately I said, "Hey, I want to do a special edition. I think it would be great." "OK." Boom. Done. When I went to them and said, "I want to expand the documentary that'll make it to 90 minutes," "OK." Boom. Done

They basically support us with our vision and giving that much more to the fans. The setup on the Internet and offering free downloads or making-of videos, just things like that. Dream Theater has always been about catering to our fan base, and Roadrunner's giving us that ability to totally cater to our fan base, but at the same time they realize the potential of this band is so much greater than what already has been established. And they're behind it and they get it, and they're about integrity and trying to make this band even bigger and better than we've already built on our own.

Blistering: If the Internet hadn't been invented, do you think you guys would be at the success level you're at right now?

Portnoy:
Ahhh. No way. Absolutely not. The Internet has played a huge part in our growth over the past 10 years. 'Cause 10 years ago, if you wanted to get information on a band like ours, you're not gonna get it from MTV or mainstream radio or media. There was nowhere to turn for a band like ours, and now with the Internet you punch in our name on a search engine, you're gonna get hundreds of different sites where you can get tour dates and information on how to buy the back catalog and where to go to chat with other fans.

Blistering:
What is it about your band that has made it the prog band in the United States if not internationally?

Portnoy: Ah—I don't know. Maybe because we kind of juggle a lot of different styles. A lot of prog bands in the past kind of were just prog, whereas we're kind of incorporating prog and metal and pop. In one way it's kind of weird, because in some ways we're way too metal for the prog purists and we're way too prog for the traditional metalheads. So in one way it's been difficult for us to really truly fit into any scene. But on the other hand, maybe it's that diversity that's enabled us to draw people from a lot of different areas, and I suppose that's why some of our fans struggle with the different styles, like an album like "Train Of Thought" may be too heavy for the prog people, and an album like "Octavarium" wasn't heavy enough for the metal people because we don't have one type of audience.

Mike Portnoy interview at TheCrookedStep.com

2008-10-12T14:43:00.001+07:00

Part-1

Part-2

Greatest Hit Albums

2008-10-07T10:58:00.003+07:00

Dari judulnya saja (Greatest Hit) mungkin kita sudah tau Album ini merupakan kompilasi dari beberapa album yang lama dan tentunya lagu single-nya juga ada. Album ini dibagi menjadi 2 cd/bagian. yang pertama di beri lebel The Dark Side yang dikemas untuk lagu-lagu yang ngebit sedangkan yang kedua yaitu The Light Side dikemas untuk lagu-lagu yang slow. untuk lebih jelasnya ini tracknya

Disc 1: (The Dark Side)
1. “Pull Me Under” (2007 Remix)
2. “Take The Time” (2007 Remix)
3. “Lie” (Single Edit)
4. “Peruvian Skies”
5. “Home” (Single Edit)
6. “Misunderstood” (Single Edit)
7. “The Test That Stumped Them All”
8. “As I Am”
9. “Endless Sacrifice”
10. “The Root Of All Evil”
11. “Sacrificed Sons”

Disc 2: (The Light Side)
1. “Another Day” (2007 Remix)
2. “To Live Forever”
3. “Lifting Shadows Off A Dream”
4. “The Silent Man”
5. “Hollow Years”
6. “Through Her Eyes” (Alternate Album Mix)
7. “The Spirit Carries On”
8. “Solitary Shell” (Single Edit)
9. “I Walk Beside You”
10. “The Answer Lies Within”
11. “Disappear”

Sebelumya thanks to id.JPMStyle.com buat informasi Url donlotnya. buat dream theater mania yang pengen ngedonlot album ini dibawah udah ada nih

GreatHits Part 1
GreatHits Part 2
GreatHits Part 3

have fun...

Dream Theater Lyrics

2008-09-21T18:29:00.003+07:00

Download semua koleksi lirik lagu dari Dream Theater dibawah ini....

