Official Parasomnia album discussion thread ***SPOILERS***

[Wim Kruithof]

Probably already mentioned elsewhere, but the wake-up call in The Shadow Man Incident comes in at exactly 19.28.

I love those easter eggs.

[Lax]

After 2 full listens in the car, my opinion got better and better :
-The singles are indeed sounding great in the context of the album
-The sound is huge and breathes, I like this mixing
-The overall mood is pretty "angry" it's a ballsy album with very few calm moments
-The choruses are way more catchy and memorable (I sing a broken man since friday)
-Part of groovy DT is back, even if portnoy can also still play very fast and technical, several LTE crazyness happening too

Now, on the less good points :
-It's not a surprising album, song structures are basic, DT sounds like DT, I think I may pay the price of being a hardcore fan, many riffs and parts sound like existing DT songs, but apart easter eggs, isn't it just because they played so many modes and styles already ?
I don't think I wanna hear riffs or motifs from other unrelated epics in new songs.
-The album isn't a concept album but sometimes feels like chapters of the same song, is it a bad thing ?
-The cover and the inner arts, PLEASE do some original work.

[lovethedrake]

I removed Night Terror from the album and it's a much better listen to me. 

[The Curious Orange]

Realise I'm a bit late to the party, but here's my $0.02 -

First Listen - I love it! I went into this with heavy expectations after the three somewhat uninspired singles, expecting to be disappointed, but as others have said, the singles make perfect sense in the context of the album.

The into of ...Morpheus, where the initial music-box refrain slows down and gives way to those huge, jarring discordant chords put a huge smile on my face that lasted throughout, the album is full of so many moments that made me smile, or laugh out loud. DT are back!

Morpheus segues into NT so smoothly I didn't even notice the track had begun until the vocals kicked in. This sounds great! The cymbals and percussion ring especially clear. Dead Asleep starts with a similar building vibe to Home, and the song channels Beyond This Life and This Dying Soul. It's my early favourite, even if the lyrics are incredibly naff, with the "He woke to a howwible sight" line grating like fingernails on a chalkboard. JP is capable of better.

I took a short break from listening, and came back refreshed to Midnight Messiah, which kicks ass, and the beautiful interlude Are we Dreaming? For a moment I thought those whispered voices were in the room with me, it's that well produced.

Bend the Clock was an unexpected surprise, and Shadow Man is going to be fun to unpack on future listens. The final "Wake Up!" has us wondering if this was all a dream...

I loved it! I knew they still had it in them to hit one more home run, even if it has been a while. Easily the band's best album since Octavarium!   



Second Listen - With the surprise factor gone, the second listen drew out more of the album's shortcomings. This is brutal and relentless, and it's crying out for an acoustic track just to soften the blow. 71 minutes is a long time to batter your eardrums with constant, migraine-inducing noise. Listener fatigue set in, and I found myself wondering whether this was a compression / clipping issue. I can't see myself wanting to listen to this one all the way through in a single sitting again in a hurry.

Also, I didn't think Bend The Clock was that good. It's the least essential song here, and the one I'm most likely to skip, which is a shame, coz it's the nearest thing to respite the album offers.

10/10 on first listen. falling to a more realistic 7/10 on second listen.

[MirrorMask]

Second Listen - With the surprise factor gone, the second listen drew out more of the album's shortcomings. This is brutal and relentless, and it's crying out for an acoustic track just to soften the blow. 71 minutes is a long time to batter your eardrums with constant, migraine-inducing noise. Listener fatigue set in, and I found myself wondering whether this was a compression / clipping issue. I can't see myself wanting to listen to this one all the way through in a single sitting again in a hurry.

There should have been a more mellow piece between Broken Man and Dead Asleep. a 5, 6 minutes track eerie and slowish, not a ballad, an atmospheric moody piece in the vein of the slow part of Shadow Man, to break down the "metal assault" but saving the uplifting ballad for the penultimate track.

[javidt]

There should have been a more mellow piece between Broken Man and Dead Asleep. a 5, 6 minutes track eerie and slowish, not a ballad, an atmospheric moody piece in the vein of the slow part of Shadow Man, to break down the "metal assault" but saving the uplifting ballad for the penultimate track.

I've been comparing Parasomnia and TOT, because I like TOT and I can't listen to Parasomnia in its entirety and I think that this album needed some kind of Endless sacrifice after broken man to let the listener rest a bit.

