The Story Of Distance Over Time

Each album etches out an epoch of time filled with moments and memories. The experience itself indelibly informs, influences, and impacts the music.

This axiom most definitely holds true for Dream Theater.

In 1992, the musicians lived together at the secluded BearTracks Studios in Suffern, NY in order to record Images and Words, which eventually represented a seminal moment. Two years later, they crossed the country to Los Angeles where they tracked Awake. 1999 saw them return to BearTracks Studios, and they wrote and recorded Metropolis Pt. 2: Scenes From a Memory together. These all stand out as milestones in their growing catalog. However, it would take nearly two decades for the musicians to regroup in such fashion, stealing away from life’s distractions, living together, writing together, and recording together. When the time came to work on what would become the group’s fourteenth full-length, Distance Over Time, John Petrucci, John Myung, James LaBrie, Jordan Rudess, and Mike Mangini made the decision to get away again. It didn’t take much coaxing, thought or discussion. After an off-the-cuff suggestion from Petrucci’s wife Rena, it was settled: they’d retreat somewhere to make their next record.

Truthfully, it had been a while since they went away together to make a record, though. Ask each member, and you’ll get a different answer as to when they actually lived, wrote, and tracked together in such fashion. Metropolis Pt. 2: Scenes From a Memory seems to be the one, and poetically it celebrates a 20th anniversary in 2019.

Regardless of when the last time was, the time to do so again was most certainly due.

“My wife mentioned it, and it just made a whole lot of sense right off the bat,” recalls Petrucci. “We were all in agreement. I think it was a text or email chain to be honest where everyone was like, ‘Yup!’ It was going to be a chance to reconnect and get back to the roots a little bit.”

“It was a no-brainer,” adds Rudess. “There’s a lot to be said about going some place with an allotted time and no interruptions. It surprised all of us what we could do once the doors were shut, the phones were off, and we were in a room together, getting inspired and working. What could be better than a summer with your bandmates, eating, drinking, and making a record?”

So Dream Theater sought out a new location to do so. They scoped out the Yonderbarn in Monticello, NY. Once outfitted with a state-of-the-art studio, yet empty now, the remodeled space sat on five acres of quietude upstate, It’s as if the location itself beckoned to the musicians. It was perfect in every sense. From the moment they plugged in, it was on.

“We’d wake up in the morning, go into the studio, order some lunch, and write,” says Petrucci. “It really was this organic thing. We could’ve written like that for months!”

An unforgettable summer season gave birth to Distance Over Time. Like camp, they stayed up all night telling stories, cooking for each other as a fire department would, enjoying fine wine, and writing a record that would prove definitive among a catalog of oft-debated opuses. Within 18 days, the album was written, followed by another two months of recording.

“This was the perfect environment,” LaBrie continues. “You look around and it’s beautiful. There are zero distractions. We were so interactive with everything around us that it created a vibe we hadn’t felt in years. A lot of it comes from just hanging out and having fun. We had a clean slate to really go for it.”

“The story of how this record was created is so important,” exclaims Petrucci. “That in and of itself is interesting. We’re in a barn, cooking for each other, and writing the music. We didn’t plan on recording there at first, but we didn’t want to leave,” he laughs. “You think about certain records like The Rolling Stone’ Exile On Main St. or The Band’s Music From Big Pink, the musicians go away somewhere and come back with really special music. That’s what happened with Distance Over Time. The bond shaped it.”

As a result of the focus on the brotherhood first, the music feels tighter than ever. Of course, the epic passages, cinematic ambition, and broad scope remain intact. This is, after all, a Dream Theater record...but the drama plays out within the landscape of watertight songwriting, hard-hitting hooks, and unshakable riffing. It’s as if the guys who gave the world Images and Words, Awake, and Metropolis Pt. 2: Scenes From a Memory conjured the same spirit with another twenty years of wisdom, wit, and wonder.

Again, it shouldn’t be a surprise those three classics were made in a similar manner, but not like this...

