PARASOMNIA

Yes, thankfully, The Child is Father of the Man. Number One, the Chief salutes you.

Is history cyclical? Perhaps, but consideration of "Parasomnia" brings me back to the ending above of my 2/22/2009 review of "Octavarium."

Number One is my oldest son, now a successful, multi-store retail, district manager who recently had the good fortune to see Dream Theater on their fortieth anniversary tour. Finally, on Sunday, 3/23/25, we spoke regarding "Parasomnia,"agreeing that it is Dream Theater's best effort since 2002's "Six Degrees of Inner Turbulence."

In the autumn of 2024 when the band gave us the preview of "Night Terror" from "Parasomnia," I joked with Number One that, depending on the 11/5/24 outcome of a major event in the "body politic" of the United States, I, too, might have "Night Terror . . . ." This outcome has, subsequently, also led to "Day Terror."

On a far more auspicious note, we have "Parasomnia." As we enter the album through "In The Arms of Morpheus," we are whisked away into a fitfully trancelike state that is relentless. "Night Terror" descends into "A Broken Man," which constricts into "Dead Asleep." The listener is on a "mechanical bull" of the Imagination that charges through "Midnight Messiah" to the alarm clock conclusion of "The Shadow Man Incident."

As a "concept album," "Parasomnia is not only a latter day "Metropolis Pt. 2?Scenes from a Memory," but also an "incarnation" of "The Lamb Lies Down on Broadway." Although "Parasomnia" does not possess a relatively linear "quest romance motif" like that of "The Lamb Lies Down on Broadway," it presents eight bewildering nighttime scenarios with a cumulative effect tantamount to the quest of Rael . . . .

Instrumentally, the album is superb. Throughout, there is the continuous dialogue between John Petrucci and Jordan Rudess. James La Brie is most authoritative. In his return to the band, Mike Portnoy parallels the career of NFL great, Fran Tarkenton, who, beginning his career with the Minnesota Vikings and serving an intermediate tenure with the New York Giants, returned to the Vikings to complete his legendary status as quarterback.

And, then, there is John Myung: "L'Angelo Misterioso" of "Parasomnia." In response to the legendary lead guitar work Eric Clapton provided on "While My Guitar Gently Weeps," George Harrison co-wrote and performed rhythm guitar on Cream's, "Badge," under the pseudonym, "L'Angelo Misterioso."

Myung's presence initially became noteworthy to me during Rudess and Petrucci's "dialogue"during "Night Terror" and Rudess' piano solo during the latter stages of "The Shadow Man Incident." With each listening, I have found Myung's bass to be fairly "high" in the mix, largely assuming the function of rhythm guitar. And, why not? With a drummer like Mike Portnoy, the music of "Parasomnia" opens up the full, rhythmic possibilities for Myung's six string bass. As a parallel, I would like to make reference to Greg Lake's eight string Alembic bass on "Fanfare for the Common Man."

There are, of course, other remarkable instrumental elements throughout this album. I would like to point out Petrucci's solo during "A Broken Man" in which he revisits the "Kansas-like" sound of "A Rite of Passage" from "Black Clouds and Silver Linings."Rudess delivers singular piano work during the remaining third or so of "The Shadow Man Incident,"supported by Myung's bass.

In mentioning Fran Tarkenton earlier, I must similarly say, in "Parasomnia," Dream Theater has sent "the ball" out of Wrigley Field and/or over the Green Monster in Fenway Park.

And, who among us would not want to "Bend the Clock?"

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