Dream Theater isn’t so much a band as a collective of prog-rock superheroes. Reunited with drummer Mike Portnoy, the American band returns to familiar theatricality and musical complexity on the 2025 album “Parasomnia.” But is this actually the group’s idea of playing it safe?
Bring the Ol’ College Gang Back Together
Dream Theater is a cult, but like an ant farm, the success of the organization can only be maintained through consistent work. Most band members have long since understood this. Since then, the group has maintained a consistent schedule of releases. And, despite the musicians’ fame as virtuosos, fans are known to expect familiar parameters on each new one.
In fact, this commitment to hard work and prog-rock ideals of putting out a full-length record every few years caused the rift with Portnoy. The drummer is a founding band member, having started the group with guitarist John Petrucci when they were both attending Berklee College.
Sure, Portnoy, one of the most in-demand drummers on the rock circuit, is known to play in numerous other bands. But his request to be excused from Dream Theater touring commitments for a year turned into a 16-year break.
Prog-rock fans tend to be emotional by nature. Portnoy’s return has been greeted with enthusiasm. This has helped the sales of “Parasomnia.” The record was a Top 20 hit in multiple countries and nearly cracked the Top 40 in the U.S. This far into what has been a surprisingly successful career, it is the commercial jolt Dream Theater needed.
It might not seem colossal. But which metal band, except a handful, can rely on this success?
“Parasomnia” Review
Progressive rock is a law unto itself. It is the last bastion for theatrical, concept-based rock music, which requires great musical ability to be performed. When all other pop acts have turned their songs into 30-second TikTok, prog-rockers insist on making their songs longer than a presidential speech on the state of the economy.
For prog-metal fans Dream Theater must feel like the seasonly return of the circus into town. It’s billed as spectacular, and the production manager isn’t a Scrooge with the budget for lights and pyro. That’s what people pay for!
Fittingly, “Parasomnia” is a concept album. From “Thick as a Brick” to “The Wall,” the best records in the genre have had an underlying concept or storyline. Dream Theater’s best ones, in fact, had Mike Portnoy acting as musical director.
“Parasomnia” deals with sleep disorders, something with which this writer is familiar. It’s a theme that, of course, fits Dream Theater’s lyrical obsessions.
Return to Familiar Motifs
Songs? They’re only eight, and they’re usually really long. But that’s meant to be half the fun.
Songwriting? Complex, sophisticated, and a little bit clunky at times. Take the title of the opening instrumental, “In the Arms of Morpheus”, and try to decide if a teenage tribute version of Dream Theater could’ve done better with it.
But what works better on “Parasomnia” than has for several DT releases is the musical theatre. Title aside, the piano intro for “In the Arms of Morpheus” helps set the mood well. It’s then up to Petrucci’s distorted riffs and Portnoy’s double bass pedal to convince you that you’ve landed in Nightmareville.
“Night Terror,” the album’s single and calling card, calls to mind the band’s early 2000s work. It is, in fact, one of the best songs produced by the group since then with the flow of the lyrics flowing rather seamlessly. That’s a luxury on which modern prog-metal bands can rarely rely.
James LaBrie’s composition, “A Broken Man,” returns to the familiar trick of using snippets of news bulletins to create tension. But the rest of the song is rather unsurprising.
There’s plenty more steam coming out of the engine further down the line. “Dead Asleep” is meant, presumably, as a challenge for all would-be guitar virtuosos. And while “Midnight Messiah” sounds like it could’ve been christened on an SNL sketch, it’s an excellent track powered by Metallica-like riffs.
Does the story have an ending? Sort of. The brief interlude of “Are We Dreaming?” reminds you that there’s a story in the first place. The grungey riffs of “Bend the Clock” lead toward a power ballad, the style in which LaBrie’s vocals excel.
And, for the true-blue fateful, 20-minute composition, there’s “The Shadow Man Incident.” Complex, over-the-top, but quite catchy at times, the song’s supposed to offer fans clues and guitar-playing challenges for years.
Final Verdict
The great thing about progressive rock and metal is not that it works with big concepts. Even the sophisticated playing isn’t a requirement.
Prog-rock albums are like lantern shows. They’re supposed to stimulate the imagination and encourage listeners to stay sharp throughout.
Dream Theater specializes in these kinds of records. Sometimes, the musicians’ desire to prove their calibre overshadows the songs and the story.
That’s not the case with “Parasomnia”, for the most part. This isn’t just a show of people juggling chainsaws anymore. Portnoy’s return coincides with the release of one of the band’s finer albums.
Best still, it feels like there’s more in the tank. Next time, deep breath, maybe ditch some of the solos in favour of more pop-rock songwriting, eh?
