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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.


OK, we know you can play really fast already - song, anyone?   January 30, 2002
 20 out of 38 found this review helpful

OK, enough already. These guys are jaw-dropping instrumentalists. They've established that for 15 years now; they even wrote some tasty, kick-'butt', thoughtful, literate music and lyrics back in the day. Now, however, the chops-for-chops' sake trap/disease has completely taken over. Even when there is a good riff or bit, it is almost never developed or explored in an interesting way, and it's gone before you know it, in favor of the usual "Oh, by the way - don't forget how fast I can play" arpeggio/neo-classical fest. The vocal melodies are an afterthought, sticking to the root with almost laughable regularity. Lyrics? Well, suffice it to say that amateruish is an understatement, and you can't cram awkward, unsingable words into a basically undeveloped melody and expect EVERYBODY to let it slide! Yes, we are all very impressed at how long and hard you've practiced all your lives. Now, can you induldge us poor, unappreciative neophytes and write anything even resembling a quality SONG?!?! Other progressive bands have - even ones who's members can play really fast too! What's your excuse, DT? Can't be bothered? Or perhaps that's even harder than playing a million hemidemisemiquavers a second? Hmmm...


The album that stumped us all...GET THIS ALBUM NOW!   February 4, 2002
 18 out of 20 found this review helpful

People hailed the appearance of Jordan Rudess from Liquid
Tension Experiment as what DT truly needed. As much as I
agreed, some found the resultant concept album "Scenes from
A Memory to be thrown-together and somewhat uncohesive,
despite containing some amazing moments. I personally waited
to see what the new lineup could accomplish on a traditional
album, hoping they would be able to top "Scenes". Guess what
--they did.

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.


Dream Theater's Evolution   May 21, 2002
 18 out of 23 found this review helpful

Dream Theater's new 2 CD set "Six Degrees Of Inner Turbulence" marks a slight growth in the band. This album is much more experimental and varied than their previous albums like Images And Words, Awake and Scenes From A Memory. This album is filled with many complex and lengthy tracks, but the good news is they don't seem that difficult to sit through, as each track is adventurous and a treat to listen to. The production seems as if the record is being performed right in your living room. A track by track overview.

Disc One: The Glass Prison is one of the most exciting and energetic tracks on here. It's 14 mintues of fast-paced, blood-pumping metal guaranteed to get you jumping! I especially love the last few minutes to finish out the track. Blind Faith I didn't like at first but a few more listens revealed the fantastic melody in the song. I especially love the airy sounds produced from Jordan Rudess' keyboards somewhere in the middle of the track set against the galloping guitar, bass and drum parts. Misunderstood is arguably the most challenging listen on Disc One. It's not as up-tempo as the last two tracks and is strangely experimental. The Great Debate has been compared to Tool and I can see why. There's definitely some riffs that are similar to tracks like Aenema and Triad. Other than that, this track is fantastic IMO. Tons of melody, hard playing and the chorus sung by James LaBrie is intoxicating. Disappear finds DT sounding a bit like a cross between Radiohead and Tori Amos. A nice, slow, artsy, absorbing track with interesting sound collages. Also very melodic.

Disc Two features the 42-minute title epic. Broken into eight parts, it seems like it's rather incoherent or like eight separate tracks than it does a huge continuous epic. Anyway, it's based on mental illness. The Overture is the most beautiful thing they've done IMO. It's orchestral, thanks in part to Jordan Rudess' keyboards. About To Crash is a melodic hard rock tune based on a woman who is "losing it" or on the verge of doing so. War Inside My Head, about a war soldier gone mad prepares you for the rather insane frenzy of The Test That Stumped Them All. One of the craziest things the band has ever done. Even the vocal play by Labrie is rather "crazy". Goodnight Kiss is smooth and melodic. Solitary Shell is another melodic fest, this time the acoustic passages by John Petrucci is key here. James LaBrie's lead vocals backed by Mike Portnoy's is intensely and shiver sending-ly melodic. Then there's the About To Crash reprise followed by the last part Losing Time/Grand Finale.

