When a legendary band undergoes a lineup shift, the anticipation among fans tends to skyrocket, often fueled by curiosity, nostalgia, and a dash of apprehension. Dream Theater’s upcoming album, Parasomnia, not only heralds the much-anticipated return of founding drummer Mike Portnoy but also serves as a bold statement: after four decades, this band still has plenty of fuel in the tank, and its sounds as organic and commanding as they did back in 2009.
Portnoy’s influence as more than just a percussionist — more often than not shaping the band’s creative direction since the beginning — makes this reunion utterly significant. While his absence over the past decade gave fans a chance to experience different creative dynamics, his return feels like rediscovering an old but well-loved instrument, instantly familiar yet brimming with potential.
True to its title, Parasomnia dives into the eerie realm of sleep disorders and nocturnal phenomena — subjects uniquely fitting for a band whose name evokes dreamlike imagery. The album takes listeners on a 72-minute sonic exploration of sleepwalking, night terrors, shadowy figures, and more. It’s not a strict concept album, but its thematic cohesion provides a sense of narrative threading through its tracks.
The opening track, “In the Arms of Morpheus,” sets the tone with atmospheric city noises that dissolve into an unsettling musical prelude. As the tension builds, John Petrucci’s sludgy, eight-string riffs burst into the mix with the most massive, down-tuned sound he’s ever recorded in a Dream Theater record, pounding over Portnoy’s thunderous rhythms. This track is pure cinematic drama, with Jordan Rudess contributing hauntingly ethereal tones and John Myung’s bass providing a steady, almost hypnotic pulse. Though instrumental, the piece feels less like a jam session and more like a meticulously crafted overture, foreshadowing the themes and motifs to come.
The second track, “Night Terror,” is one of the album’s already released singles, and opens with a chilling minor-key riff reminiscent of Train of Thought’s heaviest moments, the song captures the oppressive weight of nightmares. The verses alternate between dark, brooding passages and James LaBrie’s introspective lyrics, which convey the suffocating anxiety of sleep paralysis. The chorus, bolstered by Rudess’ soaring orchestration, strikes a balance between melodic accessibility and intricate arrangement. The song’s instrumental middle section is where the band shines brightest—Petrucci and Rudess engage in a frenetic duel, trading blistering solos that recall the virtuosic interplay of Scenes from a Memory. Portnoy’s drumming is the glue holding it all together, his fills and syncopations adding layers of complexity without overpowering the ensemble.
“A Broken Man” shifts the tone, exploring the fragility of the human psyche. The song opens with an explosive burst of energy — Portnoy’s rapid-fire tom rolls set against a backdrop of military radio chatter and a ceremonial gong. Thematically centered on PTSD and its nightmarish echoes, the track alternates between somber verses and thunderous choruses. Petrucci’s riffing is sharp and rhythmic, punctuating LaBrie’s emotionally charged delivery. About halfway through, the song takes an unexpected turn, diving into a fusion-inspired jam, a detour that accentuates the band’s playful side, proving they continue to be unafraid to step outside their comfort zone. The joyful tone of the instrumental section here is a perfect contrast with the heaviness of the subject at hand and reflects the confusion in the protagonist’s mind. The hard rock feel of Petrucci’s solo shows a side of his playing that is rarely on display and is a breath of fresh air.
“Dead Asleep” is a harrowing tale inspired by real-life incidents of sleepwalking tragedies. The intro is deceptively serene, with Petrucci’s clean, mournful chords evoking a sense of vulnerability. This calm is shattered by a frantic, detuned riff, mirroring the chaos of the protagonist’s dream state. The song oscillates between these two moods — gentle introspection and aggressive outbursts — mirroring the protagonist’s internal struggle. The instrumental break is a highlight, with Petrucci unleashing a bluesy, heartfelt solo that gradually morphs into a shredding frenzy. Rudess matches this intensity with a lead synth line that alternates between classical elegance and electronic ferocity, while Myung’s bass lines slither beneath, anchoring the chaos.
