Six Degrees of Inner Turbulence

Direct your derision elsewhere, critics. This may be a strong statement, but I have to venture to say that Dream Theater's Six Degrees of Inner Turbulence is the most dynamic afflatus of progressive music since Yes' Close to the Edge. The band mines a rich vein of influences and amalgamates them into something utterly intense and inventive. The music in this 2CD set possesses the devastating technical chops we expect from the band, this time directed towards a more experimental release than was Scenes from a Memory. At the same time, Six Degrees encapsulates a sense of brutal beauty and depth, with an assertive and clear artistic vision that defies any standard the genre has ever set.

"The Glass Prison" will probably surprise a few people. It opens the album with a metal fury of frightening velocity. No doubt the heaviest thing the band has ever done, it is dark, heavy, punishing, and despairingly intense. Because of its pulverizing heaviness and its lyrics (which deal with fighting alcoholism), comparisons may be drawn to "The Mirror". But this song is far more brutal and poignant (and at 14 minutes, it's twice as long). The song's speed is forcefully carried by Portnoy's alien-hummingbird double-bass, as well as Myung's chiming bass arpeggios. Vocals by both Portnoy and Labrie are fierce, and Petrucci's solo is desperate, shattering, schizophrenic, and shred-intensive.

Petrucci also proves he is adept with the pen as well as the guitar. His lyrics on "The Great Debate" (dealing with stem cell research) are great -- his use of metaphor and cleverly ambiguous phraseology makes him, I think, progressive metal's best lyricist. (Consider the double-meaning of the "turn to the light" lines). The music accompanying his poetry is equally sophisticated. Samples from news broadcasts flesh out the subject matter. This evolves into fiercely heavy grooves, delicious rhythmic phases and accents (at once evoking Tool and Rush), and slaughtering furies of guitar/keyboard leads. A clever mix puts right- and left-wing arguments on the appropriate side in stereo (cool!).

It's been proven that the band is capable of bone-crushing technical wizardry, but they also command restraint and concisely developed melodic progressions. "Disappear" is the album's shortest song, not quite reaching seven minutes. This one is presented with an avant-garde, Radiohead-like production. It is a frigid requiem frail vocals and the sad, seductive susurration of longing melodies, built around gorgeous acoustic guitar and exquisite pianos. Labrie's lyrics and performance are masterful; I believe the fugitive poetry is perhaps attempting to mask emotions the delicate vocals betray.

"Blind Faith" is an outstanding work of songwriting, musicianship, and vocals. It's one of those "perfect songs." The melodies are so liquidy during the verses (with great synth inflections), but it kicks into high gear for an awesome, rocking chorus with a big hook that doesn't let go. There's hooks everywhere, even in the instrumental interlude, which is technical DT at its best. Petrucci plays a simmering, catchy riff which (I think) is on baritone guitar...it's the best! Buy the album to hear this riff. The keyboard/guitar unison part here is the most difficult they've done. Before this, though, Rudess plays an elegant piano solo...he's so talented, and his touch his beautiful.

"Misunderstood" is a very difficult song to classify...it almost passes as a killer rock ballad but it also sports some trippy jamming that reminds me a bit of King Crimson's weirder moments. Petrucci's lyrics about feeling isolated are great in rhythm and metaphors. After the last imploring chorus, the final few minutes of this track are a crazy, dissonant blend of sounds that mess with the head.

A full review should be devoted solely to the phantasmagoric and discursive 42-minute title track on the second disc. "Six Degrees of Inner Turbulence" is the band's exploration of mental illness. Each section is devoted to a different person's struggles, gracefully enriching the lyrics with character-specific leitmotifs. This is possibly the band's finest moment, countervailing thrashy metal riffage ("The Test that Stumped Them All") with more melodic, pop-influenced movements ("Solitary Shell"). Individual sections show more effort and detail than the sum total of entire albums, but Dream Theater manages to keep everything very concise and coherent. "Overture" is an exhilarating prelude, formed by a grandiose orchestral section, heated interplay, and stormy guitars; "Goodnight Kiss" is an achingly sorrowful elegy where Labrie's vocals are at their emotional best (beautiful guitar work too); "Solitary Shell" is a major-key, hook-laden piece that evokes Peter Gabriel, while Labrie's vocals soar on the power chorus; "About to Crash (reprise)" is an awesomely infectious anthemic rock piece. "Six Degrees..." is so intense in music and pathos that it virtually blows me away note after note for 42-minutes, leaving me physically weak at the end. Yes, it is long...but it is not a song (or album, for that matter) of nimiety. I don't think there is one immaterial note or second. Heck, to some Dream Theater fans it might even be considered exiguous -- there is considerable restraint here.