Album: "When Dream And Day Unite" (1989)
A Fortune In Lies, Status Seeker, The Ytse Jam, The Killing Hand, Light Fuse And Get Away, Afterlife, The Ones Who Help To Set The Sun, Only A Matter Of Time

Album: "Images And Words" (1992)
Pull Me Under, Another Day, Take The Time, Surrounded, Metropolis - Part I - "The Miracle And The Sleeper", Under A Glass Moon, Wait For Sleep, Learning To Live

Album: "Awake" (1994)
6:00, Caught In A Web, Innocence Faded, Erotomania, Voices, The Silent Man, The Mirror, Lie, Lifting, Shadows Off A Dream, Scarred, Space-Dye Vest

Album: "A Change Of Seasons" (1995)
A Change Of Seasons, Funeral For A Friend / Love Lies Bleeding, Perfect Strangers, The Rover / Achilles Last Stand / The Song Remains The Same, The Big Medley

Album: "Falling Into Infinity" (1997)
New Millennium, You Not Me, Peruvian Skies, Hollow Years, Burning My Soul, Hell's Kitchen, Lines In The Sand, Take Away My Pain, Just Let Me Breathe, Anna Lee, Trial Of Tears

Album: "Once In a LiveTime" (1998)
A Change Of Seasons I:
The Crimson Sunrise, A Change Of Seasons II: Innocence, Puppies On Acid, Just Let Me Breathe, Voices, Take The Time, Derek Sherinian Piano Solo, Lines In The Sand, Scarred
A Change Of Seasons IV:
The Darkest Of Winters, Ytse Jam, Mike Portnoy Drum Solo, Trial Of Tears, Hollow Years, Take Away My Pain, Caught In A Web, Lie, Peruvian Skies, John Petrucci Guitar Solo, Pull Me Under, Medley: Metropolis
Learning To Live, A Change Of Seasons VII: The Crimson Sunset

Album: "Scenes From A Memory" (1999)
Scene One: Regression, Scene Two: I. Overture, II. Strange Déjà vu, Scene Three: I. Through My Words, II. Fatal Tragedy, Scene Four: Beyond This Life, Scene Five: Through Her Eyes, Scene Six: Home, Scene , Seven: I. The Dance Of Eternity, II. One Last Time, Scene Eight: The Spirit Carries On, Scene Nine: Finally Free

Album: "Six Degrees Of Inner Turbulence" (2002)
The Glass Prison, Blind Faith, Misunderstood, The Great Debate, Disappear, Six Degrees Of Inner , Turbulence

Album: "Train of Thought" (2003)
As I Am, This Dying Soul, Endless Sacrifice, Honor Thy Father, Vacant, Stream Of Consciousness, In The Name Of God

Album: "Octavarium" (2005)
The Root Of All Evil, The Answer Lies Within, These Walls, I Walk Beside You, Panic Attack, Never Enough, Sacrificed Sons, Octavarium

Album: "Systematic Chaos" (2007)
In The Presence Of Enemies, Pt. 1, Forsaken, Constant Motion, The Dark Eternal Night, Repentance, Prophets Of War, The Ministry Of Lost Souls, In The Presence Of Enemies, Pt. 2

Wallpaper

2008-09-13T21:57:00.010+07:00

Semua wallpaper ini gratis, silahkan donwload semuanya sepuasnya di Music Wallpaper, selain wallpaper Dream-Theater banyak juga band-band lainnya seperti DragonForce, Metallica, Slayer, Anthrax, Soulfly, Sonata Artica, Hammer Fall, Dimmu Borgir, Kamelot, Trivium, Epica dan lain-lain, so hurry up man times is running out...

Media Browser

2008-09-10T18:50:00.003+07:00

VIDEO
here's my favorite video, The Dark Eternal Night (studio version) taken from Systematic Chaos Albums, check this out bro....

Dream-Theater Guitar Tablature (RAR)
- Guitar Tablature 01
- Guitar Tablature 02

Dream-Theater Free MP3 (RAR)
- Sytematic_Chaos_Albums_Part_I
- Sytematic_Chaos_Albums_Part_II
- Sytematic_Chaos_Albums_Part_III

Jordan Rudess (Keyboard)

2008-09-07T21:06:00.003+07:00

Rudess was born in 1956 into a Jewish family. He was recognized by his 2nd grade teacher for his piano playing and was immediately given professional tuition. At nine, he entered the Juilliard School of Music Pre-College Division for classical piano training, but by his late teens he had grown increasingly interested in synthesizers and progressive rock music. Against the counsel of his parents and tutors, he turned away from classical piano and tried his hand as a solo prog rock keyboardist.[1]