[MirrorMask]

Yeah, I can see that, especially considering how The Broken Man has a big finish, a very heavy and bombastic final note that "echoes" a bit, the perfect musical cue of "ok, we gave you a sonic onslaught, time now to catch a breath", which is exactly what happens with Train of Thought after As I Am and This Dying Soul.

[PixelDream]

I'm really loving the album, which I hadn't expected. I loved Night Terror, but each following single I liked less.

Turns out the singles fit perfectly on the album and A Broken Man was even 'the key' to the album as that chorus theme is the most important melody that's featured throughout the album.

One of their most cohesive records easily and possibly one of the better ones even, which is completely bizarre to me at this point in their career.

It's nowhere near I&W or Awake but this can proudly stand next to any of their turn of the century albums. It could've done with a little more variation as 90% of the album is heavy, but I have to say: it kicks my ass!

[MinistroRaven]

Yeah, I can see that, especially considering how The Broken Man has a big finish, a very heavy and bombastic final note that "echoes" a bit, the perfect musical cue of "ok, we gave you a sonic onslaught, time now to catch a breath", which is exactly what happens with Train of Thought after As I Am and This Dying Soul.

I moved Are We Dreaming after A Broken Man. I think the album flows better that way.

[durga2112]

I'm still in the process of digesting the whole album (I really like what I hear so far!), but has there been any discussion of the meaning of the different sound effects throughout the album before and after certain songs? I know the band has said that there's no consistent storyline running through the album, but are these sounds meant to link together at least some of the songs? Is there something bigger going on in this album that they haven't revealed yet? I wonder if the visuals on the album tour will shed some light on any of this.

[MinistroRaven]

I was jamming to Parasomnia at the gym this morning, and when TSMI ended, Spotify threw on STRANGE DEJA VU. It was honestly the perfect follow-up to TSMI, like it wrapped up my workout so well! I'm pretty glad Spotify picked that song instead of anything else, lol

[TheOutlawXanadu]

Second Listen - With the surprise factor gone, the second listen drew out more of the album's shortcomings. This is brutal and relentless, and it's crying out for an acoustic track just to soften the blow. 71 minutes is a long time to batter your eardrums with constant, migraine-inducing noise. Listener fatigue set in, and I found myself wondering whether this was a compression / clipping issue. I can't see myself wanting to listen to this one all the way through in a single sitting again in a hurry.

I've only listened to the full album once the whole way through, and will wait to do it again because honestly I've just been listening to way too much DT lately (culminating with the concert in Raleigh on Saturday). But this is something I've thought about. The album just does not let up until Bend the Clock, which also happens to be my favorite track as of now.

[jayvee3]

It's interesting that in a pretty relentless album, many people actually rank Bend the Clock as their favourite - the one track that is softer and offers respite. I really think a few of the songs could have been streamlined by a minute or two here and there, and another more melodic piece could've been added, as well as adapting "are we dreaming" a bit further.

You take Scenes that had tracks like "Through my words", "Through her eyes", TSCO and "One last time", and sometimes those mellower moments are so necessary to give the album more breathing space. I look at the latest offering by Nightwish, Yesterwynde, or my favourite prog/metal album by Symphony X - Underworld, and look at the composition of relentlessness mixed with melodic that tie together beautifully. I just feel Parasomnia is so nearly there, but just misses with a few odd choices..

[TheOutlawXanadu]

It's interesting that in a pretty relentless album, many people actually rank Bend the Clock as their favourite - the one track that is softer and offers respite. I really think a few of the songs could have been streamlined by a minute or two here and there, and another more melodic piece could've been added, as well as adapting "are we dreaming" a bit further.

You take Scenes that had tracks like "Through my words", "Through her eyes", TSCO and "One last time", and sometimes those mellower moments are so necessary to give the album more breathing space. I look at the latest offering by Nightwish, Yesterwynde, or my favourite prog/metal album by Symphony X - Underworld, and look at the composition of relentlessness mixed with melodic that tie together beautifully. I just feel Parasomnia is so nearly there, but just misses with a few odd choices..

I think the relentlessness of Parasomnia may have been a very intentional choice... I feel like most Dream Theater albums aim for a balance, so it's actually a somewhat unique choice for them here to just keep pounding away. I respect it and understand it... But do I enjoy it? I gotta keep listening to find out.

