SIX DEGREES OF INNER TURBULENCE

What can I say that hasn't already been said ten times over? Spanning two disks and stretching to nearly 100 minutes, [I]Six Degrees of Inner Turbulence[/I] is a true progressive masterpiece which tantalisingly sits on the very boundary of rock and metal whilst exploring the now classic Dream Theatre style and depth. It has to be said that the opening track on the first disk, [I]The Glass Prison[/I] has always been a big disappointment to me and to this day I can't see why it is so popular amongst the DT faithful. Personally, I have always enjoyed Dream Theatre for the symphony and melody and that track is far too heavy to encompass either of these strengths and just comes off as a heavy mess to me. Delving deeper into the album, the opening track becomes even more of a mystery and the remainder of the first disk is slightly less aggressive, more focused and more in the mould of what I consider to be the best direction for the band to explore. For the most part of the first half of the album, the formula is fairly constant with the louder more metal side of the band on display, combined with some more familiar progressive traits. This is true of course until we hit the very last track, [I]Disappear[/I] which is the essential 'power ballad' in which acoustic guitars and James LaBrie himself take over for the very first time and the barrage of heavy guitars are put to bed. Bar far the most beautiful aspect of this track; the best of the first disk, is the harp and keyboard work which is both piercing and menacing along side LaBrie's strong vocal contribution. All of this and were only half way through. It's only at this point you realise just how phenomenal this double album is.

The second half of the record is by far a more concept-oriented approach, which essentially is one long piece divided up into eight separately names sub sections for easy navigation. The first instrumental track, [I]I. Overture[/I] alone explores all sorts of fantasies, dreams and moods. From gently piano ripples to crescendos that opener is a perfect induction to the rest of the stunning concept. It doesn't take long for the vocals to kick in and it is probably the best I've heard James sing, changing his vocal style to more gentle and appropriate pitch a speed, amongst the keyboards and quiet yet un-intrusive guitar solos. The middle of the second disk is a tug of war between piano driven melodic material and slightly heavier guitar driven rock material until the fifth segment, [I]V. Goodnight Kiss[/I]. This comes of as a lovely goodnight and introduces the ending melodic passages of the entire album. It introduces perhaps Dream Theatres most recognisable tracks in the hit [I] VI. Solitary Shell[/I] which combines a melodic backing to catch lyrics to create an instant hit which is by far a more regular pop track and stands up well on it's own removed from the context of the album. By far the best track of the entire journey is the very last, [I]VIII. Loosing Time - Grand Finale[/I] which is an explosion of keyboards and does exactly what was needed; finish of a stunning album in spectacular fashion, and just like the rest of the album it does keeps coming back at you and seemingly takes an eternity to fade away. Need I say more?