“Midnight Messiah” offers a stark contrast, celebrating the liberation and power of lucid dreaming. The track’s main riff is a headbanging masterwork, blending palm-muted chugs with sweeping melodic phrases. Portnoy‘s lyrics, his first lyrical contribution after returning to the band, explore the allure of creating a perfect dream world and the danger of losing oneself in it. The chorus is infectious, leaning into a more straightforward rock sensibility, yet the real magic happens in the latter half, where Petrucci and Rudess take the song into hyperdrive, with a synchronized and turbocharged tapping sequence. Fans who enjoy the homages they made to Metallica in the past, on songs such as “Fall Into the Light” or “As I Am”, will enjoy this chaotic tale. Also, there are plenty of nuggets in the lyrics here, and the sense of nostalgia is palpable.
“Are We Dreaming” and “Bend the Clock” serve as a thematic pivot, shifting focus from dreams to the regrets of reality. The former is a haunting interlude, with Rudess’ church organ creating an uneasy atmosphere punctuated by whispered voices. “Bend the Clock,” on the other hand, is a bittersweet ballad reflecting on lost time. Petrucci’s warm, overdriven chords carry the verses, while LaBrie’s heartfelt delivery tugs at the listener’s emotions. The climactic and extended outro solo is pure Petrucci’s magic: a blend of expressive playing with Gilmour-like phrasing and technical brilliance, building to an emotional crescendo before fading into the ether, leaving me wanting for more.
The album’s grand finale, “The Shadow Man Incident,” is a 20-minute sprawling epic that encapsulates the album’s themes and showcases the band’s technical and compositional excellence. The song begins with the eerie wind-up of a music box, its melody unraveling into a crushing seven-string riff that sets a sinister tone. The verses weave a tale of shadowy figures lurking in the periphery of consciousness, drawing inspiration from Lovecraftian horror – the lines “That is not dead which can eternal lie, and with strange aeons even death may die” from “The Nameless City” are included in the lyrics. Midway through, the song transitions into an extended instrumental section, with throwback snippets to previous songs like “Octavarium”, “The Ministry Of Lost Souls” and “Strange Deja-Vu”, a playground to the band’s legacy. Portnoy’s drumming is roaring and precise, his signature fills driving the momentum. Petrucci’s solos are fiery yet emotive, complemented by Rudess’ cinematic keyboard textures. Arguably, James’ most inspiring vocal melodies are featured here, and as far as epics go, this one is way more impactful than the title track of the previous album, A View from the Top of the World. The final moments are a symphonic tour de force, with all members locking into a tight, climactic march that crescendo into silence, leaving only the faint echo of a ticking clock.
Parasomnia is a dense, ambitious record that rewards repeated listens, with a stellar production – arguably the best-sounding Dream Theater album in decades – that manages to capture the band’s complex dynamic range with utter clarity and depth. While it occasionally leans into familiar territory, it does so in a way that feels intentional, celebrating the band’s legacy while embracing their renewed chemistry with Portnoy’s return.
Released By: Inside Out Music
Release Date: February 7th, 2025
Genre: Progressive Metal
Musicians:
- James LaBrie / Lead vocals
- John Petrucci / Guitars, backing vocals
- Jordan Rudess / Keyboards
- John Myung / Bass
- Mike Portnoy / Drums & percussion, backing vocals
Parasomnia Track-Listing:
- In The Arms Of Morpheus (5:22)
- Night Terror (9:55)
- A Broken Man (8:30)
- Dead Asleep (11:06)
- Midnight Messiah (7:58)
- Are We Dreaming? (1:28)
- Bend The Clock (7:24)
- The Shadow Man Incident (19:32)
Pre-order Parasomnia HERE.
Additional writing contributions by Rodrigo Altaf
The undisputed world champions of progressive metal, have reunited. For those who have longed for a Dream Theater album that feels both nostalgic and forward-looking, “Parasomnia” delivers in spades and then some.
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Musicianship
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