After performing in various projects during the 1980s, he gained international attention in 1994 when he was voted "Best New Talent" in the Keyboard Magazine readers' poll after the release of his Listen solo album. Two of the bands who took notice of Rudess were The Dixie Dregs and Dream Theater, both of whom invited him to join. Rudess chose the Dregs, primarily as being a part time member of the band would have less of an impact on his young family, a choice he was not given with Dream Theater.[2]

Rudess is also noted for composing the Toys "R" Us theme tune, from their highly popular adverts during the 1990s.[citation needed]

During his time with the Dregs, Rudess formed a "power duo" with drummer Rod Morgenstein. The genesis of this pairing occurred when a power outage caused all of the Dregs' instruments to fail except Rudess', so he and Morgenstein improvised with each other until power was restored and the concert could continue. The chemistry between the two was so strong during this jam that they decided to perform together on a regular basis (under the name Rudess/Morgenstein Project or later RMP) and have since released a studio and a live record.

Rudess encountered Dream Theater once again when he and Morgenstein secured the support slot on one of Dream Theater's North American tours.

In 1997, when Mike Portnoy was asked to form a supergroup by Magna Carta Records, Rudess was chosen to fill the keyboardist spot in the band, which also consisted of Tony Levin and Portnoy's Dream Theater colleague John Petrucci. During the recording of Liquid Tension Experiment's two albums, it became evident to Portnoy and Petrucci that Rudess was what Dream Theater needed. They asked Rudess to join the band, and when he accepted they released their then-keyboardist Derek Sherinian to make way for him.

Rudess has been the full-time keyboardist in Dream Theater since the recording of 1999's Metropolis Pt. 2: Scenes from a Memory. He has recorded 4 other studio albums: 2002's Six Degrees of Inner Turbulence, 2003's Train of Thought, 2005's Octavarium, and 2007's Systematic Chaos. In addition, he has appeared on the live albums Live Scenes From New York, Live at Budokan and Score.

Rudess says his influences as a keyboardist are Keith Emerson, Rick Wakeman and Patrick Moraz.[3]. His favourite bands include Gentle Giant, Yes, Genesis, Pink Floyd, Emerson Lake and Palmer, King Crimson, Jimi Hendrix, Autechre, and Aphex Twin.

Studio Equipment
Korg OASYS, Korg Triton Extreme, Haken Audio Continuum Fingerboard, Muse Research Receptor, Kurzweil K2600xs fully loaded 88 note weighted keyboard, Kurzweil K2600 Rack modules, Kurzweil K2000VP keyboard, Kurzweil PC2 rack, Roland Fantom-X8
Minimoog Voyager, Roland V-Synth XT, Roland VP-550, Roland SH-201, Synthesizers.com, Modular synthesizer, Dave Smith Instruments Evolver Keyboard, Lap steel guitar
Music Man John Petrucci 6 string guitars, PRS 6 string guitar, Moog Little Phatty

Virtual Instruments
MOTU MachFive, MOTU MX4 Soft Synth, Korg Legacy, Spectrasonics Atmosphere, Spectrasonics Trilogy, Spectrasonics Stylus, Native Instruments Komplete 2, Native Instruments Absynth, Native Instruments B4, Native Instruments Guitar Rig, Native Instruments FM7, Native Instruments Pro 53, Synthogy Ivory

Live Rig
Korg OASYS 88, Korg Triton Extreme 88 (Solo Project), Freehand Systems Music Pad Pro
Muse Receptor, Synthesizers.com Custom Modular Synth (currently retired), Haken Continuum Fingerboard, (2)Roland V-Synth XT, Lap steel guitar, Mackie 1604VLZ Pro Mixer, APS Power backup, Glyph and Iomega Hard drives, Roland VP-550
Zen Riffer ZR2, Korg Radias (Chaos in motion tour), Korg Kaoss Pad 3

Mike Portnoy (Drum)

2008-09-07T20:50:00.001+07:00

Michael Stephen "Mike" Portnoy (born April 20, 1967) is an American drummer primarily known for his work with the progressive metal band Dream Theater. Known for his drum prowess, Portnoy has won 23 awards from the Modern Drummer magazine. He has co-produced the last five Dream Theater albums with John Petrucci, starting from Metropolis Pt. 2: Scenes from a Memory. From A Change of Seasons onwards, Portnoy has been writing a substantial amount of Dream Theater's lyrics, filling the void left by Kevin Moore, who left the band after the release of Awake. He is the second youngest person (after Neil Peart) to be inducted into the Modern Drummer's Hall of Fame (at 37 years of age).

