FALLING INTO INFINITY

So this album tends to be one of division among fans- I loved it from the first time I heard it. Falling Into Infinity sounds a good bit like Alice in Chains in some respects, which I don't mind in the least. At the same time, the music boasts a 1980s Rush sound once in a while. This is probably the most diverse Dream Theater album, at least in terms of sound and songwriting. The musicianship is strong as ever, and I much prefer this keyboardist to Kevin Moore. Amazingly, not only is the bass heard loud and clear, but it's a key instrument that stands on its own in many places, right alongside the keyboards and guitar. There is much more to this album that metal, also- something that always pleases me when I see a band perform so well in other genres. This album is not without dross, but that tends to be an inherent risk of publishing seventy-eight minutes of music on one album. I think Falling Into Infinity takes its lumps partially because of record label interference, something many progressive rock fans rightly frown upon. But sometimes- just sometimes- the record label gets it right.

"New Millennium" After an intriguing bit of keyboards from Derek Sherinian and a killer bit of bass, the band kicks into a crunchy, flavorful piece of music. The lead vocals take a pleasant medium between clear singing and grainier yet tasteful vocalizing, almost sounding like Layne Staley of Alice in Chains (the album Dirt particularly comes to mind). The piece blends some subtle symphonic tendencies with heavier bits.

"You Not Me" This pop song has a great edge with fantastic vocals and exciting guitar, and the chorus is exceptional. This is a very solid song with strong musicianship- not to be missed.

"Peruvian Skies" A swampy guitar and an acoustic work together with some laidback drumming, again sounding like Alice in Chains during the verses (this time making me think of Sap). Acoustic guitar is the glue to the chorus, and the song becomes even fuller after the powerful instrumental section.

"Hollow Years" This was, I believe, the second Dream Theater song I ever heard, and for some reason this song has some visceral meaning for me I can't put my finger on (it has something to do with being young and getting ready to go to college). The classical guitar is one of Dream Theater's most beautiful moments, and James LaBrie sings with such passion and conviction, that it's very hard not to love this gorgeous song.

"Burning My Soul" John Myung's gritty bass accompanies an organ and clean guitar that leads into heavier instrumentation. It's a brilliant metal introduction. The vocals are vitriolic and mesmerizing at the same time. I think his performance in this song demonstrates that Sherinian was, if anything, the more interesting keyboardist compared to his predecessor.

"Hell's Kitchen" Swampy bass and muffled guitar begin this one. A steady build up of instruments climaxes into one of John Petrucci's most soulful guitar solos ever, with plenty of bends and trills that can thrill the soul. The machine gun runs from the whole band are a cool feature to this excellent four-minute instrumental.

"Lines in the Sand" The previous instrumental runs right into this, a lengthy piece that begins with growling guitar and warbling synthesizer. Doug Pinnick of King's X makes a stark contrast with his heavier voice against LaBrie's soft tenor. Petrucci's guitar ranges from soaring leads to subtle rhythm flourishes. Mike Portnoy's drumming is especially tight and creative, especially alongside Myung's wicked bass work. While not my favorite track on the album, this is a strong, unified piece that utilizes the respective strengths of each member to create a cohesive, coherent unit.

"Take Away My Pain" Some light drumming, guitar, and bass begin this softer song, an unusual one for Dream Theater. In spite of that, this is of the best tracks on the album, infusing it with even more diversity and delightful moments. The guitar solo is a wonderful blend of the technical prowess Petrucci is capable of and the stylistic soulfulness he should inject in every performance.

"Just Let Me Breathe" With electric guitar feedback and some heavy thudding on the bass from Myung, this song has a strong introduction, even if it isn't one of the better songs. This is a rush of adrenaline with heavy drums and guitars, not to mention a sweet and funky organ and synthesizer thrown in for good measure.

"Anna Lee" Lovely piano and acoustic guitar make up the main instrumentation of this delicate song. LaBrie sounds very powerful, even in such a breathy mode. The slide guitar solo is a welcome addition, as it adds to the musical palette and injects new life into an already vibrant piece of art.

"Trial of Tears" Almost two minutes of airy synthesizer begins this longest track. The refrain is very strong, as are the keyboards strengthen holding down the background and bracing the mix. Sometimes I feel this track is a bit too long for its own good, but I think that's perhaps a justifiable opportunity to give the band a chance to stretch out and breathe. The keyboard swells and soling, the lead and rhythm guitar, the growling bass, and the taut drumming during the instrumental section are superb.