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

[Dellers]

Weird that the 24/96 version of the album is slightly more compressed than the CD. CD is DR8, while the 24 bit version on the Blu-ray is DR7. Guess I'm saving some space on the stereo version, then. The Atmos seems to be pretty dynamic, so that will be my preferred version I guess. Anyway, those of us who care enough to check the 24-bit files certainly care about dynamic range anyway. Weird to waste the opportunity on the Blu-ray on a worse master than the CD.

[MirrorMask]

Started listening once again right now and the "real" intro of Morpheus with the heavy chords and the alarm ringing is quite badass  I can only imagine which visuals on the screens and lights will accompany the song to make it even more memorable and in-your-face!

[durga2112]

I've decided to add "Strange Deja Vu" to my queue directly after the album finishes playing - I'm really curious to hear how well it fits!

I'm actually wondering if virtually any opening track would work well as an immediate follow-up to the album - I have a feeling "6:00" would work particularly well, if for no other reason than following an alarm and a voice saying "Wake up!" by an album called Awake just seems like a perfect pairing.  I'm going to experiment by adding different songs to my queue each time the album ends.

[Glasser]

It's very interesting reading such polar opposite opinions here. I joined the forum before AVFTTOTW and I don't remember opinions being this mixed. I wish I was here for The Astonishing, haha! Parasomnia, to me, is a good listen. 16 albums in and I'm just glad they're still making music. There is part of me that feels they're a bit tired and going through the motions and maybe even running out of fresh ideas creatively but what's left for them to do at this point? They still need to make a living. DT are so good that a mediocre album by them is better than most.

[RAIN]

Definitely could have lopped off the first 2:50 of Shadow Man Incident (the Metropolis homage) and started a song with that great Natural Science-ish riff that follows.

I personally made an edit where I cut out :51 to 1:47, and I find that it makes it much better.

[Kyo]

It's very interesting reading such polar opposite opinions here. I joined the forum before AVFTTOTW and I don't remember opinions being this mixed.

Counterpoint: A View... was one hell of an album that showed a band not slowing down, pushed to a new level by a drummer determined to raise the bar.

[Glasser]

Counterpoint: A View... was one hell of an album that showed a band not slowing down, pushed to a new level by a drummer determined to raise the bar.

100%! Raises the question did MP influence a "back to basics" or a stripped down album in Parasomnia? What would a new album sound like if Mangini was still here? OR, did the new limited range of JLB get addressed in the writing process of the album?

[The Letter M]

100%! Raises the question did MP influence a "back to basics" or a stripped down album in Parasomnia? What would a new album sound like if Mangini was still here? OR, did the new limited range of JLB get addressed in the writing process of the album?

I was thinking about this earlier today, the whole "How would this album have unfolded if Mangini were still around?", which is parallel to to what fans were speculating in 2011 when ADTOE came out and folks were wondering how that album would've turned out had Portnoy remained in the band.

-Marc.

[lovethedrake]

For those listening on apple music make sure to turn off Dolby Atmos.  It's made a huge difference for me in case you all missed the other thread.   

Thanks again to the poster "Awaken" 

[Glasser]

I was thinking about this earlier today, the whole "How would this album have unfolded if Mangini were still around?", which is parallel to to what fans were speculating in 2011 when ADTOE came out and folks were wondering how that album would've turned out had Portnoy remained in the band.

-Marc.

And that turned out to be a top 3 for me next to I&W and Awake.

[durga2112]

Yup, "6:00" works perfectly as a follow-up to "The Shadow Man Incident". What a great way to end the album!

By the way, I'm not the only one who gets a Fates Warning A Pleasant Shade of Gray vibe from the ending, right?

[ariich]

And that turned out to be a top 3 for me next to I&W and Awake.

Nice, I&W and ADTOE are in my top 3 too, along with Six Degrees. Awake is in my 2nd tier. 

I'm enjoying the new album more with each listen. The only song that's still not doing much for me is Dead Asleep. There's a nice bridge section in the second half that's cool, but the rest is just not really exciting me. Vocal melodies especially just feel a bit weak.