[breaktheprisonwall]

Had ample opportunity to listen to this several more times this weekend. Some further, more detailed thoughts:

Overall:
- Love the recurring theme present in Morpheus, Broken Man, Dead Asleep, and Shadow Man. The 17:55 occurrence of this in Shadow Man sounds *so* good.
- James may honestly be the MVP of this record. He really sounds GREAT here and the more times I listen to it the more appreciation I have for him.
- I know the JP/MP backing vocals aren't everyone's cup of tea but I think they *really* add to this album. The more instances of it I catch, the more into it I get. 

Track-specific:

Morpheus:
-Love how the start of this matches the ending of Shadow. Little touches like that really lend to the cohesion of the entire record.
-The "alarm clock" section is awesome.
- Also, starting at 2:36, is it just me, or does JP sound like he is playing the EXACT pattern (note choice and all) at the part in Bridges in the Sky where the full band kicks in?
- Jordan is channeling Odyssey-era Symphony X in this track and I love it.
- The Shadow Man/Bend the Clock outro here is very moving, and I adore what they did here.

Night Terror:
- Works better in the context of the album, even though I was already a fan of the song.

A Broken Man:
- I really like that they built an entire song around the main theme of the album. Interesting thought I had: what if they had released THIS as the first single instead of NT, and introduced people to the album's theme without anyone knowing at the time? Fun little thought experiment.
- JP's solo in this is great.

Dead Asleep:
- The voices in the intro strongly remind me of the intro of Sacrificed Sons.
- The main riff of the song is incredible, and its reprisal at the end of the song hits HARD.
- Absolutely love the section from 1:56-2:12
- Also love the riff at 3:05
- I still think the lyrics are pretty terrible, but the more I hear this song the more I think it's an intentional nod (both musically and lyrically) to Beyond This Life.

Midnight Messiah:
- Still the weakest song on the album to me, but I think it works FAR better in the album context than on it's own. This is one song I'll listen to when doing a full album listen-through but will easily skip otherwise.
- Love how the intro riff sounds like it belongs with the theme, despite being different.
- Love MP but these are the worst lyrics on the album....I'm doubling down that the references feel VERY forced.

Are We Dreaming:
- I sincerely wish Jordan did more of what he's doing in this interlude on the rest of the record. He sounds amazing here.
- The melody he plays after the organ/chimes reminds me of *something* they've done in the past but I can't quite put my finger on WHAT.

Bend the Clock:
- Easily James' best performance on the record. He sounds amazing here.
- Easily the best instance of backing vocals as well. They REALLY add to this song in my opinion.
- I want to love the solo but for some reason it simply isn't doing it for me (yet).
- The more times I hear this one, the more I'm liking it. Still don't love it as much as most others do here but it's growing.

Shadow Man:
- This song doesn't really find it's groove until about 7:10.
- I'm hearing shades of In the Presence of Enemies at this timestamp, and I also feel like the lyrics overall are drawing heavily from the mindset the band was in during the making of Systematic Chaos.
- 8:14- I hear The Astonishing, and I'm not mad about it.
- 10:10- I hear JP channeling Symphony X now, and I'm loving it.
- The section at 12:33 is AMAZING, including Jordan's solo. This IS his moment on the album.

This album is a grower for sure...the more I'm hearing it, the more I'm digging what they did here. It'll be interesting to see how I feel a few months from now after putting another 200 or so listens into it. 

[The Letter M]

Anyone else a bit disappointed we didn't get a behind-the-scene "making of" video on the BD? I was kinda hoping they'd document the creation of this album now that MP was back but I guess not.

Best I can hope for is Mike to release a drum video - maybe he'll call it "ParaDRUMnia"? 

-Marc.

[erciccio]

Well, after a few more listen I am starting to appreciate a few parts more, but I still have a lot of issues digesting this album...

The problem is that is clearly thought as an album to be listened in his entirety, due to the many musical links and connections...but it's almost impossible to listen to it in full, it's just too ear-fatiguing.

They should have really changed the pace after "A Broken man", same as they do later with "Bend the Clock".
I always get to the end of a Broken Man totally exhausted, and the "battering" is only half way thorugh..

Another major issues is that the melodies don't have enough space to breath..there is always too much instrumentation in the background,
E.g the only moment where you can appreciate the "Broken man melody" is at the beginning of Dead Asleep when it's played with piano and arches...everytime James is singing, it gets muddled with all the other things being player.

