Dream Theater
Cleaning Out The Closet

THE REVIEW

It is well known that the album Falling Into Infinity is the least loved by the fans, but perhaps not everyone knows that even the Theater themselves have distanced from it. In fact, since the release of the album, Portnoy and company harshly criticized the work done by the record label, which demanded a revolution in sound for a more accessible product, and also rejected the idea of releasing a double album, discarding some songs composed for the occasion.
Said and done, within a few months, the band began circulating the album's demos within the fan club circuit to highlight what their original intentions were, and two years later, again for fan clubs only, making those songs "thrown out" by FII available. Therefore, this Cleaning Out The Closet represents a sort of disc 2 of FII with a couple of tracks already released as b-sides of singles being associated for the occasion.
However, a consideration is necessary: that the record label imposed heavily on FII is beyond doubt, yet it was the band's own compositional spirit that was inclined towards more "catchy" sounds, and this conviction of mine is further strengthened after listening to this Cleaning. The songs are all illegitimate children of that period, and except for some exceptions, the considerations made for the sisters contained in FII apply to them as well.

Nonetheless, the final product proves more discreet, still highlighting this band's ability to be at ease with a wide range of sounds, creating catchy songs, but never banal.
It opens with "Don't Look Past Me," a direct pomp prog with prominent keyboards and a stunning central solo by Petrucci, in an era where good John had yet to transform into Turbo Petrucci. La Brie himself is perfectly at ease with less aggressive and more melodic compositions.
Following are two tracks already appeared in the singles of "Silent Man" and "Lie," namely the dreamy "To Live Forever" (in two different versions) and the poignant instrumental ballad "Eve," which the band occasionally reprises in their concerts.
"Raise The Knife" is perhaps the link between the past Theater and those of FII: a nervous riff introduces these 11-plus minutes, where airy melodies intertwine with the typical instrumental breaks that have always been the band's trademark. In my opinion, the best episode of the album.
"Where Are You Now" is a track without praise or reproach, very catchy and, of course, superbly played, classic filler, would have been excellent as a b-side. In "In The Way It Used To Be," already present in the single of "Hallow Years," the band delves into their love for U2, but with a class that unfortunately will not be found in the Octavariana "I Walk Beside You."
"Cover My Eyes" is a short and direct hard prog track that, when it seems about to take off, alas ends. "Speak To Me" is probably one of the best ballads ever written by the Theater and honestly, it was a crime not to include it in FII, perhaps in place of the dull "Anna Lee." Once again, the inspiration comes from Bono & C, but this time characterized by the typical melancholy of The Cure. The band will realize its goodness by often playing it live.

These nine songs are the classic gem for the fan, for those who want to have everything by their most beloved band, while for those who have always snubbed the band, it's better to stay away. However, it is a difficult product to find, which, honestly, I don't understand why it isn't reissued on a large scale.
For the fans, therefore, a must-have at all costs.