This is an excellent album...however...now it's time to expose the faults:

Like many people here have stated, the band seems to... "pay tribute" to many of their influences a little too much on this album. ...QUEEN: On "Misunderstood" there's a guitar solo somewhere in the middle that pretty much repeats Brian May's snaky, mad scientist-like overlapping guitar solo style or trademark. RUSH: On The Great Debate, it seems that two main riffs are stolen from Natural Science off of Permanent Waves (E-C-D). YES: On Solitary Shell, the keyboard bit coming shortly before the vocals appear, sounds akin to the keyboard bit used by Rick Wakeman from The Preacher The Teacher, the third movement from And You And I off of Close To The Edge. GENESIS: Also Misunderstood, it appears the keyboard part is reminiscent of the keyboard intro of Hairless Heart. ELP: On Blind Faith, in the 6-7 minute mark, Jordan Rudess seems to blatantly copy Keith Emerson's style. The classical piano part is Emerson-ish, as well as the Tarkus-ish keys coming around the 6:50 mark. Also, The Overture segment, as much as I love it, seems "dead-on" like something that would come from Volume One-Works or even Black Moon. The fact that there is overwhelming orchestration combined with mind-twisting tempos and rhythms "is" ELP's signature sound. Hell, "The Dance Of Eternity" is closely in style of ELP, though that track honors "Metropolis, Part 1" but that's another story and is less important.

Now, does all this mean that I like this album or Dream Theater less? Absolutely not, it's just that I think Dream Theater are FAR too talented to "borrow" anything from anyone. It's nice that they like to pay tribute to their favorite artists (their favorites are practically the same as mine), but IMO I think they've done enough to honor those that came before them, now it's time to move on.

Anyway, I love this album as it represents a maturing and growing Dream Theater. Maybe next album, they'll put out a 3-disc studio album, or make a 50-60 minute length track. I don't know, but I hope they do something even bigger! I'm for it!


Mixed bag of positives and negatives, but worth buying.   July 8, 2002
 11 out of 14 found this review helpful

I will skip the formality of this review, and move right on to the positive and negatives regarding Six Degrees of Inner Turbulance by Dream Theatre.

Reasons for buying this album (AKA positives):
1. Absolutely wonderful musicianship, especially in guitar, percussion/drums, keyboard, and vocal arrangement. It's Dream Theatre! Nuff said. Myung- don't be afraid to shine on the bass buddy. Rudess- The piano sections are especially attractive to the music. They add a certain maturity and depth to the music.

2. Disk two. The 42 minute title track: "Six Degrees of Inner Turbulance." If there is any reason why I would not throw this album in the used cd bin, it is because of this second disk. It is a wonderfully written piece with a drama and struggle built around the music. It does more than just capture excellent musicianship, but also goes about evoking emotion, and seems to move forward in a story-like quality. It is why this album is worth getting. It is what lacks on the first cd. Organized structural composition. Kind of like a finely written essay. Dream Theatre should stay with this format, because it is what people will keep buying their albums for. It is what will build them a legacy, and why kids will buy "Six Degrees" and albums like it in 20 years. On a side note...I recommend plugging this 42 song into your disk player and taking it out for a steady athletic workout sometime. It fits perfectly.

Reasons why this album is not 5 stars (negative points):
1. James LaBrie's voice. I love the vocal arrangements on his songs, but despise his voice. The Genre of Dream Theatre is heavy progressive, unfortunately- LaBrie's voice doesn't sound that heavy. It doesn't have that cutting hard sound that you would find in James Hetfield or Maynard o Keenan. Don't get me wrong; Keenan and Hetfield's chords are exceptional to a point that they sell millions alone on the sound of their voice. But that is also because they sound as heavy as the instruments playing along with them. LaBrie does not. I do however hear some hope for Dream Theatre. James, keep your tone at conversational level, and deep. Stay away from the Queensrythe/Zepplin vocal pitch. It works for Jon Anderson or Geddy Lee, but not you.

2. Lyrics- This takes special consideration of the second disk in particular. Now do not get me wrong, the song is wonderful, and the vocal arrangements are perfect. But the subject matter does not quite match the inflection of the music. The lyrics are about depression, but the music is not quite depressing enough to tug at my heart strings. It sets this dark story of a girl living with chronic depression. But the music is too much of a fantastic journey and not enough brooding bitterness. If you want bitterness, include dark scary violins, cold lonely finger dancing on the piano, have Myung take a lead role on his bass guitar, and have Petrucci follow behind Myung with a distorted steel guitar.

3. Rudess: on your keyboard- Piano Setting=good and beautiful. Moog Synth setting= cheesy and lame. Replace it with something more powerful.

Regardless of the problems- buy the album. It is worth the money if you are an aspiring musician hoping to get better, or someone frustrated with mainstream rock's inability these days to crank out intellegent music with skillfull ability. Six Degrees on Inner Turbulance has both of these qualities, and the second disk in particular will make it worthwhile to own.