Last major issue, is "Bend the Clock" solo...I've started to appreciate the song (even though it's certainly not a masterpiece...), but I feel that the solo is just out of place, it does not belong there, the modulation (C major to E minor?) just doesn't work for me. Same for the "atmosphere", it doesn't match neither with the song, nor with the rest of the album..
Even "technically"...mmm...I just like the high-speed string skipping sequences at the end, but mainly because they are going to be a very fun and challenging exercise!
The background (drums and bass) also doesn't help, sounds like a demo or a first take of an improvisation..
Overall, I prefer the shorter solo in the bridge (it sounds a lot like "Take away my pain", by the way..), it serves much better the song!

Overall, I would say that Parasomnia is a slighlty better album than "A View", but it's still in the bottom half of the discography for me.

[mrpmrpmrpmrp]

I am not trying to downplay what you read elsewhere, but Facebook comments are usually along the same lines as YouTube comments: negativity often rules the day, seemingly for sport.  Now, I am not suggesting that The Astonishing wasn't a divisive record, merely that the immediate reponse that I saw was positive on a similar wavelength to what I am seeing for Parasomnia (mostly positive, some negative reviews).

I am guilty of naming Astonishing 10/10. I never listen save overture (killer) and guilty pleasure our new world.

[mrpmrpmrpmrp]

Sorry for the double post just catching up, they posted today about in the arms of Morpheus, and Portnoy said that the album is the listeners' dream, which totally makes sense and puts the album and a much more cohesive perspective for me.

[jayvee3]

I think the relentlessness of Parasomnia may have been a very intentional choice... I feel like most Dream Theater albums aim for a balance, so it's actually a somewhat unique choice for them here to just keep pounding away. I respect it and understand it... But do I enjoy it? I gotta keep listening to find out.

Oh, I agree that it is completely intentional. I just find it an odd choice. Now, i'll preface that by saying I absolutely enjoy the album enough. But to me, it is missing the "magic" somewhat.

I think I'm a little curious about where the thought of an all-relentless metal album came from. As Portnoys return album, I would have thought they may have looked into their catalogue and said "What has resonated with our fans the most and had longevity over the years?" Now, I love this band and respect whatever decision they want to create what they feel. I just find it odd that the answer to that question materialised in something more like Train of Thought than tried and tested formulas like Scenes, or even ADTOE, which was received well as their last "new chapter". Did none of the members say - "hey fellas, perhaps a bit more breathing space could work well here?" It could still be metal, just composed together with a little more finesse.

In any case, I understand this could be more a me problem, just feel it's worth noting 

[faizoff]

Anyone else a bit disappointed we didn't get a behind-the-scene "making of" video on the BD? I was kinda hoping they'd document the creation of this album now that MP was back but I guess not.

Best I can hope for is Mike to release a drum video - maybe he'll call it "ParaDRUMnia"? 

-Marc.

Yeah I was hoping for some BTS stuff on the Blu-ray. View had a nice look at the studio and some of the recording.

This would have been a great chance to have MP back in the fold and show some of that stuff. I wonder if they have something planned when the dedicated album tour happens.

[MirrorMask]

I think I'm a little curious about where the thought of an all-relentless metal album came from. As Portnoys return album, I would have thought they may have looked into their catalogue and said "What has resonated with our fans the most and had longevity over the years?" Now, I love this band and respect whatever decision they want to create what they feel. I just find it odd that the answer to that question materialised in something more like Train of Thought than tried and tested formulas like Scenes, or even ADTOE, which was received well as their last "new chapter". Did none of the members say - "hey fellas, perhaps a bit more breathing space could work well here?" It could still be metal, just composed together with a little more finesse.

Very interesting observation, and one I wondered about myself. When Portnoy come back, did they pick up from when Portnoy was at (Black Clouds) or when the band was at (View)? is this album the follow up to the latest Dream Theater album, or the latest DT album with Mike Portnoy over a decade ago?

It's interesting that in a pretty relentless album, many people actually rank Bend the Clock as their favourite - the one track that is softer and offers respite. I really think a few of the songs could have been streamlined by a minute or two here and there, and another more melodic piece could've been added, as well as adapting "are we dreaming" a bit further.

That's something I don't think they do.