[TheHoveringSojourn808]

I believe I'm trying so hard to understand the concepts and the nuggets and the little bits of psychology embedded and woven so deeply into this masterpiece that I've come down with some insomnia myself. Oops!

[kylea1979]

I am loving this album.  I think I have listened to it 6 or 7 times since Thursday night.   I think it's better than the last two albums BEFORE Portnoy left.  I have a soft spot for a good deal of the Mangini era, love DoT and ADTOE but this. It's not the best one, that's impossible.  But it is high up on my ranking. 

The band feels like a well-oiled machine.  This is a seamless album and time flies when I listen to this. 

[TheHoveringSojourn808]

Here is an early draft of my review of the new album. Still editing it a bit though:

The day has finally arrived! We're all excited about Mike Portnoy returning to Dream Theater, and have seen the results of that playing out for over a year now, but how does the new music with him behind the kit again sound? Parasomnia delves into the intricate world of sleep disorders, exploring themes such as night terrors, sleepwalking, and lucid dreaming. The album's title aptly reflects its conceptual focus, providing a cohesive narrative that guides the listener through a spectrum of nocturnal experiences.

The opening track, "In the Arms of Morpheus," sets a haunting tone with its ethereal melodies and complex rhythms. John Petrucci's guitar work is both technically impressive and emotionally evocative, while Jordan Rudess's keyboard arrangements add depth and texture to the soundscape. Mike Portnoy's return is marked by his signature dynamic drumming, seamlessly integrating with John Myung's intricate bass lines.

Further, tracks like "Night Terror" and "A Broken Man" showcase the band's ability to blend technical proficiency with melodic sensibility. The compositions are layered and multifaceted, inviting multiple listens to fully appreciate the nuances embedded within each song.

The production of Parasomnia is polished, allowing each instrument to shine without overshadowing the others. The mixing and mastering processes have been executed with precision, resulting in a balanced and immersive auditory experience.

Then, around the halfway mark—specifically during the ending of "Dead Asleep"—something happened. Maybe it was the dissonant chord progressions, maybe it was the way Portnoy's drumming mimicked the chaotic, fragmented nature of a nightmare, or maybe it was the intense, almost oppressive weight of the music pressing down on me—but I felt a sudden wave of nausea. Before I could even pause the album, I was hunched over, violently expelling my lunch all over my Dream Theater Metropolis Pt. 2 tour shirt.

Now, at first, I thought, Okay, that's just unfortunate. But as I cleaned myself up and reflected on what had just occurred, I realized something profound: Parasomnia had done exactly what it was supposed to do. The album's entire theme revolves around losing control—of one's body, one's mind, and one's grip on reality. It explores the terrifying sensation of waking up paralyzed, of slipping between different levels of consciousness, of being trapped in a never-ending, surreal nightmare. My own body had literally mirrored these themes. It was as if the music had reached into my subconscious and forced a physical reaction.

And really, isn't that what Dream Theater has always been about? Their music doesn't just exist on a surface level; it demands engagement, it forces introspection, and sometimes, as I now know firsthand, it can even make you violently sick. I have never had such a visceral reaction to an album before, and despite the mess and the embarrassment, I kind of loved it.

Parasomnia stands as a testament to Dream Theater's enduring ability to craft intricate and emotionally resonant music. The return of Mike Portnoy adds a layer of nostalgia while infusing the album with renewed energy. For both long-time fans and newcomers, Parasomnia offers a rich and immersive journey through the enigmatic realms of the human psyche. Would I listen to it again? Absolutely. But maybe next time, on an empty stomach.

[Northern Lion]

Here is an early draft of my review of the new album. Still editing it a bit though:

The day has finally arrived! We're all excited about Mike Portnoy returning to Dream Theater, and have seen the results of that playing out for over a year now, but how does the new music with him behind the kit again sound? Parasomnia delves into the intricate world of sleep disorders, exploring themes such as night terrors, sleepwalking, and lucid dreaming. The album's title aptly reflects its conceptual focus, providing a cohesive narrative that guides the listener through a spectrum of nocturnal experiences.

The opening track, "In the Arms of Morpheus," sets a haunting tone with its ethereal melodies and complex rhythms. John Petrucci's guitar work is both technically impressive and emotionally evocative, while Jordan Rudess's keyboard arrangements add depth and texture to the soundscape. Mike Portnoy's return is marked by his signature dynamic drumming, seamlessly integrating with John Myung's intricate bass lines.

