Labrie, James (Dream Theater) (March 2002)

Tales Of Turbulence - An Interview With James LaBrie

Originally I was hoping to spend Saint Valentine's day in the most common way possible, but when you have the possibility to see the first Italian show by Dream Theater, and the chance to interview personally the band (in the person of James LaBrie) to talk about their new opus, Six Degrees Of Inner Turbulence, what do you do? Well, if you read below you should know what was my final decision.

II: OK, James. So, in one of the reviews regarding SDOIT we wrote about the new album as being "more" than like the past in almost every aspect. I mean more complex, more progressive, more heavy, more technical and so on. So what do you think about it?

JL: Well, I think that the way that I've described it is ... you know, obviously throughout Dream Theater's career we've been very diverse with where we go on any given album. I think the reason for this is that we've always been very experimental, we don't want to repeat ourselves with the next album. So I think that what we do, we have the luxury of being the band that we are, a band that people expect something different from each and every time we record. So this gives us the freedom to be experimental and to push the envelope farther the next time. Go beyond where we have gone before. Because of that we almost have an ecliptic approach to music, and certainly first and foremost a lot of people look at us as a hard rock progressive band, and definitely those elements are in there, but then we also throw in some other things like classical or orchestral themes. It seems like there are no boundaries for us, which is a unique situation to be in there, because it allows us to be free creatively.

II: But all of you have the same vision?

JB: Yeah. I think the best thing that DT did was coming back with the Scenes From A Memory album. We said to ourselves at that point, after doing Falling Into Infinity and having all these exterior forces around us, forces that were going like: "Maybe you guys should try something like this, or something like that," you know what I mean. Well, we thought that this was wrong for this band, and believe me, it was a very trying time when we did Falling Into Infinity. When we got to Scenes From A Memory we said to the label, and everybody around us: "Look, we are basically going back to our roots, and this is what type of stuff we have to do. We need to be once again with no boundaries, and if you don't allow us to do that, then we will have to break up. Forget it, that's enough." So the label -- I have to give them credit, because they sat back and said: "Fine, let them do what they want to do." And it was proving to the label, because Scenes was very successful, and that's basically because we know our fans more than anyone else.

So we went into the studio and wrote and recorded everything there once again, without any demo period before. So you're coming with some spontaneous ideas and I think that's a beautiful thing when you are writing, because if you get too clinical, if you get too analytical with it, then it becomes sterile. This album, I think, gives every listener we've attained over the years something to grab on to. You know, there's heavy riffs, progressive, classical themes, there's everything you can think of. I also think there's been a very notable evolution to the way we approach each and every song. I think the songs have become more focused, and the telling of those songs musically and lyrically presents more bond, the songs are more cohesive than ever.

II: And how about the idea of doing a double album? If I remember well, it was something you wanted to do since after Awake?.

JB: Well, we went in with the idea in mind to do a double album. We went in and we were thinking: "Well, at least it will be 70 or 80 minutes long." But what happened was that we got into writing the first 5 songs, which are on the first disc, and then, when we came to the title-track, "Six Degrees Of Inner Turbulence," we envisioned a song about 20 minutes long. But then 20 minutes go by, and then 30, and 35, and 40, and so we went: "Holy shit, how we gonna fit this song! We can't." But we looked at the music and said: "Well, we can't lose any of this. We need to keep it in its entirety." So basically we knew that the only way to approach this would be a double CD. So we said that to the label, and they went: "No problem, go ahead."

II: Yeah, really?

JB: Yeah, I think that what they've realized in the last 3 to 4 years is that they have a better understanding of who we are as a band, now more than ever. You know, when Images And Words went up like a rocket, they thought this was the way it should go with every album, but they didn't realize that most of the time, when you are in a progressive band, it's more like a slow ride to the top. I think that in the beginning they were impatient, because they thought that a band like us could be like Staind, or another one who sells fast. They probably would say: "You guys have to reach that point (meaning selling a lot of CDs)," and we could only answer: "No, no. We will reach that point, but you have to stick behind us and wait, and be patient." You know, it seems like an oddity, but at the moment we are gaining space in the US, a lot of people are starting to take notice of Dream Theater. Europe and Asia has always been more or less amazing, but the market is building also in the United States, believe me.

II: But do you think that the market will change soon or not?