John Petrucci (Guitar)

2008-09-07T20:43:00.002+07:00

John Petrucci (lahir pada tanggal 12 Juli, 1967), adalah gitaris Amerika yang dikenal sebagai anggota pembentuk grup progresif metal Dream Theater. Dia juga seorang produser (bersama teman satu bandnya Mike Portnoy) dari semua album Dream Theater sejak rilis album Scenes From A Memory, pada tahun 1999.

Petrucci besar di Long Island, tepatnya Kings park dimana Petrucci bersama John Myung dan Kevin Moore sekolah di tempat yang sama. Petrucci bermain gitar pertama kali pada saat berumur 8 tahun. Dan mulai bermain dengan sebuah band pada umur 12 tahun. Band dan gitaris yang mempengaruhi permainan gitarnya adalah Yngwie Malmsteen, Randy Rhoads, Iron Maiden, Stevie Ray Vaughn, Yes, Rush dsb. Karena saat itu sedang berkembang irama metal dan trash, Petrucci menambahkan pengaruhnya pada musik Metallica dan Queensryche

Equipment - Studio Albums
Images and Words - Triaxis 2/90 (dirty), Roland JC120 for cleans. A Marshall preamp was used for "Metropolis Part 1", Awake - Only album to be quadruple layered. 2 takes using Dual Rectifier, 2 takes using Mark IIC+, A Change of Seasons - Mark IIC+, Mark IV, TriAxis, Falling Into Infinity - Rectifier, Mark IIC+, Mark IV, TriAxis
Scenes From A Memory - Mark IIC+, Mark IV, Six Degrees of Inner Turbulence - Mark IIC+, Dual Rectifier, Train Of Thought - Road King Series I, Octavarium - Road King Series I & II, Lone Star, Mark IV, Systematic Chaos - Lone Star, Mark IV, Suspended Animation (solo cd) - Roadking Series 1, Mark IIC+, Liquid Tension Experiment - TriAxis, 2:90 power amp, Liquid Tension Experiment 2 - Mark IIC+, Mark IV

Equipment - Live
I&W Tour - 2 Triaxis Preamps (one for backup), 2:90 power amp, Mesa Abacus+Mesa Midi Matrix for switching, Scenes From NY - Triaxis, Dual Rectifier, Mark IIC+, Mark IV, Formula Preamp, 2:90 power amps, Live At Budokan - Road King Series 1 (x3), Lonestar (x2), Score - Custom Built "Nunya" Preamp, Formula Preamp, mesa 2:100 power amp, 4 Mesa 4x12's and 4 Mesa 2x12's. Midi switching by Steen Skrydstrup.
2007 G3 tour - Mark IV (x2), Formula preamp, 2007 Systematic Chaos Tour - Mark IV (x2), Lonestar (x1). TC Electronic 2290, M3000, Eventide Ultra Harmonizer, Jim Dunlop rack wah & various stomp boxes. Midi switching by Axess Electronics

John Ro Myung (Bass)

2008-09-07T20:37:00.001+07:00

John Ro Myung adalah seorang bassist dan anggota pembentuk grup progressive metal Dream Theater.Dia merupakan satu-satunya anggota Dream Theater yang memiliki keturunan Asia yaitu korea.

Lahir pada tanggal 24 Januari 1967 di Chicago dan besar di Long Island, New York.Ibunya sering mendengarkan music classic saat dia masih kecil, dan saat Myung muda berusia 5 tahun, dia mengambil kursus biola. Kemudian saat John Myung berusia 15 tahun, tetanggaNya mendekatinnya untuk memainkan Bass pada band tetangganya tersebut, kemudian Myung berasumsi bahwa Bass mempunyai 4 senar sama dengan biola, jadi dia dapat mempelajarinnya dengan cepat dan sejak saat itu dia beralih ke Bass guitar dan sejak saat itu dia tak pernah lagi memainkan biola.

Inspirator yang mempengaruhi John Myung seperti Chris Squire, Steve Harris dan Geddy Lee, juga band seperti Rush, Yes dan Iron Maiden. Juga dia sering mendengarkan band seperti jane's addiction, Red Hot Chilli Peppers sebaik musik classic dan blues.