Further, tracks like "Night Terror" and "A Broken Man" showcase the band's ability to blend technical proficiency with melodic sensibility. The compositions are layered and multifaceted, inviting multiple listens to fully appreciate the nuances embedded within each song.

The production of Parasomnia is polished, allowing each instrument to shine without overshadowing the others. The mixing and mastering processes have been executed with precision, resulting in a balanced and immersive auditory experience.

Then, around the halfway mark—specifically during the ending of "Dead Asleep"—something happened. Maybe it was the dissonant chord progressions, maybe it was the way Portnoy's drumming mimicked the chaotic, fragmented nature of a nightmare, or maybe it was the intense, almost oppressive weight of the music pressing down on me—but I felt a sudden wave of nausea. Before I could even pause the album, I was hunched over, violently expelling my lunch all over my Dream Theater Metropolis Pt. 2 tour shirt.

Now, at first, I thought, Okay, that's just unfortunate. But as I cleaned myself up and reflected on what had just occurred, I realized something profound: Parasomnia had done exactly what it was supposed to do. The album's entire theme revolves around losing control—of one's body, one's mind, and one's grip on reality. It explores the terrifying sensation of waking up paralyzed, of slipping between different levels of consciousness, of being trapped in a never-ending, surreal nightmare. My own body had literally mirrored these themes. It was as if the music had reached into my subconscious and forced a physical reaction.

And really, isn't that what Dream Theater has always been about? Their music doesn't just exist on a surface level; it demands engagement, it forces introspection, and sometimes, as I now know firsthand, it can even make you violently sick. I have never had such a visceral reaction to an album before, and despite the mess and the embarrassment, I kind of loved it.

Parasomnia stands as a testament to Dream Theater's enduring ability to craft intricate and emotionally resonant music. The return of Mike Portnoy adds a layer of nostalgia while infusing the album with renewed energy. For both long-time fans and newcomers, Parasomnia offers a rich and immersive journey through the enigmatic realms of the human psyche. Would I listen to it again? Absolutely. But maybe next time, on an empty stomach.

Nice Review! And sorry about the shirt. Maybe it had to do with Dead Asleep's subject matter?

[skydivingninja]

Gotta say Dead Inside does less and less for me even if it has (I believe) the only JR piano parts on the album. I like JP's solo but otherwise it feels like it could've been left on the cutting room floor.

Right now I'm feeling solid C. Other than Bend the Clock and Broken Man I don't feel like it has that many *amazing* highlights even though the album is definitely *good*.

[The Letter M]

Gotta say Dead Inside does less and less for me even if it has (I believe) the only JR piano parts on the album. I like JP's solo but otherwise it feels like it could've been left on the cutting room floor.

Right now I'm feeling solid C. Other than Bend the Clock and Broken Man I don't feel like it has that many *amazing* highlights even though the album is definitely *good*.

"Dead Inside" - I knew they liked Muse but I didn't think they were doing covers from Drones! 

-Marc.

[SeRoX]

Mike Portnoy did a interview with Turkish music editor Doğu Yücel (one of my friend too), on Turkish music magazine called Dergy.

https://www.dergy.com/dream-theater-bu-turne-tarihimizin-en-buyuk-en-gorkemli-turnesi/ (Article is Turkish.)

Some interesting notes.

*He listened all Mangini albums fully after he joined the band. Before that he only knew some of them.
*He defined himself more mature and experienced comparing his last years before split.
*He stated that they will play Parasomnia full starting with late 2025. They will keep doing "An Evening With" format.
*In that time he watched Drumming auditions vidoes because of pure curiosity but it pained him.
*(There were some laughs) Interviwers says, back in the days you wanted a hiatus, a couple of years. And you got that. Mike responded with laugh too, "yeah, 14 years which I didn't mean that long time but here we are." 
*He never regrets his leaving decision. He stated it was right thing to do.
*Parasomnia Overture is the last song they did in the studio.
*Mike thinks DT never mean to produce "hit". He admits PMU is a hit but they never write a song with that purpose ever.
*Interviwer asked "Hugh' matter". Mike only responded, "you should ask this to him." And simply added, "we work with him because we love Rush."
*He loves Star Wars more than LOTR.

