Dream Theater – Parasomnia
Reviewed by: Eric Valaer
Review Score: 9
My first impression of Dream Theater’s latest album, Parasomnia is that it is a dark and heavy journey which covers primarily sleep disorders. The founding member, drummer Mike Portnoy, is back in the band. His return is welcomed as he brought some renewed energy!
In The Arms Of Morpheus: A cinematic start morphs into a dissonant music section. This song features guitarist, John Petrucci wielding an 8-string guitar with a bite! This track is overflowing with tension. The band turn the tension into harmony only how DT can. All of the solos are fitting.
Night Terror: You can hear the impact of Black Clouds and Silver Linings here. It makes sense as this was Mike’s last album before his departure. This is the first single off of the new album. Spooky ethereal keys & clean guitars open this song. It lifts off thanks to Petrucci’s distorted single-note riffing where he uses a derivative of the Super Locrean Mode. The Verse has a syncopated groove. Later in the song we’ve got a full & melodic chorus which has a half-time feel. The Interlude has some hypersonic playing by John on the high E string. There are some stellar solos both by Rudess and Petrucci.
A Broken Man: Are you a fan of dissonance? How about heaviness? This one is for you! This song covers PTSD. The main riff has a disjointed feel which aligns with the lyrical content. The Verse is deliberate. Vocalist, James LaBrie’s voice compliments the chunky and detuned guitars. The solo section displays DT’s virtuosity. Rudess shares his affinity for Deep Purple more in sound than note selection. Petrucci channels his Steve Morse with a combination of bluesy runs, vibrato and bends. Portnoy put his undeniable stamp on A Broken Man with some powerful yet blinding drumming!
Dead Asleep: One of my favorite tracks on Parasomnia. We have a quiet intro that gives way to an unexpected shuffle. At 1:18 a saturated baritone guitar crashes in the door! Personally, I love how John adds some phaser for a brief time. Also, the accents by the band are well placed. The Verse have much to offer: chunky riffing, solid vocals, a rhythm section in lock step, and some fantasy-esque keys. Somehow both the Chorus & Bridge are highly memorable. The guitar solo has some sensational bending, feel, and some slick alternate picking. The keyboard solo is equally impressive. The bands ability to create a new outdo theme and circle back to the main riff is seamless.
Midnight Messiah: In the beginning there are clean arpeggios with some voices overlapping bringing to mind a band such as Pink Floyd. The Chorus shifts to double-time. It absolutely soars and is a highlight. The heavy single note riffing with tasteful playing by Jordan is a hallmark of Dream Theater. Yes, the solo is great. It wraps up with some cleverly layered guitar tapping.
Are We Dreaming: This is more of an Interlude than a song. It begins with some bells. A short time later, Jordan performs a soft major chord progression.
Bend The Clock: Typically, I don’t seek out ballads. However, this is a gem. This is an ideal spot for this selection too. LaBrie is at center stage and doesn’t disappoint. He displays both soul and control. These are some of his best melodies of the last decade! This song wouldn’t be out of place on 6 Degrees Of Inner Turbulence. How about that emotional rollercoaster known as the main solo? John’s command of melody, note selection, bending and technique are show stopping.
The Shadow Man Incident: ..And here’s the closing epic. There’s a plethora of juicy music throughout this nearly 20-minute track. Tempo & key changes abound! The mid tempo triplet riff becomes a half-time solo filled with emotion (and what tone!). The Verses are both lackadaisical with the second having a bit more layering. The Chorus has unique harmony between the guitar and keys. James is in complete control. The extended instrumental section has depth and variety. John’s 7-string playing is effortless. Him & Jordan team up for a neat minor tinged dual harmony solo. Jon Myung’s bass line really pops with some hectic piano shredding. John and Mike play off of one another during Petrucci’s mellow yet impactful solo. Portnoy offers some of his best drum fills in ages!
Closing thoughts, this is a cohesive release by the premiere progressive metal band (still). What a way to celebrate 40 years as a band to be able to release such a bombastic and meaningful new album.