Dream Theater – Parasomnia
Parasomnia, Dream Theater’s sixteenth studio album, was always going to get attention given their standing in prog-metal circles and fervent fan following.
But there is no question it has garnered more pre-release anticipation than any previous DT album (and perhaps any other rock album this year) due to the return of co-founder and drummer extraordinaire, Mike Portnoy.
Parasomnia is a medical term for abnormal behaviours or darker, nightmarish emotions that occur during sleep or when waking up; all of which form the loose concept of the album.
But how does it and the return of the Percussional Son sound in the cold light of fully awake, honest appraisal day?
The album opens with instrumental 'Arms of Morpheus,' which sets the conceptual theme.
An eerie and unsettling intro gives way to a downtempo crunching riff, punctuated by Mike Portnoy’s pounding double bass drum and trademark drum rolls round the kit. The opening riff is rounded off with a rallentando before the piece moves headlong into an up-tempo riff that most metal bands would kill for.
'Night Terror,' which follows, is, title fittingly, a dark, ten minute slab of prog-metal that is chock full of unison riffing and staccato stabs.
With singer James Labrie joining the fray, the song proceeds with complex time changes and virtuosic solos, interwoven with a vocal melody line that stands strong as one of the album’s highlights.
The darker, more intense approach however means 'Night Terror' is also an assault on the senses, with only a couple of moments to catch your dream-sleep breath (the individual virtuosities at play could be highlighted more sparingly).
'A Broken Man' maintains the furious intensity of ever-changing tempos and thick-edged riffs, with the latter changing to a simpler, detuned model when James Labrie steps up to the microphone.
There’s a less discernible chorus in this eight-and-a-half minute number, but it does sport a delicious instrumental section that seems to deliberately reference ELP, Rick Wakeman (in fully caped YES mode) and even a touch of jazzier funk, before reverting to the furious riffing that opened the song.
'Dead Asleep' opens with a quiet, foreboding instrumental section before giving way to more furious metallic riffing, here featuring pinch-harmonics and use of a flanger (a la Eddie Van Halen).
It’s a strong reminder of just how good a player guitarist John Petrucci is, but Jordan Rudess is his keys playing equal, albeit in a supporting role, as is bassist John Myung, who manages to keep the bottom end drive going despite the cacophony surrounding him, including Mike Portnoy’s frequently over-played parts.
The number also features one of James LaBrie’s best vocal melodies, as well as an outstanding Petrucci solo (and an equally adept synth solo from Rudess), but at eleven minutes long it overstays its welcome.
'Midnight Messiah' makes a far stronger impression, with clever, ever-changing riff and drum sequences and a sharp, fast, staccato chorus.
The third riff section borrows, perhaps deliberately, from 'Pull me Under' (no bad thing #1) while the subject matter, and metallic riffing, makes one think of a supercharged 'Enter Sandman' (no bad thing #2).
But there is no question it has garnered more pre-release anticipation than any previous DT album (and perhaps any other rock album this year) due to the return of co-founder and drummer extraordinaire, Mike Portnoy.
Parasomnia is a medical term for abnormal behaviours or darker, nightmarish emotions that occur during sleep or when waking up; all of which form the loose concept of the album.
But how does it and the return of the Percussional Son sound in the cold light of fully awake, honest appraisal day?
The album opens with instrumental 'Arms of Morpheus,' which sets the conceptual theme.
An eerie and unsettling intro gives way to a downtempo crunching riff, punctuated by Mike Portnoy’s pounding double bass drum and trademark drum rolls round the kit. The opening riff is rounded off with a rallentando before the piece moves headlong into an up-tempo riff that most metal bands would kill for.
'Night Terror,' which follows, is, title fittingly, a dark, ten minute slab of prog-metal that is chock full of unison riffing and staccato stabs.
With singer James Labrie joining the fray, the song proceeds with complex time changes and virtuosic solos, interwoven with a vocal melody line that stands strong as one of the album’s highlights.
The darker, more intense approach however means 'Night Terror' is also an assault on the senses, with only a couple of moments to catch your dream-sleep breath (the individual virtuosities at play could be highlighted more sparingly).
'A Broken Man' maintains the furious intensity of ever-changing tempos and thick-edged riffs, with the latter changing to a simpler, detuned model when James Labrie steps up to the microphone.