John merupakan satu-satunnya anggota Dream Theater yang tetap tinggal di Long Island bersama istrinnya Lisa dan 2 anaknya, Brandon dan Christian Myung.

Lagu yang pernah diciptakannya untuk Dream Theater ialah Learning To Live pada album Images and Words dan Trial of Tears pada album Falling Into Infinity. dia mempunyai project lain selain dream theater yaitu Jelly jam.

James Labrie (Vokal)

2008-09-07T20:32:00.000+07:00

James Labrie merupakan Vokalis Dream Theater yang masuk dan bergabung dengan Dream Theater pada tahun 1992, menggantikan Charlie Dominici.

Biografi
Kevin James LaBrie lahir di Penetanguishene, Sebuah kota kecil di Kanada pada tanggal 5 Mei 1963. sejak kecil, James saat berumur 3 tahun, dia sering mendengarkan radio dan menyayikan lagu apapun yang terdengar dari radio tersebut. Diinspirasikan oleh ayahnya, dia kemudian mulai bernyanyi dan bermain drum pada awalnya saat berusia 5 tahun. dan pada saat berusia 10 tahun, dia berkuartet dengan ayahnnya dan paman juga adiknya bernyanyi di barber shop.

sebelum muda, dia sudah menyukai musik rock. Saat berusia 14 tahun, dia telah bermain di berbagai band sebagai vokal dan drum. Tetapi, James lebih memilih bernyanyi ketimbang bermain drum. saat dia berusia 18 tahun, dia memutuskan pindah ke Kanada.

Saat berusia 21 tahun, James berlatih vokal pada Rosemary Patricia Burns. Setelah banyak bergabung dengan beberapa band di Kanada. James kemudian menjadi vokalis pada band Winter's Rose, dimana juga bergabung dengan Atlantic Records, Label Dream Theater saat itu. lalu Pierre Paradis yang mengatur band Voi Vod, menawarkan solo project pada James di Aquarius record. kemudian dia memberitahu James bahwa ada nama band New York bernama Dream Theater melakukan audisi untuk mencari vokalis, kemudian James mengikutinnya dan diterima, itulah sejarah LaBrie bergabung dengan Dream Theater pada 1992, dimana album pertama LaBrie bersama Dream theater ialah Images and Words.

Sampai saat ini, Labrie telah banyak menciptakan lagu untuk Dream Theater seperti Anna Lee(Falling Into Infinity), Vacant(Train Of Thought), Blind Faith(six degree of Inner Turbulance), Sacrified Son(Octavarium).

Dan dia tetap tinggal di Toronto,Kanada bersama istrinya Karen, dan kedua anaknya Chloe dan Chance Abraham LaBrie

Karakteristik Penulisan Lagu

2008-09-07T19:41:00.002+07:00

Beberapa teknik penulisan lagu yang unik telah dilakukan oleh Dream Theater, yang kebanyakan terjadi di masa - masa sekarang, ketika mereka bisa bereksperimen dengan label rekaman mereka sendiri.

Dimulai dengan Train of Thought, Dream Theater sudah memulai memasukkan elemen - elemen kecil dan tersembunyi di musik mereka, dan memuat elemen tersebut kepada peminat yang lebih fanatik. Karakteristik yang paling terkenal (yang biasa disebut "nugget") tersembunyi di "In the Name of God", yang merupakan sandi morse dari "eat my ass and balls" (makan pantatku dan penisku), yang merupakan kata - kata terkenal dari Mike Portnoy. Sejak saat itu, banyak peminat - peminat Dream Theater mulai berusaha menemukan hal - hal kecil yang biasanya tidak menarik bagi peminat biasa.

Beberapa dari teknik mereka yang terkenal termasuk:
Suara dari fonograf di akhiran dari "Finally Free" di album Scenes from a Memory adalah suara yang sama di awalan "The Glass Prison" di album berikutnya, Six Degrees of Inner Turbulence. Dan akhiran kunci terakhir di "As I Am" sama dengan kunci yang digunakan di album selanjutnya, Train of Thought. Juga, not piano yang dimainkan di akhiran "In the Name of God" di 'Train of Thought adalah not yang sama dengan pembukaan "The Root of All Evil" di album berikutnya, Octavarium.