This isn’t just Dream Theater revisiting their roots. Rather, it’s a band at the height of its powers planting new roots in the ground – sharper, savvier, and stronger than ever. The album proudly bears the resonances of a summer of brotherhood, bonding, and brilliance. Once again, that translates to the fans, though.

Is there a more devout audience than Dream Theater’s? They pledge a lifelong allegiance to this band. They cross borders to catch as many shows as possible. They endlessly discuss the significance of each conceptual movement and musical mood in person, online, and anywhere possible. They keep the legacy alive, and Distance Over Time has the power to connect with them as much as those aforementioned classics—if not more. There’s a human element at the heart of everything.

“We’ve been doing this for 35 years,” Petrucci leaves off. “This is our fourteenth studio album. It’s more creatively rewarding than ever. It’s a human feeling that we captured in this music and hope to convey.”

Hopefully, fans can make their own memories to these new album tracks. Experience Dream Theater now, maybe for the first time, maybe for the five-hundredth time, but never for the last time.

This music will live with all of those memories. Isn’t that what all of our favorite records do?

— Rick Florino, November 2018

In Their Own Words

Where does the story of Distance Over Time begin?

John Petrucci: “It was a matter of doing things a little bit differently than we had in a while, meaning that it’s been a long time since the band all went away together and just left all of the outside distractions behind and focused on being a band, bonding both personally and musically, having fun and being creative together. I remember I was talking to my wife in our kitchen about starting the new record and she suggested we try something different this time and just go somewhere together as a band and reconnect with each other. I thought it was a great idea! I brought it up to the guys, and they all loved it. That’s really where this whole process started although we certainly did have a lot of conversations over the past couple of year about the type of record we wanted to make regardless of how and where we did it.”

James LaBrie: “The last time that the band really live together was during the recording of Images and Words. We lived in a house in Tompkins Cove in upstate New York. Needless to say, it’s been 26 years since we’ve done anything like that. It was like going back to summer camp. The environment was great! Aside from being in the studio and being in that musical environment, it also provided a chance to sit around in the living room of the house or whatever and just chat. More often than not, it would always come around to the music, to the direction, to how we were feeling, what we thought beyond what was already done, or where it still needed to go. The music was always on our minds. So, I think being around one another on a continual basis really made it that much more of a profound experience. I think that songs reflect that because it wasn’t just a matter of, ‘Okay, let’s get into the studio today. I’m going back to my hotel, see you tomorrow!’ It was just a continuation of gelling with one another. It was a lot of fun, because you think, ‘Wow, it’s so strange at this point in our career to really have this kind of a situation going on.’ The suggestion came from John’s wife, ‘Get a house, live together, and think about the music.’ I had no idea. We got together for dinner and some wine one night and I told her, ‘Great suggestion, because it worked!’”

Mike Mangini: “Distance Over Time began by being looked at as part of the next step for Dream Theater. Thought was put into the kind of album it should be during the Images and Words anniversary tour. Those thoughts marinated over months such that, when we got together to write it, we were on the same page as to the essence of what we wanted to make based on what we had released and where we should go next.”

Were there conversations about the writing and direction prior, or did it just happen?

John Myung: “It just kind of happened, We were on the same page about one thing. We all thought the album shouldn’t exceed an hour in length total.”

John Petrucci: “We did talk about things like focusing on the songwriting while keeping all of the elements that make our sound and music unique and identifiable to us. At the end of the day, it all comes down to the feeling we have when we’re playing this new music together or listening back to what we wrote, and asking ourselves, ‘Do we have smiles on our faces? Are we really proud of what we did creatively?’ That’s the core essence right there. I think every song on this album delivers that feeling. It really does.”

Jordan Rudess: “When we would lay out all of the parts and start composing, we just knew when it felt right. If something worked with us just playing it and not having to do all of the tracking, then there were definitely smiles and we knew, ‘Okay, we’re on the right track. This is cool’.”