JB: I really feel right now that there is a transitional period going on in music, but I really believe that there is something coming back. You know, with all the big media that have interviewed us recently -- CD Now, Entertainment Weekly -- I really feel something like the early seventies, when you had great bands like Yes, Pink Floyd, Deep Purple, Led Zeppelin -- it's coming back in some way. And I think that at anytime it will happen, in the next 2 or 3 years. I really think that this music will really get off, and you will have people say: "Oh, wait a minute, this is the right music, let's get it on," but then you'll have people try to do this shit, and someone will sell like shit [laughs]. But that's fun, because the bands that stuck to their guns will finally have their gratification, we will be able to say: "Well, we stayed true to ourselves and now here is our day." I think it will happen, and also satellite radio will be huge, because people are sick of listening always to the same stuff over and over again.

II: But you, as Dream Theater, already started in the right direction, because you are on top of a lot of charts.

JB: Yeah, we were amazed too, but that is exactly what happened. We came in number 3 in the Japanese charts, and we are at the top of CD Now, from, well, it seems forever. In fact I did an interview with them just two weeks ago and they were amazed, too. I said: "What does that tell you? It tells you that people on the Internet are going where there is some music."

II: But I also think that this can be linked to the fact that a lot of Internet fanatics are less victim to stereotypes and have more common sense

JB: Well, maybe they're more educated. They are educated for one, because they are on the Internet, because you don't get just anybody on the Internet, even if it's now becoming like a TV in your home. But at the same time these people, when you are on the Internet, you're reading new things, you are bombarded by great amounts of information constantly, so this allows you to access all these new areas quickly, areas that you would never be aware of if you just listened to the radio, or watched TV.

II: Yes. So now James, speaking about SDOIT, the cover of the new album is so close in style to Nine Inch Nails and such a departure from the past ones you had.

JB: Yeah I know, but with the album cover you have to talk to Mike (Portnoy), because he was the one behind the cover, to make sure the art concept of the album came up in a certain way. I can go and tell you what I think, but it might not be a true feeling of why the cover looks like that! Obviously we wanted to get away from something like computer graphics, or something artistically drawn; we wanted something that was a little bit more raw, something that's a bit more simple when you first come in contact with it, but that also has a lot of hidden meaning, if you look close enough.

II: But are there some songs that are left from the recordings of the album?

JB: No, there wasn't any leftover material. We gave it all this time. I mean there are some jams here and there, but nothing that you could say: "That was a complete song." Wow, man, there is a lot of music out there to play. And we have to do something about the past, too. You know, the set list is growing more and more, and everyone obviously says: "Are you gonna play this tonight, or that?" Well, we are gonna play a lot and hopefully you will be satisfied with what we will play. But it's a nice situation to be in, instead of another where you have to play the same songs again and again.

II: But you change your set list a lot!

JB: Yeah, we are throwing different set lists almost every night. And the fans appreciate that a lot, because if they go to two concerts they will probably listen to a lot of different songs. It's been a great tour by far. I mean Europe is amazing, here [in Italy] we do three sold out shows then we move to Spain, then we go home and we move to Mexico City. Then it's over to the States; after that a date in Canada and then Asia. We will be out until next Christmas. Consider that we've already been asked to come back to Europe to do festivals in the summer. But we wanna come back in the fall, to get into areas where we didn't get the first time, and play the second disc in its entirety. So the people will see other new songs!

II: Yeah, for example I've seen that you also play a lot of rare tracks like "Surrounded" and "Scarred"?

JB: Yeah, and we like it, 'cause the people like to hear those songs, they are ecstatic. They go: "Holy shit! We haven't heard this song in freaking seven years!!! Let's go!." It's great and the reception has been amazing. People are like: "Wow, thank you." This has been a great experience.

II: OK, James, it's time for you to concentrate on the show. Thank you for the usual kindness and hope to see the band here as soon as possible.

JB: You are always welcome. It was a pleasure. Enjoy the show.

Discography:
Images and Words (1992)
Live At The Marquee (1993)
Dream Out Loud (1994)
Awake (1994) A Change in Season (1995)
Falling Into Infinity (1997)
Once In A Livetime (1998)
Scenes From A Memory (1999)
Cleaning Out The Closet (Xmas CD 1999) (1999)
Scenes From A World Tour - Christmas CD 2000 (2001)
Live Scenes From New York (2001)
Six Degrees Of Inner Turbulence (2002)
Train Of Thought (2003)
Live At Budokan (2004)
Octavarium (2005)
Score (3CD) (2006)
Systematic Chaos (2007)
Greatest Hit (...And 21 Other Pretty Cool Songs) (2008)
Black Clouds & Silver Linings (2009)
A Dramatic Turn Of Events (2011)
Dream Theater (2013)


Metropolis 2000: Scenes From New York (DVD) (2001)
Live At Budokan (DVD) (2004)
Score (DVD) (2006)
Chaos In Motion (DVD) (2008)