Tiga bagian dari "The Glass Prison" di Six Degrees of Inner Turbulence, dua bagian dari "This Dying Soul" di Train of Thought dan dua bagian dari "The Root of All Evil" di Octavarium menunjukkan tujuh poin pertama dari dua belas poin - poin di program Alcoholics Anonymous oleh Bill Wilson, yang mana program itu diikuti oleh Mike Portnoy. Ia juga berkata bahwa ia akan membuat lagu - lagu lain yang memuat lima program lainnya, yang akan ditujukan untuk Wilson

Dream Theater kadang menggunakan teknik penulisan lagu dimana bagian - bagian dari sebuah lagu dikembangkan tiap kali mereka dimainkan. Contohnya, lagu "6:00" dari Awake. Setelah awalan lagu, mereka hampir memainkan chorus, tapi mengulang lagu tersebut dari awalan lagi (di menit 1:33). Dan ketika chorus sudah seharusnya dimainkan pada saat berikutnya, mereka mengulang lagi dari awalan, di menit 2:11. Teknik ini bisa juga ditemukan di "Peruvian Skies", "Blind Faith" dan "Endless Sacrifice"

Penggunaan notasi yang berulang-ulang juga digunakan, yang sudah dikenal dari lagu-lagu Charles Ives, contohnya:

Tema lagu "Wait for Sleep" muncul di "Learning to Live" (menit 8:11) dan juga muncul dua kali di "Just Let Me Breath" (menit 3:39 dan 5:21)
Tema lagu "Learning to Live" muncul di "Another Day" (menit 2:53)
Tema lagu "Space-Dye Vest" digunakan beberapa kali di album Awake.
Tema pembukaan dari "Erotomania" digunakan di "Voices" di Awake (menit 4:51).
Satu dari melodi - melodi di "Metropolis Pt 1 (The Miracle and the Sleeper)" diulang di chorus kedua di "Home" dari Metropolis Pt 2 (Scenes From A Memory), dengan cuma pengubahan satu kata. Beberapa lirik dari "Metropolis Pt 1" just digunakan di "Home". Pada dasarnya, keseluruhan album "Scenes From A Memory" penuh dengan musikal/lirikal/konseptual variasi dari elemen - elemen musikal dari "Metropolis Pt 1" dan "The Dance of Eternity" sebenarnya dibangun dari variasi - variasi elemen musik di lagu-lagu dalam album tersebut.

Bagian-bagian dari tiap lagu di album "Octavarium" telah digunakan di bagian kelima dari lagu berjudul sama, "Octavarium".

Six Degrees of Inner Turbulence, studio album ke enam mereka, memuat enam lagu dan mempunyai karakter - karakter angka enam di judul - judul lagunya. Train of Thought, studio album ke tujuh mereka, memuat tujuh lagu. Octavarium, studio album ke delapan mereka memuat delapan lagu dan judul albumnya diambil dari kata octo, yang merupakan kata Latin yang berarti delapan, berarti satu oktaf dari istilah musik, yang mana merupakan jarak dari satu not ke not lain adalah delapan not di tangga nada diatonik. Judul lagi dari CD ini adalah 24 menit, kelipatan dari 8. Halaman depan albumnya juga memuat karakter - karakter yang berhubungan dengan 5 dan 8. Contohnya, satu set dari kotak - kotak putih dan kotak - kotak hitam, mempunyai arti satu oktaf dari piano.

Lagu "Octavarium" dulunya ingin diakhiri dengan seruling yang bergema serupa dengan awalan lagu tersebut. Namun diganti dengan not piano yang sama dari awalan album Octavarium. Mike Portnoy telah mengatakan bahwa seri awalan - akhiran album akan berhenti disini, karena album ke sembilan mendatang tidak akan diawali dengan akhiran "Octavarium"

Analisis detil tentang "nugget" di "Octavarium" (disebut oleh Mike Portnoy sebagai "sebuah nugget raksasa") telah dipublikasikan di sebuah situs independen.