Mike Mangini: “There were conversations about the essence of the writing and direction as a natural part of what the band does towards the end of one album cycle and the beginning of another. We didn’t sit and think with much detail as far as actually song ideas go though. The conversations happen by way of who is hanging out where. So, if three people are in the front lounge of the tour bus at a time when someone brings up what they think we should do next, then those three are a part of that think tank. We also recorded song seeds at soundchecks while touring, but again, as normal protocol not thinking about the next recording, but just playing. I know that when John and I did the G3 Tour, we did play each other some riffs now and then, but just in passing. Arriving at the studio prepared or not meant anything could happen any day from a spontaneous riff to a prewritten one to a soundcheck clip.”

What was the direction?

Mike Mangini: “The direction of Distance Over Time was basically ‘Heavier, concise where appropriate’ and ‘minimize the lighter, more lengthy and chaotic aspects of the band’s composing habits for this one.’”

John Myung: “The direction was to work until we were all happy with the outcome of each song.”

John Petrucci: “There was complete agreement as to where we knew we needed to go next. Everybody felt like it was time to return to the roots and make a more organic record, both in our writing and recording approach and to truly collaborate as a band. We wanted to emphasize the heavy and proggy sides of Dream Theater and just really make the music a lot of fun to play. Everybody was completely on board with that direction. We had conversations about it during the tour, on the bus or backstage and also kept in touch about everything when we were off the road. Nobody ever said, ‘you know, it’s not time for that. I’d rather do this, that, or the other thing.’ Everybody was like, ‘Yes, this is one-hundred percent what we all need and want to do!’ That was incredibly helpful especially once we were all together at Yonderbarn.”

Where did you go to make this?

John Petrucci: “We ended up renting a five acre facility in Monticello, NY in the Catskill Mountains called Yonderbarn. There’s an old, rustic house on the property where we all lived and the studio where we created the album was a huge, beautifully renovated barn only steps away. It’s a gorgeous, state-of-the-art film and recording studio tucked away off a little country road in upstate New York. The studio had no recording gear in it, but the big, open space it provided in that serene and scenic environment was exactly what we were looking for. We just wanted to go away and write the music and didn’t want to be distracted with actually recording the record. We’ve done that in the past. We’d move into a studio for months, mic everything up and begin writing and recording simultaneously, and that can be a much slower process. The writing tends to get interrupted by recording takes, trying to dial in sounds, etc. and we really just wanted to be in a space here we could write and not worry about tracking or trying to capture performances. That’s exactly what this provided for us. We had our engineer Jimmy T and my guitar tech who takes care of all things Dream Theater, Maddi, scope it out and get any gear we needed just so we could do quick, live demos of the songs as they were written. They did an amazing job! We walked in on the first day and there was our full, live band setup with just four microphones on the drums, everything else plugged in direct and an easy way to capture the music. All we had to do was write. Once we had a song completed, we’d rehearse it until we could all play it live to the best of our abilities and press record.”

What was the process like?

Jordan Rudess: “It was a really welcome feeling first of all, because the album before this one was done in a completely different way. That personally was very satisfying. Even though John and I were the composers, it still was like being separated from the band. That’s very different. So, coming back to everybody and having their full energy and support was exciting and engaging. It was a great feeling, and it was also a lot of fun. At first, I was a little nervous about it because you’re in close quarters with all of these guys and you don’t know what to expect. It ended up being something where it was very vibey. We really did have a great time and not only musically, We had a lot of laughs, a lot of fun, and it was a success on every level.”

John Petrucci: “All of the new music we were writing had this real immediacy and urgency, because the demos recorded in the barn were of the band playing together live. They captured the whole spirit of that energetic, organic, back-to-the-roots feeling we were going for, so that worked out perfectly. We wrote ten songs in about eighteen days. Honestly, we could’ve easily stayed up there, kept writing, and wrote three more Dream Theater records! The flow, the creativity, the inspiration, the setting and the vibe were all just perfect. We’d wake up in the morning, go into the studio, order some lunch for later, and get working. After about three weeks, we had all of the music written and we were ready for the next step.”