On MP's site, FAQ sections, there was an hypothetical answer about what to do with Six Degrees if the label forced them to make it a single disc release. Probably it's not the best example to bring but Mike said he would have axed Blind Faith and Disappear, and I always found it a bit funny that his first reaction was to remove entire songs rather than saying something like "well, of course we'd have to reconsider the long ending of Six Degrees and the prolonged outro of Misunderstood".

Again, maybe not the best indicator but I don't think anyone in the writing room suggests "hey maybe this song is 2 minutes too long".

[lovethedrake]

Well, after a few more listen I am starting to appreciate a few parts more, but I still have a lot of issues digesting this album...

The problem is that is clearly thought as an album to be listened in his entirety, due to the many musical links and connections...but it's almost impossible to listen to it in full, it's just too ear-fatiguing.

They should have really changed the pace after "A Broken man", same as they do later with "Bend the Clock".
I always get to the end of a Broken Man totally exhausted, and the "battering" is only half way thorugh..

Another major issues is that the melodies don't have enough space to breath..there is always too much instrumentation in the background,
E.g the only moment where you can appreciate the "Broken man melody" is at the beginning of Dead Asleep when it's played with piano and arches...everytime James is singing, it gets muddled with all the other things being player.

Last major issue, is "Bend the Clock" solo...I've started to appreciate the song (even though it's certainly not a masterpiece...), but I feel that the solo is just out of place, it does not belong there, the modulation (C major to E minor?) just doesn't work for me. Same for the "atmosphere", it doesn't match neither with the song, nor with the rest of the album..
Even "technically"...mmm...I just like the high-speed string skipping sequences at the end, but mainly because they are going to be a very fun and challenging exercise!
The background (drums and bass) also doesn't help, sounds like a demo or a first take of an improvisation..
Overall, I prefer the shorter solo in the bridge (it sounds a lot like "Take away my pain", by the way..), it serves much better the song!

Overall, I would say that Parasomnia is a slighlty better album than "A View", but it's still in the bottom half of the discography for me.

This is why I removed Night Terror from my download on Apple Music.

You still have 3 bangers in a row but takes 10 minutes off and I feel like I've heard Night Terror 1000 times hy the band over the last 15 years.

I'm enjoying the album a lot more now.

[durga2112]

Anyone else a bit disappointed we didn't get a behind-the-scene "making of" video on the BD? I was kinda hoping they'd document the creation of this album now that MP was back but I guess not.

I'm pretty sure this was already brought up in the other thread about the album - the band didn't want cameras in the studio precisely because it was the first one with Portnoy in such a long time. As much as I love watching behind-the-scenes material like that, I can definitely respect that decision.

On MP's site, FAQ sections, there was an hypothetical answer about what to do with Six Degrees if the label forced them to make it a single disc release. Probably it's not the best example to bring but Mike said he would have axed Blind Faith and Disappear, and I always found it a bit funny that his first reaction was to remove entire songs rather than saying something like "well, of course we'd have to reconsider the long ending of Six Degrees and the prolonged outro of Misunderstood".

Again, maybe not the best indicator but I don't think anyone in the writing room suggests "hey maybe this song is 2 minutes too long".

I mean, the album is nearly 20 minutes too long to fit on a single CD, so snipping a couple of minutes here and there just wouldn't have gotten it down to a manageable length.

At this point, anyone who has listened to more than two Dream Theater albums should know exactly what to expect from their song lengths. Anyone who is looking for short and concise songs is possibly listening to the wrong band. 

[LCArenas]

I liked this album right away! Much better than AVftTotW IMO, more consistent songwriting and stronger, cohesive sound. Compared to the MM albums I still like ADToE and DoT better, but this is a fresh approach to their sound. I loved the brooding atmospheric keyboard sound sections, the voice distortions... It's a step in the right direction overall.

[MirrorMask]

I mean, the album is nearly 20 minutes too long to fit on a single CD, so snipping a couple of minutes here and there just wouldn't have gotten it down to a manageable length.

True, but if I remember correctly he added something like "but doing without two songs wouldn't have been enough so I'm glad we didn't have to find a solution for that", that's why I said that the thought of cutting the three most redundant minutes of the album apparently didn't occour to them.

[jayvee3]

At this point, anyone who has listened to more than two Dream Theater albums should know exactly what to expect from their song lengths. Anyone who is looking for short and concise songs is possibly listening to the wrong band. 

