by Daniel Levy
If you know progressive metal, you know Dream Theater. We could partially save the introductions, but one thing is certain: a new DT release is an event celebrated by the whole genre. There’s another major aspect that marks this event, however – the return of the band’s original drummer & founding member Mike Portnoy. After 15+ years, this revered lineup of musicians release their first new album together on February 7th, 2025, entitled Parasomnia.
This album explores themes of sleep disorders. However, rather than telling one singular story throughout its runtime like a traditional concept album, it explores different subjects related to the main theme on a song-by-song basis – much like the band’s classic Six Degrees of Inner Turbulence’s title track. The musical storytelling aspect of it is apparent when you take into account all the sound effects, voice lines, and repeating musical motifs you’ll hear all the way through.
‘In the Arms of Morpheus’ opens the album with the sounds of someone heading to sleep. Acoustic guitars play a beautiful, albeit suspenseful melody as this main character drifts off. Distorted harmonies bring a sense of weirdness that then transitions into the full band coming in, accompanied by the sound of an alarm clock. This overture is cinematic, and bombastic and sets the tone of the record perfectly. We get introduced to many of Parasomnia’s musical themes arranged with heavy tritone riffs, suggesting a sense of unease and worry. This song also features John Petrucci’s 8-string guitar’s surprising single appearance. It’s a bold opening statement that showcases the group’s ability to create tension and anticipation without even using a single word.
With a perfect transition into ‘Night Terror’, the first single off of Parasomnia and one fans had plenty of time with. This track captures the quintet’s diverse range of sounds with its hooky chorus, incredibly well-executed instrumental passages, and a few surprising moments (like the abrupt tempo change before the second verse, a personal favorite moment). It becomes even easier to appreciate this song’s strengths after experiencing it live. Dream Theater has been playing this one on their 40th Anniversary Tour and it’s always met with great response and fan participation. It’s an instant classic and also a strong showcase of what the band’s doing with Parasomnia as a whole – blending accessibility with complexity.
Next up is another track that was released early as well – the fast and heavy ‘Broken Man’. This is a real highlight for drummer Mike Portnoy, as his ever-present double bass drums are a special element in this one. The band has remarked that this was more of an album track rather than a traditional single. Nevertheless, the bluesy guitar solo and intricate instrumental section stand out.
The second longest in the album, ‘Dead Asleep’, is one that also took me a few listens to truly appreciate. Its opening with acoustic guitar and violins elegantly sets the tone before the full band joins along. The opening riff and its use of harmonics, reminiscent of Dream Theater’s classic ‘Sacrificed Sons’, immediately grabs your attention with its heavy, syncopated rhythm. What the band does with the chorus here is also emblematic of the group’s classic contrast – mixing the low end of Petrucci’s distorted guitars and Myung’s bass with Rudess’ incredible piano playing. This track also highlights the strengths of Andy Sneap’s audio production – every instrument is well-defined and present, sounding the best they ever have. ‘Dead Asleep’ is an epic journey in its own right, accentuating the cinematic feel that Parasomnia aims for. It can be a slow burn, but reveals more and more depth with each listen, making it one of Parasomnia’s most rewarding pieces.
Third single (and my favorite of the bunch) ‘Midnight Messiah’ opens the second and stronger half of the record. What’s done with this song overall is extremely creative – it seems like they cooked a lot of their new ideas into this one track. The vocal melodies are excellent and complement LaBrie’s range nicely. Choruses are fun, energetic and surprise you with a thrash metal twist. The instrumental section with the unison guitar/keyboard duet brings the shredding aspect of the band with great taste. And finally, the lyrics by Portnoy (his first in 15 years) are a love letter to many past songs in the group’s discography – finding the easter eggs make it one of the most enjoyable listens on the record.
‘Are We Dreaming?’ is a brief interlude that bridges the album’s more intense moments. Featuring choirs, atmospheric keyboards, and sound effects, it’s a calm yet eerie breather that fits perfectly within the lyrical concept. Segue into ‘Bend the Clock’ the album’s sole ballad. Opening with softly overdriven guitar chords and subdued vocals, the track exudes a sense of vulnerability that contrasts beautifully with the heavier moments. The build-up is gradual but deliberate, leading into the introduction of the song’s main theme, with top-tier taste in guitar and keyboard tones. The nostalgic sound recalls the band’s ’90s ballads, but with a maturity and depth that reflect their evolution. Lyrically, this tune is the most relatable, and by nature, the most emotional as well. This emotion is also present in the performances – particularly on LaBrie’s understanding of expression in his singing. However, the star of the show is John Petrucci’s final guitar solo, which is nothing short of spectacular. Weaving a narrative of its own with fluid phrasing and impeccable tone as the full band follows along. While the fade-out ending might leave some wanting more, it feels fitting in the context of the composition’s introspective nature. This track is a masterclass in balancing simplicity with emotional impact.
Then, we get to the epic ‘The Shadow Man Incident’. At just under 20 minutes, this finale is Parasomnia’s crowning achievement. Its structure, or rather, lack thereof, is a well known trope in Dream Theater longer songs. Still, they usually manage to stay cohesive and that’s definitely the case here. This one goes in a lot of different places but they all have their own personality and feel. After the long intro, with sound effects and military drums, the song sees its most familiar moments. The heavy riffs perfectly match the vibe and lyrical tone about this shadowy figure. The instrumental centerpiece of the track is a standout, with tribal drums, a haunting guitar duet, and strings that evoke a dark, cinematic atmosphere. Transitioning into an intricate guitar/keyboard interplay that might just be my favorite moment in the whole album. Just when you think the track has shown all its cards, a brilliant Latin-inspired piano solo by Jordan Rudess emerges, injecting a surprising yet fitting twist that underscores the band’s versatility. Following another insane Petrucci solo, we are reintroduced to the main theme of the Shadow Man – one we had heard all the way back in the first track, building to an exhilarating climax and a perfect ending to the record.
The final words, “wake up”, are incredibly fitting as after my first listen, I did have to question myself if it all was indeed just a dream. It’s amazing to think that a band releasing their 16th studio outing could still produce something of this caliber. Portnoy’s return to DT brings a much needed breath of fresh air. It reminds us of his importance to the group as not only a drummer, but as a composer. His personality was missed in many areas including production, backing vocals, vocal melodies, editing, sequencing and so on.
This particular lineup of 5 musicians made some of prog’s most celebrated albums – Parasomnia joins that list, being a masterclass in progressive metal that offers a cohesive narrative and original musical choices. From an audio production standpoint, and regardless of personal preference, Parasomnia becomes Dream Theater’s best-sounding album. One that will be remembered as a return to form, respecting the band’s legacy while aiming towards new heights. This record is an experience that demands repeated listens, and each one reveals new layers to appreciate. Parasomnia is not just a dream worth waking up for—it’s one fans will want to revisit again and again.
Released on Feb 7th, 2025 on InsideOutMusic
1) In The Arms Of Morpheus (5:22)
2) Night Terror (9:55)
3) A Broken Man (8:30)
4) Dead Asleep (11:06)
5) Midnight Messiah (7:58)
6) Are We Dreaming? (1:28)
7) Bend The Clock (7:24)
8) The Shadow Man Incident (19:32)
Order here: https://dream-theater.lnk.to/ParasomniaAlbum
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