Joh Myung: We just went into the studio with an open mind. There was a great vibe as we worked on ideas. Not really knowing where any particular idea was going. It didn’t matter, it was more about being conscious of going with the flow.”

Mike Mangini: “The process of writing Distance over Time included five people taking turns offering song seeds, song parts, overall song arrangements, and vibes. Everybody had a chance to offer ideas for each unwritten part. As a drummer, I avoided poorly singing out riffs and opted to use a keyboard and plug-ins to communicate my ideas with sounds that matched the band’s good enough to be understood. We’d try ideas and would usually agree on a part that was chosen. Either way, we had fun because of the teamwork. Thus, we always kicked the nuts out of the can the best we could when we rehearsed a section.”

When was the last time you recorded like this?

John Petrucci: “When was the last time? That’s a really good question! We have of course written many records together, but that’s different because although we’ll move into a studio like Cove City and take over the place, everybody goes home or to a hotel room at the end of the night. This time at Yonderbarn, there were no distractions so we were able to really focus and spend twelve hours or more a day just working. We also took the time to enjoy the setting, and have fun. We took turns on the BBQ and since it was summertime, the upstate New York weather was beautiful. There’s something about making music together while you’re also living together bonding, eating, drinking bourbon, staying up late and telling stories that makes the music infused with something a little more special. Having the entire band involved really made everyone happy with the outcome and left all of us feeling proud of what we did together as a group.”

Where did the title Distance Over Time come from?

John Petrucci: “One night while tracking guitars, me, Maddi and Jimmy T were having fun trying to come up with a written formula for getting my guitar sound using silly equations and we stumbled upon v = d/t (velocity = distance over time). Since we could miss the opportunity to take advantage of the d/t symbol (Dream Theater) we started the formula with d/t and it kind of stayed taped up on the wall for a few days. At some point, Jimmy T suggested naming the album ‘Velocity’ which everybody really loved and actually stuck for a while. There was something about it that just felt underwhelming a little to me though, and it wasn’t until I wrote out the words ‘Distance Over Time’ that I realized that was actually the perfect title for the new DT record! It sounded epic, poetic and important; everyone loved it and so the title was born. There is something profound about that phrase that gets me when I really start to think about it... the rate that we’ve been moving at, how far we’ve come in the amount of time we’ve been together and the long road we’ve traveled.”

What do you hope fans take away from the record?

James LaBrie: “I think with this album it kind of encompasses everything that Dream Theater has always been about. We’ve always been a progressive (so to speak) heavy metal band. I think this has all of those elements in there and even more. It will speak loudly to all of our fans because there’s something throughout that everyone can feel. It just hits you right over the top of the head from the very beginning until the end and it’s a great ride. That’s what I think makes Dream Theater albums classic. They become like a ride. Before you know it, they’re done. The songs aren’t just two r three minutes. It’s always more involved. Hopefully fans will consider it a classic. We’re far from being over. When we do an album, it’s not just a reason to go back on the road. It’s important for the music to be a true sign to who we are musically. I still feel the band is evolving nowadays.”

John Petrucci: “We had a lot of fun making this record. Distance Over Time is all about the experience for us; it’s about the process, the location, the barn, the story behind each song and the setting. The way in which we made it is as much a part of the meaning of this record as the music itself for us and I hope people walk away feeling just a little bit of the spirit that we captured up at Yonderbarn. I hope in some way it seeps out in the music and that people feel something a bit different when listening to this one. There is this sense of unity and of brothers bonding creatively that I believe you can hear in the music. The barn itself and the way that we approached the writing and recording of this record are such big parts of the story behind it. Now when I listen back to this music, I can remember exactly where I was standing in the room when we wrote a particular song and what inspired us in that moment. That still comes through very strongly for me. As a producer, I really wanted this record to sound amazing. I wanted this to be the best-sounding Dream Theater record we’ve ever made, so that people can just sit back and be enveloped in the music without being distracted in any way by something out of place sonically. I wanted it to be an immediate listen, and for the music to just really suck you in. To me, I think it does that and I hope other people will feel the same way.”