All throughout, Jordan Rudess proves he is the most inventive keyboardist in progressive metal. He goes through so many different patches rather than sticking to the same tired strings, organs, and pianos. No one can compare.

When a band releases an album so adventurous, it's always a risk that they will create something so self-indulgent that no one will enjoy it. Just remember: Whenever a work of art attempts to transcend the boundaries of its style, it'll likely alienate those looking for the same old, same old. Six Degrees of Inner Turbulence is not for those who just want another good "prog" metal album. It is not for those who want another Images and Words. It is for listeners who want to experience the artistic challenge with the band, to celebrate the meaning of "progressive music." There are those who fear that "progress" makes good songwriting null. Have no worries -- Dream Theater's prime songcraft has been polished to an impossible gleam for this album.

Yet again Dream Theater pushes ahead of the pack in terms of creativity and resourcefulness, without ever losing touch with their ability to communicate their sophisticated music to their audience with emotion and sincerity. The kings of progressive metal yet again prove why they are the genre's best band. This release adds another jewel to Dream Theater's crown.

Some will call this disc (discs!) self-indulgent, long-
winded, or bombastic--labels which have been used to
caricature progressive rock, and Dream Theater in particular,
since time immemorial. All of which I'm sure Mike Portnoy &
company would proudly admit to--smiling. Some within DT's
diehard following have accused the band from straying from
its progressive metal roots--meaning the epic, image-laden
mini-operas present on "Images and Words". Dream Theater,
despite being no less ambitious, long since changed their
delivery from that pseudo-Maiden drama to a cutting, manic
ethos more in tune with postmodernity. They do not resemble
just prog-metal anymore as much as they do the Dixie Dregs--a bona-fide anti-commercial collective which, musically speaking,
can do pretty much whatever the hell it wants. The second
disc shows this most especially, with passages that call to mind
everything from Steve Vai to Yes to Queen to Andrew Lloyd
Webber to Return to Forever. The first disc shows a DT which, contrary to an Entertainment Weekly charge that they reference no music "since 1976," is remarkably in step with the times, serving up Pantera-volume thrash on "Glass Prison" to "Disappear"'s brooding, melancholy strains recalling Radiohead to manic-depressive thunder on "The Great Debate" which you'd swear could be Tool. Notwithstanding the extreme length and some of the ridiculously unreal instrumental pyrotechnics which have become Dream Theater's trademark, all the members of Dream Theater are in better form than in a long time--bassist John Myung is actually audible up in the mix,
Jordan Rudess blends neoclassical technique with
unbelievable synth patches, James LaBrie actually does some
of his best singing since the "Awake" album, but the real
surprises here are John Petrucci and Mike Portnoy. At times
Petrucci is actually coming into his own with a recognizably
symphonic style (I won't quite say "melodic") which sees
him moving past the Steve Morse/Al DiMeola influences into
a unique sound and style. Portnoy throws out some of his
best playing to date, with drumming that easily puts him
into the same league as Bill Bruford or Neil Peart--his
work on "The Great Debate" is some of the best drumming
I've heard from him, ever--not to mention an increasingly
improved tuning and sound quality from his drum kit,
backing off from the tinny, poppy production which marred
"Scenes from a Memory". If you love this band (and you do,
or you wouldn't be reading this) then GET this release as if
your life depended on it. This has to be the best DT album
in years, against which only Images and Words or Awake can
compare.

One more thing...DO NOT LISTEN TO THIS ALBUM ON A CRAPPY STEREO! Get a good pair of earphones, sit back and enjoy the ride. There are so many little details that one can miss, it really takes 2 or 3 listens to really appreciate what's going on. Overall, this album is an absolute masterpiece and proof that Dream Theater is here to stay. I hope that you all give it the chance I think it deserves. I'm sure you won't be dissapointed with the results!