[skydivingninja]

Lol I've been mixing up that dang title in my mind. Also caught myself calling a song "Broken Clock" 

"Dead Inside" - I knew they liked Muse but I didn't think they were doing covers from Drones! 

-Marc.

[The Letter M]

Lol I've been mixing up that dang title in my mind. Also caught myself calling a song "Broken Clock" 

I mean, "Broken Clock" definitely sounds like it could have been a DT song title!

And also, going back to your previous post, I'm pretty sure that's a piano that JR is playing in the middle of "The Shadow Man Incident", from 13:07 to 14:03, or at least a piano sound on his keyboard, and it's one of the stand-out moments of the whole album for me.

-Marc.

[Stadler]

For me, I like it a lot and it gets better each time I listen.  The epic goes by in no time, which is a good sign for me.   I don't hear the Gilmour in Bend The Clock, though; it's far more Steve Morse to me.

[wolfking]

It's very interesting reading such polar opposite opinions here. I joined the forum before AVFTTOTW and I don't remember opinions being this mixed.

I actually think there was more of a split opinion on AVFTTOTW.  Early days but to me it seems there is more positivity around Parasomnia.  Talking only on here though.

[durga2112]

Here is an early draft of my review of the new album. Still editing it a bit though:

...

Then, around the halfway mark—specifically during the ending of "Dead Asleep"—something happened.

It feels like there's a paragraph missing before you get to this point - the jump from general impressions of the album to this occurrence is really jarring. I know you said you're still editing it so I thought this should be pointed out.

Other than that, it's a solid review! Looking forward to reading the finished version.

[Northern Lion]

For me, I like it a lot and it gets better each time I listen.  The epic goes by in no time, which is a good sign for me.   I don't hear the Gilmour in Bend The Clock, though; it's far more Steve Morse to me.

Yeah, I feel the same about the epic.

[Northern Lion]

Here is my current most to least favorite list:

Dead Asleep
A Broken Man
Bend the Clock
Midnight Messiah
In the Arms of Morpheus
The Shadow Man Incident
Night Terror
Are We Sleeping

I expect The Shadow Man Incident to go up on the list as I listen to it more. It has some of my favorite moments on the album, including my favorite riff, but the arrangement is messing with my brain a little.

Are We Sleeping is very pleasant and does an excellent job setting up Bend the Clock, but I don't see myself just listening to it on its own.

Even though I have Night Terror at the bottom, I still like it a lot.

[Jamesman42]

This album is going to be a slow burn to decipher. I'm liking that. There are a lot of cool ideas executed here.

[Progmetty]

I've listened to the album 4 times so far, which is 2 more times than I ever listened to the last one.

I like it okay, it feels like exactly the album that would've come out in 2011 if Portnoy had stayed and I would have been drooling over and looping it non-stop in my car and earbuds, but unfortunately it seems like I've outgrown that sound.

I'm not bitching at the repetitiveness of the vibe and style though, I've always said "I want bread when I go to the bakery, I like vegetables, but I don't want it from my baker". Which seems to be something people have been complaining about, at least according to Portnoy in that Prog Report interview. I just didn't expect to grow out of that shtick is all.

I do, however, think The Shadow Man Incident is their best epic since The Count of Tuscany, barely edging out Illumination Theory.

I intend to listen to the album a few more times so it maybe too soon to tell, but one problem I had with the previous album that seems to persist here, is the lack of memorable vocal melodies. Like, it feels like I forget all about the vocal parts as soon as the song ends.

[hunnus2000]

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.

I figured I would give this a shot. First thing to remember is that this is a concept album and Morpheus is the overture. You can not only hear condensed passages of the songs from the album and other songs from other albums and you don't have to wait forever. As sleep settles in (sirens, door shutting) and then it's time for sleep. But I hear The descent of the NOMACS as this happens. Morpheus has a bit of some of the songs in the overture which when you hear the guitar solo, that's partly a reprise of Bend the Clock. The rest of the album, the keyboard interludes segues into each song. I hear obvious references to other songs in their catalog (low hanging fruit) but there is a lot more references to TA than people realize.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                           

[Glasser]

I actually think there was more of a split opinion on AVFTTOTW.  Early days but to me it seems there is more positivity around Parasomnia.  Talking only on here though.

