There’s that really heavy-duty metal riff, but it’s the orchestra playing it.’ You don’t hear it at first, but when it clicks in, you see all these interacting pieces.” “You’ll hear them disguised as different instruments, which is something you see in movies all the time,” says Chycki, the engineer. We’re onboard.’ That was a sigh of relief.”īeing new to the art of musicals, Petrucci studied Les Miz and Superstar to learn how their writers/composers would take themes and make them reappear, associated with specific characters and events within the story. “But the entire band went, ‘Yeah, go for it. “It was a lot for everyone to swallow,” Petrucci recalls. He and keyboard master Jordan Rudess would write the music, and then it would be recorded not in the usual fashion, with everyone in one studio, but piece by piece, and with a real orchestra and choirs. “I kind of laid out everything the way I saw it, as a standalone show, presented like The Wall, with visuals and no other Dream Theater songs and no encores,” he says. He then presented it to the rest of the band.
“Gabriel is the chosen one in the story who was meant to restore artistic expression and freedom into this world, which he does.”īeginning in the summer of 2013, and continuing for about year, Petrucci dove into writing the story in detail, redrafting it several times, before finally solidifying it during the Masters of Rock Festival in the Czech Republic in July 2014. Fighting to return humanity to the forbidden creation of music is Gabriel, a savior-like character who helps those who lead the rebellion against nasty ruler Nafaryus-whose daughter, Faythe, happens to find herself in love with Gabriel. Said machines are the NOMACS (Noise Machines), which float about the world menacingly, generating strange, non-musical sounds. So my world, about 300 years from now, was a dystopian future where music is not something that is expressed by people, and only made by these machines.” “I started thinking, ‘With all the technology in music recording, different instruments and apps, what if it went to the point where computers and machines could make music, but that it backfired to where they were the only things that made music? That people wouldn’t feel the need to do it themselves and lost the drive to do it.
“I started looking at how a lot of things people used to do are now automated,” he recalls. And that meant I needed a deep, rich story with multiple levels, in order to write that much music around it.”Ī huge fan of Games of Thrones, Star Wars and the writings of Tolkien, but also immersed in music, Petrucci wanted a story centered on music, but filled with themes, characters and places, much like musicals such as Les Miserables and Jesus Christ Superstar. “I wanted it to be a live show with two acts long enough to be the length of an opera or a musical. “I wanted this to be a multi-leveled endeavor,” he says. But it was the band’s 2016 two-disc rock opera, The Astonishing, that pushed the group and engineer Richard Chycki to the limit in terms of the complexity of both the album’s compositions and in its sophisticated, creative recording process.įounding member John Petrucci, the band’s virtuoso guitarist, began developing the project in the summer of 2013. Their new album, Distance Over Time, is certainly evidence of that. For more than 30 years, Dream Theater has remained true to their roots: inspired progressive metal.
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