Dream Theater Calms Its Inner Turbulence With A New Album And A Tour

When the New York based hard-rock quintet Dream Theater released its second album, “Images and Words,” in 1992, its Metallica-meets-Rush style prompted a newfound interest in so-called “progressive rock.” The album’s anthemic “Pull Me Under” became a surprise hit for the group, and brought it respect at a level previously afforded only to such legends of the prog-rock genre as Genesis, King Crimson and Yes.

Now, a decade and numerous studio and “live” releases later, Dream Theater is touring in support of “Six Degrees of Inner Turbulence,” an ambitious two-disc set that examines, in depth, the fragility and indecisiveness of the human psyche.

While the first disc features five individual tracks, the second is taken up by the 42-minute title track, a sweeping look at six mentally challenged “characters” that recalls such prog-rock works as Rush’s “2112” and Yes’ “Close to the Edge.” And it seems that many of Dream Theater’s fans are embracing one disc or the other, rather than both.

“You have those who are leaning toward disc one because they like that more for its aggression and the separate song identities,” said vocalist James LaBrie from his home near Toronto. “Then you have other people who are into the more progressive approach of the second disc ... one big epic song that it is.”

Composed by guitarist John Petrucci, bassist John Myung, drummer Mike Portnoy and keyboard player Jordan Rudess, “Six Degrees of Inner Turbulence” is an instrumentally astonishing sojourn into emotional distress, from postwar paranoia to deep depression.

“I know that John (Petrucci) did a lot of reading up on some of these mental illnesses,” LaBrie said of the inspiration for the lyrics of the piece, which were co-written by Petrucci and Portnoy. “Basically what you’re dealing with is six individuals, each with their own mental challenges. With Mike, I think the inspiration was just him going by some of the things he’s seen in life, his observations of people in general.

“It really does paint a clear picture. I think we all have come across, or know someone directly, who has experienced some sort of mental ‘meltdown.’”

LaBrie also believes in the existence of a higher power, which he expresses in his lyrics for “Blind Faith,” one of the tracks on disc one of the new release.

“I’m always questioning the reasons behind our existence,” the singer said. “And especially so nowadays, with society having become so enthralled with the material side of things. At the end of the day, I believe that it really all comes down to who and what you are, not what you have around you.” Dream Theater also tackles the recent controversy surrounding stem-cell research, on “The Great Debate.”

“Me personally, I would have to say that the research should be continued, and the technology should be made available to people if it’s going to better their lives,” LaBrie said. “I know that if I was a paraplegic or a quadraplegic, and somebody told me I could once again move my arms and legs, ... what am I supposed to say? If we can make someone’s life that much better, why not?”

Known for its marathon, three-hour shows when headlining, Dream Theater began a world tour in the United Kingdom shortly after the album’s late-January release. With regular breaks at home, the band’s members indulge their individual passions; for LaBrie, that meant a camping trip with his wife, Karen, and their two children, Chance and Chloe.

But the end of the group’s current tour (the band performs tomorrow at Humphrey’s) doesn’t equate to any extended “down time” for the singer and his band mates. All have their own outside musical projects, including LaBrie’s “Mullmuzzler 2,” the recently released second effort from a collective that expresses the vocalist’s more introspective side, and features San Diego guitarist Mike Keneally.

While putting the Mullmuzzler band together, LaBrie’s chosen drummer for the project, Mike Mangini, suggested Keneally as a perfect match.

“(He) Keneally called me back after listening to the songs I’d sent him, and said, ‘Yeah, I’d LOVE to do this, man ... this is really cool!’ And I said, ‘OK, throw your weird, wacky self all over it.’ And basically, that’s just what he did.”