About DreamTheater

2008-09-07T19:32:00.002+07:00

Dream Theater adalah salah satu grup progressive metal paling terkemuka di dunia saat ini. Didirikan oleh Mike Portnoy, John Petrucci dan John Myung, mereka telah merilis delapan album studio, empat rekaman live dan satu album pendek (EP). Album pertama mereka, When Dream And Day Unite direkam dengan Charlie Dominici sebagai vokalis dan Kevin Moore sebagai pemain keyboards. Dominici berusia jauh lebih tua daripada anggota lainnya dan ingin memainkan musik yang lain, sehingga ia kemudian keluar dari grup. Mereka kemudian mencari pengganti yang ideal selama 2 tahun sampai akhirnya bertemu dengan James LaBrie, vokalis dari Kanada melalui audisi.

Bersama LaBrie mereka merekam Images And Words yang melambungkan nama mereka ke jajaran internasional dengan hit "Pull Me Under" dan "Another Day". Awake adalah album terakhir mereka dengan Moore yang kemudian digantikan oleh Derek Sherinian untuk album Falling Into Infinity. Pada akhirnya Sherinian juga digantikan oleh Jordan Rudess dan formasi ini masih bertahan sampai hari ini. Mereka telah meluncurkan album konsep Metropolis 2: Scenes From A Memory dan album ganda Six Degrees Of Inner Turbulence. Pada tahun 2003 mereka memutuskan untuk merekam album non-konsep Train Of Thought yang sangat dipengaruhi oleh grup thrash metal seperti Metallica.

Album terbaru mereka yang berjudul Octavarium dikeluarkan pada tanggal 7 Juni 2005 dan selain merupakan album studio kedelapan juga mengandung delapan lagu.

Setelah Dream Theater meluncurkan album Live mereka dalam memperingati 20 tahun Dream Theater terbentuk yang berjudul Score yang direkam pada tanggal 1 April 2006 di Radio City Music Hall,US. Mereka kembali bersiap meluncurkan album ke sembilan mereka dengan membawa bendera label record baru yaitu RoadRunner Records, mereka telah merampungkan album Systematic Chaos yang berisi 8 lagu dan akan diluncurkan pada tanggal 5 Juni 2007 di US

History Of Dream Theater

2008-09-07T19:25:00.001+07:00

Dream Theater dibentuk pada bulan September 1985, ketika gitaris John Petrucci dan bassis John Myung memutuskan untuk membentuk sebuah band untuk mengisi waktu luang mereka ketika bersekolah di Berklee College of Music di Boston. Mereka lalu bertemu seorang pemain drum, Mike Portnoy, di salah satu ruang latihan di Berklee, dan setelah dua hari negosiasi, mereka berhasil mengajak Mike Portnoy untuk bergabung. Setelah itu, mereka bertiga ingin mengisi dua tempat kosong di band tersebut, dan Petrucci bertanya kepada teman band, Kevin Moore, untuk menjadi pemain keyboard. Dia setuju, dan ketika Chris Collins diajak untuk menjadi vokalis, band tersebut sudah komplit.

Dengan lima anggota, mereka memutuskan untuk menamai band tersebut dengan nama Majesty. Menurut dokumentasi DVD Score, mereka berlima sedang mengantri tiket untuk konser Rush di Berklee Performance Center ketika mendengarkan Rush dengan boom box. Portnoy lalu berkata bahwa akhiran dari lagu tersebut (Bastille Day) terdengar sangat "majestic". Pada saat itulah mereka memutuskan Majesty adalah nama yang bagus untuk sebuah band, dan tetap bagus sampai sekarang.

Pada saat - saat tersebut, Portnoy, Petrucci dan Myung masih berkutat dengan kuliah mereka, juga dengan kerja paruh waktu dan mengajar. Jadwal mereka menjadi kiat ketat sehingga mereka harus memutuskan antara mengejar karir di bidang musik atau mengakhiri band Majesty. Namun akhirnya Majesty menang dan mereka bertiga keluar dari Berklee untuk berkonsentrasi di karir musik. Petrucci mengomentari tentang hal ini di dokumentasi DVD Score, berkata bahwa saat tersebut sangat susah untuk meminta kepada orang tuanya untuk pergi ke sekolah musik. Dan lebih susah lagi untuk menyakinkan orang tuanya agar ia boleh keluar dari sekolah.

Moore juga akhirnya keluar dari sekolahnya, SUNY Fredonia, untuk berkonsentrasi dengan band tersebut.