Mike Mangini: “It is my hope that fans simply can let it play through even though we all prefer some songs over others on most albums we own. Distance Over Time doesn’t need to be ‘ranked’ in Dream Theater history, just enjoyed. That would be great.”

John Myung: “I hope they take away that we love what we do, and how that spirit translates into the songs on the album.”

Jordan Rudess: “I think one of the important things about Dream Theater is the fact that we can go beyond the virtuosity, the academic, and the intensity, and we can touch somebody’s heart and soul. I really honestly believe that that’s the reason that Dream Theater has had this long career. That’s my main interest as a musician, reaching out and touching somebody else’s spirit. We love to play a lot of notes and fast, clean passages but the most important thing is to really make them feel something. I think that I want people to be able to enjoy the melodies in this album, the emotion, the hooks, the things that they can feel, and even sing along to. Like any real music, you have to be willing to go for the journey. Certainly, this new Dream Theater album is offering that journey as well, but I think it’s the melody, it’s the emotion, and it’s that heart.”

What does Dream Theater mean to you after all of these years?

John Petrucci: “It’s a family. It’s a brotherhood. Our lives together have been so intertwined personally and professionally for so long that the music we write together has immense personal meaning and importance. For me, as a musician and songwriter, it’s the ultimate creative outlet. It’s something I look forward to more than anything every time it’s time to make a new record. It’s an opportunity to put our best foot forward collectively and individually and to have fun being creative, playing guitar, and challenging myself as a musician. I love that. I could do that all day long. I could’ve stayed in that studio forever just hanging out and writing music together. I guess at some point, you’ve got to put a record out, but it’s just way too much fun!”

Jordan Rudess: “It’s been 20 years. It’s such a big part of my life. A big part of this experience is being with these other guys who are very wonderful musicians. Plus, there’s the fact that it’s led me all around the world. Dream Theater has been my ticket to an international life. That’s been such an incredible thing. I, for one, am somebody who goes to all of the different cities and then I walk around and I meet people. Dream Theater gives me this opportunity to have an amazing life. It opened up doors that were never there before. I’d been having some success in the music business, but when I joined Dream Theater everything kind of busted wide open. So, it allows me to do a lot in my life that can really bring me to these other levels.”

James LaBrie: “It’s a huge part of my life, and it has been for 27 years. To a certain degree, it defines me. I think it defines everybody in the band. Even as long as I’ve been in this industry and as long as Dream Theater has been around, you kind of walk around and you go, ‘Oh my God!’ Every so often, it hits you. Half of my life, I’ve been a professional musician. That’s what I do for a living. I have several friends that are extremely talented and they didn’t happen to fall into the same position that I did. To have been in a band that’s world-renowned, sold 15 million albums, and to be able to continue to do this at this level gives you the truest sense of appreciation. That whole perspective just makes you realize how extremely fortunate you are, even so far into the game. It’s that whole comradery. Each one of those guys in the band, I love them dearly. They’re brothers. There’s no doubt about it. We all have this connection with one another that’s so profound and almost indescribable, just because of all of the things we’ve gone through. Like any band out there, we went through our growing pains and we’ve had trials and tribulations, but we’re still here.”

John Myung: “To be a part of people’s lives in multiple generations, It gives meaning to what we do as a band. It’s a unique relationship we have and don’t take for granted. To have amazing fans in different countries that know our songs and be able to play all over the world is humbling and exciting!”

Mike Mangini: “Dream Theater means “opportunity” to me after all my years in the band. Above the opportunity to play drums and write music for a living, I feel like things associated with being in a band offer personal and professional challenges that are very, very difficult to get command of. There are opportunities to become better players and people as a team. That doesn’t happen in every vocation on such an emotional level. Mostly, being a part of something that transcends the many boundaries that exist between people, cultures and countries. Music gets through them all, so reaching people is THE major opportunity.”