Liquid Tension Experiment
Liquid Tension Experiment is an instrumental progressive rock/metal project consisting of Dream Theater members John Petrucci (guitar), Jordan Rudess (keyboard), and Mike Portnoy (drums), as well as progressive rock icon Tony Levin (bass, Chapman stick) of King Crimson. The combo was formed as a side project to Dream Theater in 1997. Rudess was asked to join Dream Theater largely because of the success of the Liquid Tension Experiment; Mike Portnoy Read Full BioLiquid Tension Experiment is an instrumental progressive rock/metal project consisting of Dream Theater members John Petrucci (guitar), Jordan Rudess (keyboard), and Mike Portnoy (drums), as well as progressive rock icon Tony Levin (bass, Chapman stick) of King Crimson. The combo was formed as a side project to Dream Theater in 1997. Rudess was asked to join Dream Theater largely because of the success of the Liquid Tension Experiment; Mike Portnoy mentioned it in the introduction of the "Liquid Drum Theater" instructional DVD and in the Score Documentary. Jordan Rudess had previously declined the offer to join in 1994, instead becoming a member of the Dixie Dregs. The band played fast, fusion-based pieces similar to those of Dream Theater, if somewhat more jazzy, less orchestral, more virtuosity, and (almost entirely) devoid of vocals.
Liquid Tension Experiment released two albums, Liquid Tension Experiment (1998) and Liquid Tension Experiment 2 (1999). A third album, Spontaneous Combustion, was spawned in between from DATs of jam sessions of Portnoy, Levin and Rudess. It was released as Liquid Trio Experiment as Petrucci couldn't participate to these sessions. Parts of these, though, were later included in LTE's second album. All three albums were released on Magna Carta records
Liquid Tension Experiment also played a few live shows in New York, Philadelphia, and Los Angeles (1999 NAMM included!). Mike Portnoy has stated in numerous interviews (and on his web site FAQ) that there will not be a third LTE album, as 3/4 of the band is in the current Dream Theater line-up. However, several songs and "riffs" have been incorporated into Dream Theater's live performances, such as the "Instrumedley" from Live at Budokan (2004), this song was previously played in several live presentations including the 2003 Modern Drummer Festival during the Mike Portnoy presentation.
In 2008, the group reunited and played several shows across the United States. Portnoy has since then stated that there will be CDs and DVDs released, as well as the possibility of a third album being produced.
Liquid Tension Experiment released two albums, Liquid Tension Experiment (1998) and Liquid Tension Experiment 2 (1999). A third album, Spontaneous Combustion, was spawned in between from DATs of jam sessions of Portnoy, Levin and Rudess. It was released as Liquid Trio Experiment as Petrucci couldn't participate to these sessions. Parts of these, though, were later included in LTE's second album. All three albums were released on Magna Carta records
Liquid Tension Experiment also played a few live shows in New York, Philadelphia, and Los Angeles (1999 NAMM included!). Mike Portnoy has stated in numerous interviews (and on his web site FAQ) that there will not be a third LTE album, as 3/4 of the band is in the current Dream Theater line-up. However, several songs and "riffs" have been incorporated into Dream Theater's live performances, such as the "Instrumedley" from Live at Budokan (2004), this song was previously played in several live presentations including the 2003 Modern Drummer Festival during the Mike Portnoy presentation.
In 2008, the group reunited and played several shows across the United States. Portnoy has since then stated that there will be CDs and DVDs released, as well as the possibility of a third album being produced.
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mantid
how the fuck is it possible that the live version is even better than the studio version? these guys are aliens, and freaky ones too
Sniggudnhoj
You answered your own question, it is LIVE!
LEX37
Ostanato is Just repetition.
Sheldon Cooper81
@Mezzy Mez
No i meant the Instruments and the Amps not Smartphones
Mezzy Mez
@Sheldon Cooper81 Yeah the creation of smartphones made Portnoy play better that day, that's exactly it!
Sheldon Cooper81
@mantid
The Technological Advancements that happend between 1999 to August 2009.
Gabriel Nardin Music
Look at Mike in 6:11 hitting the pad to his right, which apparently doesn´t produce any sound. That is his call to end the improvised solo section and head towards the next riff section of the song. When he hits that, the rest of the musicians hear a percussive signal in their in-ear monitors so they don`t need to be looking at the drummer all the time to know when the solo should end. If you pay attention closely, he uses the same type of pad in 0:14 (this time in his left) to count 4 and allow he and John start at the same time without having to use 4 stick hits or 4 hi hat notes heard outside by the people. He used this stuff too when DT played Metropolis live in that part when lights went out producing a silence that apparently wasn`t counted along with a click track or anything like that. That mixture of a heavy amount of improvised stuff but yet being held inside a really controlled environment instead of your typical free jazz band wankery where everyone does whatever they want whitout a defined direction, has been for me the most clear and cool defining element of this amazing band. They jammed a lot, but not to the point of getting you bored. And besides that jamming, they had songs with motifs and arrangementes composed in the studio and studied later, even if they were produced in a short amount of time like LTE 1. I am not sure if I really want them to make another album if the honest musical chemistry between them is not really back after the differences Mike had with Jordan and John, but I am surely thankful to them for making this great music that I still listen after so many years.
Gabriel Nardin Music
@Sniggudnhoj Of course you can hear it, that is the sound if Mike´s stick hitting the pad I am talking about getting inside the drum mics that are so close to it and since the rest of the stage is silent when he hits that, the little "muted wood block" sound of the pads bleed into those mics, granted the crowd was silent too and therfore it was perceptible. The percussive signal that the rest of the musicians hear when that pad is hit is way louder than the little sound you mention. As other user in this comment thread has mentioned, Portnoy has talked about how this system and performance works in a couple of interviews.
Sniggudnhoj
I beg to differ, you can hear the count in cue. It sounds like a muted wood block. As for the end of the "improvised" section, these things are gone over and over in rehearsals. The specific notes may change from night to night but the measures cannot.
Enhasa
What an absolute unit to notice that. Good on you, my dude.