To most, writing and recording an eight movement, 42 minute piece that dominates the entire second half of a two-CD album probably seems like an ambitious undertaking for a rock band. Those people clearly haven't met Dream Theater.
This is the group that released a concept album (1999's "Metropolis Part II: Scenes From A Memory") built around the themes of love and murder, complete with an accompanying play written by band members. This is the group for whom a tour's resulting live album spanned no less than three CDs. This is a group out to rule the world, and they're at it again with their new double-length studio album, "Six Degrees of Inner Turbulence."
For years, Dream Theater has single-handedly spearheaded the progressive metal movement, straddling the gap between Rush on steroids and Creatine and '80s-era Van Halen. When the full band hasn't been busy holding down the fort, its members have been doing so through side projects that typically require only minimal changes in the band's usual lineup.
With the success of their style resting squarely upon their technically proficient shoulders, one might think that Dream Theater would be wholeheartedly dedicated to furthering the interests of their genre. "Six Degrees" seems to be striving for just that. Unfortunately, the result is less of a metal album than previous Dream Theater works and more of a tool by which to convert the uninitiated and the skeptical.
The album opens with "The Glass Prison," a hardcore headbanger's anthem that clocks in at over 13 minutes. Percussion god Mike Portnoy's driving double bass makes an explosive entry and a few subsequent reappearances, but for the most part the welcome familiarity is short-lived.
"Blind Faith" sees guitarist John Petrucci initially copping a U2 vibe and then proceeding to tip his hat to everyone from Zakk Wylde to Lynyrd Skynyrd. In contrast, "Misunderstood"brings to mind angst-ridden British alternarock bands like Elastica, Stereophonics and countless others you aren't cool enough to know about.
The eclectic mix is topped off by a short foray into classical music and a stomach-turning attempt at electronica that has to be heard to be believed.
This colorful menu reeks of deliberate nonconformity. The band is trying too hard to surprise, at the expense of any truly progressive musical thought.
Lyrically, "Six Degrees" is hard to characterize, and not just because of the gloriously out-of-place commentary on stem cell research. Though his fantastic operatically-trained voice is clearly in a class all its own, singer James LaBrie consistently overflows the rhythmic boundaries presented by his bandmates, invariably producing verses that are completely devoid of structure.
To Dream Theater's credit, on the other hand, the unity of the album is quite apparent. The dominant theme of mental illness is made readily apparent without bludgeoning the listener with it. Overall, the mix of direct storytelling and deliberate ambiguity is almost perfect, inducing just enough intrigue without going overboard on rock opera tactics like scripts and plot development devices. Unfortunately, the more bizarre and thought-provoking passages often seem like played-out exercises in melancholy and self-depreciation.
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The strongest successes of "Six Degrees" come from its instrumental elements. Each member is individually very talented, and their 15 years together have taught them how to best complement one another. Their hard-driving songs effectively showcase each musician's stunning virtuosity without sacrificing coherence, and there are more well-executed ballads than one might expect, given the band's penchant for crunch. While the vocals often flow about as well as an expository research paper laid down over a beat-box, the music behind them is tasteful enough.
There's no denying that these boys can rock, and they certainly have their moments on this album. Nevertheless, "Six Degrees" comes across primarily as third-rate Pink Floyd executed with first-rate technical prowess.
Ardent fans may feel like the most severe degree of inner turmoil here has to do with the band's battle with stylistic schizophrenia. Those looking for the usual Dream Theater music, by which one can drive stolen cars and burn enemies in effigy, would probably be better off sticking with the memory of "Metropolis"
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