My memory is shot.

[Glasser]

Nice, I&W and ADTOE are in my top 3 too, along with Six Degrees. Awake is in my 2nd tier.

I'm enjoying the new album more with each listen. The only song that's still not doing much for me is Dead Asleep. There's a nice bridge section in the second half that's cool, but the rest is just not really exciting me. Vocal melodies especially just feel a bit weak.

Parasomnia is definitely growing on me more as well. Time will tell where this will rank. As I've said before, the fact that it's more straightforward appeals to me and sets it apart from any other album they've done.

[Ayeegit]

Sorry if this has already been asked/covered - but I noticed the Ants are back (at least in the expanded art book - not sure about the "basic" CD package).

Obviously they made their first appearance on Systematic Chaos, where they were heavily featured within both the album artwork and the tour - but have they shown up in between then and now, and I'm forgetting something in another album? Or is Parasomnia the first re-emergence?

[jimgolf]

Still my early impressions, but I think the album is the type of album that is very consistent all the way through. It doesn't reach the heights of DT's classic albums, but there's not any real weak tracks/ or bad moments on here(like the "Day after Day"/"Blast Beat"/Prophets of War/Build Me Up/Break me Down/long repentance ending).

I've listened to it in the car now twice - one with my friend on the way to the concert - and it's a rocking album with some fantastic groove from the band and Portnoy. They sound instantly n'sync together like back in the day(and the same goes for the live show I saw in Philly this past Friday).

I really thought it was interesting what John Myung said recently about this album being less technical than some of their previous records, and that a more technical album does not automatically make a better record. Personally, I think Distance Over Time is a top 5 DT record and think A View is very good as well(a touch below D/T), but I definitely understand what Myung is saying. In a way, them just kind of jamming out and playing some rock/metal without going over the top technical is kind of unique for them.

I will say that I think the first couple tracks could've used a couple moments that gave a break from the heaviness(like the soft middle section of 6:00, Take The Time).


Now all that aside, I was so blown away and happy to see these guys playing together in Philly, and having the Eagles win the Super Bowl ,that somehow a new Dream Theater record release is not the current obsession of my days 

I still maintain that Bend the Clock and Shadow Man are two fantastic closing tracks and the ending vocal conclusion of Shadow Man gave me chills that I haven't heard from the ending of a DT epic in a while.

My other two highlights are In the Arms of Morpheus, which is incredible, and Dead Asleep, which I really enjoy based on the groove and how it feels reminiscent of Beyond This Life. I've also grown a better appreciation to A Broken Man with hearing it in the context of the record and hearing the theme repeated throughout the album.

If I had to give it an early rating, I would say it's a solid 8/10 album. Welcome back Mister Portnoy!

[nobloodyname]

Here is my current most to least favorite list:

Dead Asleep
A Broken Man
Bend the Clock
Midnight Messiah
In the Arms of Morpheus
The Shadow Man Incident
Night Terror
Are We Sleeping

I expect The Shadow Man Incident to go up on the list as I listen to it more. It has some of my favorite moments on the album, including my favorite riff, but the arrangement is messing with my brain a little.

Are We Sleeping is very pleasant and does an excellent job setting up Bend the Clock, but I don't see myself just listening to it on its own.

Even though I have Night Terror at the bottom, I still like it a lot.

I think we might have been

So we've got skydivingninja thinking they're listening to Dead Inside, I and many others quite like DT's The Enemy Within. Any others?

[ariich]

OK, I've listened the album 4 or 5 times now, so I think I can attempt a ranking. Night Terror and A Broken Man have definitely been growers. 

1. Are We Dreaming/Bend The Clock
2. The Shadow Man Incident
3. A Broken Man
4. Night Terror
5. In The Arms Of Morpheus
6. Midnight Messiah
7. Dead Asleep

With further listens I could see 3 and 4 swapping places, same with 5 and 6. Dead Asleep still not really clicking yet.