There’s a less discernible chorus in this eight-and-a-half minute number, but it does sport a delicious instrumental section that seems to deliberately reference ELP, Rick Wakeman (in fully caped YES mode) and even a touch of jazzier funk, before reverting to the furious riffing that opened the song.
'Dead Asleep' opens with a quiet, foreboding instrumental section before giving way to more furious metallic riffing, here featuring pinch-harmonics and use of a flanger (a la Eddie Van Halen).
It’s a strong reminder of just how good a player guitarist John Petrucci is, but Jordan Rudess is his keys playing equal, albeit in a supporting role, as is bassist John Myung, who manages to keep the bottom end drive going despite the cacophony surrounding him, including Mike Portnoy’s frequently over-played parts.
The number also features one of James LaBrie’s best vocal melodies, as well as an outstanding Petrucci solo (and an equally adept synth solo from Rudess), but at eleven minutes long it overstays its welcome.
'Midnight Messiah' makes a far stronger impression, with clever, ever-changing riff and drum sequences and a sharp, fast, staccato chorus.
The third riff section borrows, perhaps deliberately, from 'Pull me Under' (no bad thing #1) while the subject matter, and metallic riffing, makes one think of a supercharged 'Enter Sandman' (no bad thing #2).
Vignette piece 'Are We Dreaming' is a simple soundscape with some ASMR, which sets the scene for epic prog-ballad, and album highlight, 'Bend the Clock' (who among us hasn’t wished we could alter or change time at some point to stop the "paralysing dreams").
Benefiting from an absence of bombast and overplayed complication, 'Bend The Clock' is a beautifully crafted mid-tempo with a great melody (and great vocal from James LaBrie) and a strong, emotive chorus.
The song is complemented by an emotionally wrought solo from John Petrucci, which builds to a crescendo before outro-ing on the slow fade. Great stuff.
Given the return of Mike Portnoy and the expectation of a lengthy, magnum opus, it’s perhaps no surprise DT close out with a near twenty-minute number, 'The Shadow Man Incident.'
It’s very well played, includes a marching/ Bolero type intro, has numerous time changes and carries some thematically eerie light and impressive riff shade (there's even a Latin vibed, jazz-metal break), but it’s far too long and unwieldy to carry any true gravitas, and lacks cohesion.
And therein lies the problem with Parasomnia.
While there is clearly a stylistic nod to the dark riffage of 2003’s Train Of Thought (DT’s heaviest album and a firm fan favourite; and the album covers carry similarly monochromatic scene-setting imagery), other than 'Bend The Clock' the songs and performances lack variety and, crucially, space – Mike Portnoy has always been a busy drummer, but he overplays his parts here; equally, John Petrucci doesn’t need to contribute a lightning fast solo at every opportunity.
That said, hardcore DT fans will probably love this album, but there will be those who are turned off by its bombast, intensity, and length.
Maybe we need to sleep on it. Don’t let the Parasomnia bugs bite.
Nelson McFarlane & Ross Muir
FabricationsHQ
Benefiting from an absence of bombast and overplayed complication, 'Bend The Clock' is a beautifully crafted mid-tempo with a great melody (and great vocal from James LaBrie) and a strong, emotive chorus.
The song is complemented by an emotionally wrought solo from John Petrucci, which builds to a crescendo before outro-ing on the slow fade. Great stuff.
Given the return of Mike Portnoy and the expectation of a lengthy, magnum opus, it’s perhaps no surprise DT close out with a near twenty-minute number, 'The Shadow Man Incident.'
It’s very well played, includes a marching/ Bolero type intro, has numerous time changes and carries some thematically eerie light and impressive riff shade (there's even a Latin vibed, jazz-metal break), but it’s far too long and unwieldy to carry any true gravitas, and lacks cohesion.
And therein lies the problem with Parasomnia.
While there is clearly a stylistic nod to the dark riffage of 2003’s Train Of Thought (DT’s heaviest album and a firm fan favourite; and the album covers carry similarly monochromatic scene-setting imagery), other than 'Bend The Clock' the songs and performances lack variety and, crucially, space – Mike Portnoy has always been a busy drummer, but he overplays his parts here; equally, John Petrucci doesn’t need to contribute a lightning fast solo at every opportunity.
That said, hardcore DT fans will probably love this album, but there will be those who are turned off by its bombast, intensity, and length.
Maybe we need to sleep on it. Don’t let the Parasomnia bugs bite.
Nelson McFarlane & Ross Muir
FabricationsHQ