Doesn't even have to be short and concise. Dream Theater are what they are, and some of their longer songs are fantastic. But that doesn't mean some fat can't be trimmed a little here and there to make a song flow better. Take Breaking all Illusions or Lines in the Sand, which both clock in at around the 12 minute mark. Not short songs by any stretch. But everything flows together so well in those tracks, and no note feels wasted. Where something like A Nightmare to remember could easily have been trimmed to flow better, or even split into two seperate tracks - the beautiful agony section could have been its own song and acted as a suite like a Mind beside itself. It's not like BCASL couldn't have done with an extra track or two...

Then there are also tracks that would be more cohesive if lengthened a bit - such as the ending solo in At Wit's end or A New Beginning, and I always felt Pale Blue Dot, should have finished with the space talk samples that begin the song layered over the final solo...

[EPIC Outro]

After the final "Wake up!" of The Shadow Man Incident, Spotify transitioned directly into Strange Deja Vu. The transition worked so well that I actually thought it was part of the album and that the whole thing has some crazy connection to Scenes From a Memory.

[MinistroRaven]

After the final "Wake up!" of The Shadow Man Incident, Spotify transitioned directly into Strange Deja Vu. The transition worked so well that I actually thought it was part of the album and that the whole thing has some crazy connection to Scenes From a Memory.

As mentioned a couple posts before yours it happened exactly the same to me at the gym. 

[three__days]

Take Breaking all Illusions or Lines in the Sand, which both clock in at around the 12 minute mark. Not short songs by any stretch. But everything flows together so well in those tracks, and no note feels wasted. Where something like A Nightmare to remember could easily have been trimmed to flow better, or even split into two seperate tracks - the beautiful agony section could have been its own song and acted as a suite like a Mind beside itself.

to each their own! i was recently struck by how consistently engaging 'nightmare...' is, how well-structured (though making it into a suite could've worked as well, given how strong the 'beautiful agony' vocal part is), but i've always thought 'lines...' doesn't earn it's length - feels a bit 'jammy', which isn't a strength of this band.

[Pebsie]

Just throwing it in there that I'm surprised to see the distaste for Night Terror. I didn't like it initially, but it's a 10/10 track for me now, up there with Learning To Live and Breaking All Illusions as one of my top DT tracks of all time. And in a similar vein, Dead Asleep hasn't clicked for me at all yet; it's very hard not to cringe at the lyrics and the middle section just sounds like a jam to me. Everything else is top notch, especially BTC and Shadowman which I agree with everyone are absolute bangers.

[lovethedrake]

Just throwing it in there that I'm surprised to see the distaste for Night Terror. I didn't like it initially, but it's a 10/10 track for me now, up there with Learning To Live and Breaking All Illusions as one of my top DT tracks of all time. And in a similar vein, Dead Asleep hasn't clicked for me at all yet; it's very hard not to cringe at the lyrics and the middle section just sounds like a jam to me. Everything else is top notch, especially BTC and Shadowman which I agree with everyone are absolute bangers.

A couple reasons I don't love Night Terror.

1. It sounds like a DT song made by Chat GPT.  Everything about it.  There's not an ounce of originality in it and sounds like every single they've released for 15 years.   

2. I think I would have liked it more had Invisible Monster not been on AVFTTOTW.  They have the same vibe and sound so similar to me. It just feels played out.   

I don't think Night Terror is a bad song, I just have very little interest to listen to it anymore and I would just rather the album flow from INAOM to ABM. 

There is major listening fatigue when you go from NT through Midnight Messiah and I find that removing NT really helps. 

[jayvee3]

to each their own! i was recently struck by how consistently engaging 'nightmare...' is, how well-structured (though making it into a suite could've worked as well, given how strong the 'beautiful agony' vocal part is), but i've always thought 'lines...' doesn't earn it's length - feels a bit 'jammy', which isn't a strength of this band.

Yea, it's always great to hear how different tracks hit differently for people. I absolutely love LITS, and I can definitely understand the jammy quality you refer to, but I just love it from start to finish. ANTR though, I feel really overstays its welcome.

But regardless, I think the point is more about no matter which songs resonate, are there ways certain bits can be trimmed or expanded to make a more cohesive song. I mean, we are having the conversation here, I'd love to be a fly on the wall when the band is discussing ideas and ultimately settle on a result...

[PixelDream]

I love Night Terror; it was my favorite of the singles and still is.

[Zydar]

I really enjoy it, and I couldn't imagine the album without it.