Dream Theater has earned the favor of many as the most commercial band in Progressive Rock and Metal. With five exceptional musicians whose complexity and musical perfection are innate, they are one of the few massive bands that still dedicate themselves to the study of music. Despite having the option to avoid it, they do not settle and continue releasing high-quality work.
In 1997, their record label EastWest asked them to create something more suitable for the radio, more digestible than their previous albums: “When Dream And Day Unite” (1989), “Images And Words” (1992), and “Awake” (1994), all of which were true marvels. In response to this request, Dream Theater released “Falling Into Infinity” in 1997, marking the first decline in their career as fans were expecting another masterpiece.
Although it did not reach the quality of their previous creations, “Falling Into Infinity” is a noteworthy album. It provides an opportunity to explore the band’s ‘lighter’ phase, which, despite attempting to adapt, cannot let go of its characteristic virtuosity. This album would also be the last studio record with the magnificent keyboardist Derek Sherinian, making it even more special
What can we hear?
A band that doesn’t forsake its roots, we hear compositions of excellent craftsmanship that lean more towards Hard Rock to create heavier and deeper sections, such as the initial riff of “You Not Me.” They combine this with their characteristic polyrhythms that reaffirm their progressive identity.
John Petrucci (guitar) experiments with classic guitar effects like the flanger or wah to give a recognizable color to his guitar on this album. Similarly, he economizes his skill, serving as a rhythm guitarist for most of the album. Mike Portnoy (drums) embellishes the album with a rebellious groove, unafraid to improvise with fills that come directly from the moment and feeling. This album fits him like a glove to experiment more with the pure Rock he has always been a fan of, stepping back a bit from the progressive side. John Myung (bass) has the opportunity to step more into the spotlight as complex figures decrease in this work, such as his opening riff in “Burning My Soul.” Derek Sherinian (keyboards) sounds very free, without the need to compete with John Petrucci. Finally, James Labrie does the same with his voice, relaxing from all the strain he had in previous albums. All of the above leads us to say that “Falling Into Infinity” is a relaxed version of the band, a break from all the demands of their early releases.
We really like that there are songs like “Burning My Soul,” “New Millennium,” “Lines in the Sand,” or “Just Let Me Breathe” that have a very rock-oriented vibe that makes us move our heads from side to side, or as it’s commonly said, “headbanging.” But what’s interesting here is that we see progressive nuances in the timing that embellish the songs well and demonstrate that the band is just taking a break, not ceasing to showcase their skills. This is evident in the bridge of “Just Let Me Breathe,” where the band presents a masterclass of keyboards and guitars.
The emotional aspect of 'Falling Into Infinity'
The ballads of Dream Theater have always been one of their strengths, and ‘Falling Into Infinity’ does not disappoint, presenting two songs that showcase the emotional side of the band. The first one, ‘Hollow Years,’ features acoustic guitars that fit well and a very memorable vocal line. This marked the first time the band ventured into a more commercial, pop/rock-oriented sound, and they succeeded in a very good way.
The second ballad we hear is ‘Anna Lee,’ a song with a touch of melancholy guided by Derek Sherinian’s piano. We appreciate how the vocals explode at the 3:15 mark, providing a very special moment for James Labrie to demonstrate his ability to reach high tones. Additionally, when it comes to the guitar solo, John Petrucci approaches it more from the emotional side than virtuosity, creating a very communicative instrumental passage.
Speaking of instrumental music, ‘Falling Into Infinity’ presents one of Dream Theater’s best instrumental pieces in their career, ‘Hell’s Kitchen.’ The track starts mysteriously, but when it unfolds, it breathes on its own, flowing incredibly like a bucket floating with the waves of the sea. Here, all the musicians showcase their personal approach to the entire album with their instruments, with John Petrucci leading the song with clean arpeggios and fast solos, Derek Sherinian contributing with ambient synthesizers and progressive figures, and both Mike Portnoy and John Myung flowing in the foundation of the piece.
The most progressive space of 'Falling Into Infinity'
At the end of the album in the track ‘Trial of Tears,’ the band delves into Progressive Rock with greater intensity. It’s no coincidence that this is the last song, as we imagine the band might not have been satisfied with the rest of the work and wanted to compose a slightly more ‘intense’ piece to conclude on a high note. Here, we hear one of Derek Sherinian’s best solos with the band, fast, heavy, and pushing the limits of his synthesizer sounds.
‘Falling Into Infinity’ is a different album for Dream Theater, very rock-oriented and at the same time light. It provides an opportunity to listen to another facet of the band that adds variety to their discography. As we’ve seen in releases like Iron Maiden’s ‘Virtual XI,’ it’s always enjoyable to hear bands experimenting with new sounds and styles.
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