Dream Theater, the renowned progressive metal band, has released their latest album, titled “Parasomnia”, a concept album centered around parasomnia—a category of disruptive sleep disorders encompassing a wide range of unusual and unwanted experiences and behaviors that people encounter while sleeping.
This is the sixteenth album in Dream Theater’s career, but what makes it truly special is that it’s the first since Black Clouds & Silver Linings (2009) to feature the participation of Mike Portnoy, the band’s original drummer, who abruptly left the group in 2010. As is widely known, it was not an amicable split.
It wasn’t until 13 years later, in October 2023, after a solid handful of albums created with Portnoy’s replacement, Mike Mangini, that the band announced Portnoy’s return and revealed they would begin work on a new album.
Certain events had already hinted at this reunion, such as Portnoy’s involvement in a solo album by the band’s guitarist, John Petrucci (Terminal Velocity, 2020), and even joining him on the promotional tour. Additionally, the two, along with Dream Theater’s keyboardist Jordan Rudess, and bassist Tony Levin, created the third album of their side project, Liquid Tension Experiment, released in 2021.
And well, Portnoy’s return to the band has been generally well-received by fans. And how could it not be, considering that Portnoy has always been a beloved member, known for his charismatic presence.
Some fans, however, feel that letting go of Mike Mangini to bring Portnoy back was a loss for Dream Theater, as, while both drummers have their own strengths, Mangini is undoubtedly technically superior.
But in the end, no one can question the special chemistry Portnoy shares with the other members of Dream Theater, given their history of over 25 years of playing together and their bonds of friendship. This brings something to the band that goes beyond mere technical skill. And well, Portnoy, for his part, is also a great drummer, and his place in the group is well-deserved.
I remember when I first heard the news of Portnoy’s return and that they were already working on a new album, my immediate thought was that it would undoubtedly be an especially heavy, metal-driven record. It’s well-known that Portnoy has always been the one pushing the band the most in this direction, something particularly evident in the last two albums they made before his departure. My prediction was spot-on: “Parasomnia” is an album with a distinctly metal edge. Portnoy has even said that he feels the band is picking up where “Black Clouds & Silver Linings” left off.
That said, the songs still contain plenty of progressive elements to satisfy any fan of the genre, primarily through extended intros and lengthy instrumental sections that typically serve as vehicles for Rudess and Petrucci’s solos. The songs’ durations allow for this, with most clocking in at over seven minutes, culminating in a sprawling epic track.
The album kicks off with “In the Arms of Morpheus”, a heavy instrumental piece. Right away, you can feel the unmistakable presence of Mike Portnoy on the drums, a striking contrast after the five albums the band made with Mangini.
Portnoy brings back a more relaxed feel, along with his signature robust, opaque, and resonant drum sound, iconic to his style. It’s the classic Dream Theater sound that all fans will instantly recognize. Fans will especially enjoy hearing Portnoy back on backing vocals here and there as well.
Although the album’s metal-driven music and its lyrical themes tied to parasomnia are wrapped in an unsettling darkness, it feels like the band is in great spirits. I think, more than aiming to create something groundbreaking, it seems like they’re simply enjoying a fantastic moment of making music together again, and that joy is palpable.
I must say, James LaBrie’s vocals sound excellent. The singer emphasizes clean, melodic lines on this album in a way I haven’t noticed since “Metropolis Pt. 2: Scenes From a Memory” (1999), something I deeply appreciate.
The track “Dead Asleep” opens with dissonant synthesized strings, creating an eerie atmosphere, followed by some of the album’s heaviest metal riffs. It’s a song that wouldn’t have felt out of place on “Awake” (1994).
I get the impression that, with Portnoy’s return, Dream Theater is looking back to some of the best moments of their career. It feels like the band is expressing this idea deliberately, as can be seen in the lyrics of the first pre-chorus of the song “Midnight Messiah”:
“In my dreams
there's a song I once knew,
like an uncanny strange déjà vu.
Memories flashing
all through my brain,
over and over and over again.”
We could interpret this passage as “the songs of the past returning to the band (even the word Dream is mentioned),” and, on top of that, there’s a direct reference to the song “Strange Déjà Vu” from “Metropolis Pt. 2.”
“Bend The Clock” is the album’s ballad, offering a contrast to the heavy metal content of the other tracks. It’s a pleasant piece, though not particularly memorable.
The album closes with “The Shadow Man Incident”, the aforementioned epic track, clocking in at nearly 20 minutes. At this point, crafting epic songs is just another day at the office for Dream Theater. It’s a track with an extended introduction reminiscent of some moments from the Mangini era, followed by multiple dark and metal-driven sections, and a lengthy instrumental passage where Rudess and Petrucci indulge in trading solos.
I think with “Parasomnia”, the band isn’t trying to explore new horizons but rather focusing on what they do best, while letting their classic sound shine alongside Mike Portnoy. All in all, I believe it’s a solid album that will leave fans satisfied, especially those who enjoy Dream Theater’s metal side, as well as those who longed to hear the band reunited with their original drummer.
