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“You’d think we’d be up there all mellow and wind up writing some kind of country album,” Petrucci says with a laugh. “But it just didn’t work out that way.”Indeed it didn’t. Rather, Distance Over Time, at least in spots, pushes the Dream Theater sound to its heaviest extremes, from the rapid-fire riffing that opens “Fall Into the Light,” to the thick, grinding rhythms that propel “Paralyzed,” and the scrambling, hot-wire instrumental interplay that peppers “At Wit’s End.”At the same time, Distance Over Time presents a more immediate and concise take on the Dream Theater sound, particularly in comparison to the band’s previous effort, 2016’s 34-track, orchestra- and choir-assisted concept album, The Astonishing. Part of the reason for this shift, Petrucci says, was a desire to “look at each record as a clean slate and do something different in the spirit of creativity.” But another factor was the unique working arrangement at Yonderbarn. In the following exclusive interview with Rolling Stone, Petrucci details how Distance Over Time came to be....
Mmmm, im wiecej tego numeru slucham, tym bardziej mi sie podoba. Soloweczki Pietruchy i pasaze Rudessa wyborne!
