The successor to 2021’s A View from the High of the World, Dream Theater‘s sixteenth studio report – Parasomnia – is likely to be probably the most closely anticipated album they’ve ever launched.
In any case, it represents the return of co-founding drummer Mike Portnoy (who departed in 2010, making 2009’s Black Clouds & Silver Linings his remaining LP with them till now). Even followers who’ve combined emotions about how alternative Mike Mangini was handled in consequence are excited to see the basic lineup get going once more. On the identical time, they’re in all probability hoping that Parasomnia lives as much as the arguably unrealistic expectations such a reunion inherently produces.
So, is Parasomnia the mind-blowing reinvigoration that merely could not have been made with out Portnoy‘s involvement?
For probably the most half, the reply is not any, because it largely appears like the identical Dream Theater we have gotten since a minimum of 2013’s self-titled assortment (for higher or worse). That mentioned, Portnoy‘s distinctive model is actually felt throughout the runtime, which – along with its connective tissues and a few sly callbacks to prior works – elevates it an honest quantity. In different phrases, you may possible really feel the identical means about it as you might have concerning the Mangini period total whereas additionally appreciating a few of its sneaker improvements and ambitions.
Parasomnia is not a full-on conceptual journey within the vein of Metropolis Pt. 2 or The Astonishing, but its eight tracks are tied collectively by the theme of its titular dysfunction. As guitarist John Petrucci jokingly explains: “Parasomnia is a time period for disruptive, sleep-related disturbances together with sleepwalking, sleep paralysis, and night time terrors. Since our band identify is actually a theater that performs when you’re dreaming, it is loopy we did not consider this sooner.”
Top-of-the-line features of the sequence is its dedication to that throughline. Apart from being a sometimes bonkers instrumental, opener “Within the Arms of Morpheus” goes the additional step or two by appearing as an overture for upcoming musical motifs and by utilizing sound results and voices to determine the report’s recurring eeriness. In different phrases, Parasomnia appears significantly unified and epic from starting to finish, and provided that the next songs relate to slumber as nicely, the set as an entire is periodically striving and involving.
At occasions, the album additionally seems to rejoice the return of Portnoy by allotting nods to Dream Theater‘s pre-2010 interval. As an example – and on the danger of spoiling some surprises – there are each instrumental and lyrical allusions to a number of releases (specifically, Metropolis Pt. 2). They don’t seem to be practically as overt because the sensible callbacks the quintet unfold all through Portnoy‘s multi-album “Twelve-Step Suite,” however diehard followers will certainly take pleasure in discovering them with repeated listens.
By way of melodies and preparations, Parasomnia has some standout authentic moments, too.
As an example, Portnoy‘s trademark adventurous percussion strikes round Petrucci, keyboardist Jordan Rudess, and bassist John Myung‘s virtuosic flair-ups fairly nicely (thereby recalling the trio’s former chemistry). “Within the Arms of Morpheus,” “A Damaged Man,” and “Midnight Messiah” are particularly robust examples of that, whereas “Deep Asleep” and “Bend the Clock” home frontman James LaBrie‘s finest lead hooks within the midst of evoking the vocal harmonies that permeated the Portnoy period.
As beforehand talked about, although, Parasomnia is usually the identical outdated Dream Theater we have been getting for a couple of decade now (so do not count on something too stunning or outstanding). Particularly – and even with their reestablished and nostalgic chemistry – “Evening Terror,” “Midnight Messiah,” and “A Damaged Man” are usually stale with regards to LaBrie‘s melodies/lyrics and Petrucci‘s guitarwork. Equally, nearer “The Shadow Man Incident” is their second-most uninteresting side-long composition (subsequent to “Illumination Idea.”)
None of that’s to say that Parasomnia is ever outright dangerous (it isn’t), however the few glimpses of innovation/ambition aren’t sufficient to stop it from feeling run-of-the-mill more often than not. Objectively, it is good to know that Portnoy is again behind the equipment as nicely, and though his distinctive method is felt occasionally, he is nonetheless offering the spine for overly protected and acquainted materials.
Ultimately, and given what devotees could also be on the lookout for from it, it is value concluding that Parasomnia might be Dream Theater‘s finest album since 2011’s A Dramatic Flip of Occasions. Nevertheless, it does not contact the freshness or intrigue of that album (and it actually does not match something the quintet did throughout their pre-Magnini days).
