The return of Mike Portnoy to Dream Theater isn’t just a headline-grabbing reunion — it’s reshaping the band’s sound in ways that even longtime bassist John Myung didn’t quite expect. As the progressive metal mainstays gear up for the next leg of their tour, Myung offered insight into how Portnoy’s comeback has created a ripple effect across the group.
“Getting a different drummer actually affects everybody in Dream Theater, because we all play off the timekeeper in the band,” Myung explained in a recent interview with Bass Player. “But having Mike back just felt right. There were so many magical moments where everything came together. We’re like family.”
The creation of Parasomnia involved a balance between structured composition and in-studio experimentation. Myung explained, “A lot of times, if there are a lot of rhythms and structures, my part will be heavily dictated towards supporting the chords and playing the root. The first step of writing a bassline for a technical song is just picking the notes and being on top of what’s going on. Once we’re in the studio, I have the time to sit back.”
After more than a decade apart, Portnoy rejoined Dream Theater in time for the release of Parasomnia, their sixteenth studio effort, which many hailed as a return to the band’s heavier roots. The reunion also coincided with Dream Theater’s 40th anniversary—a milestone celebrated with a well-received North American tour. According to Myung, the chemistry with Portnoy rekindled the same spirit that defined the band’s early years.
“In a lot of ways, it still feels just like it did when we first hit it off at Berklee,” Myung said, recalling their college days. “We’d always book out room E19, which is where we’d practice Monday through Friday. We’d be there every night, six until midnight. A lot of those songs we were working on became the songs on Images And Words.”
Parasomnia showcases Dream Theater‘s commitment to technical excellence without sacrificing musicality. Myung elaborated on how the band treaded regarding not going overboard with the technical aspect
“Every album challenges the thresholds of technicality. I think the problem with making really technical music within a rock sense is that you lose some of the power. Our past couple of records were super-technical, but with Parasomnia, we’ve been a lot more conscious of that.”
When asked about that breakthrough 1992 album, Myung remembered the humble beginnings that preceded their rise: “I remember the expectations were low! It wasn’t like we had a massive push behind it. There was a song called ‘Pull Me Under’, and whenever that song got played on the radio, the phone lines would just light up. Everyone wanted to know about this new band.”
“That’s when the label booked us to make a music video in Chicago. Once MTV started showing that video, everything changed. The power of MTV really put us on the map,” Myung added.
When asked about his influences, Myung did not hesitate in naming some legends: “For me, it was Steve Harris, Geddy Lee, and Chris Squire. I liked the spirit of Steve Harris’ sound and the way the Iron Maiden songs were built off his basslines. I started getting into them at the Piece of Mind stage.”
As much as Dream Theater is looking back and celebrating its past, Myung is also contemplating a shift for the future. After years of playing a six-string bass, he’s considering stripping things down.
“I’m actually thinking about it for the next record,” he admitted. “There’s a certain freedom that you feel when you go back to a 4-string. Having the discipline to be able to play a 6-string bass is great. It’s definitely forced me to develop a certain technique and a way of playing that I enjoy, but now I feel like it might be time to apply that knowledge to a 4-string bass and just have some fun with it.”
