DREAM THEATER

I was not looking forward to taking the time to spin over 3 hours of live DREAM THEATER. Yet I did it four times. I am that guy who lives for consistent albums, and the longer they seem to be the harder that feat seems to be to accomplish. Plus I've never been "all in" on this band despite having a huge appreciation for much of what they do. I remember hearing "Pull Me Under" at some point and really enjoying it back in the day.

But it was picking up that Ep "A Change Of Seasons" that made me a fan. It, in all honesty was the first thing I bought after discovering the hidden world of Prog. And I still remember the joy I felt driving that Trans Am through the winding roads listening to it for the first time. Realizing I just discovered what I had been searching for the previous 15 years or so. It was a big deal.

My first spin of this triple album sort of confirmed my fears as I felt it was pretty inconsistent. But something happened towards the end of that second spin as I realized that this indeed is fairly consistent despite it's length. The key also being LaBrie's voice being in fine form. That first spin for me seemed to be all about LaBrie, as his voice seemed to dominate. And he does, but this recording is such a marathon. This is the final concert of the "Metropolis Part 2- Scenes From A Memory" tour. I can't believe this concert was over 3 hours long!

I read that Portnoy collapsed after the show from exhaustion. I'm not surprised when I've read the stuff Neil Peart has said about doing RUSH shows and what a demanding, marathon- like challenge it was for him. They pulled out all of the stops for this one. If your a fanboy this is a must. The highlights for me on disc one are the first really long track in "Beyond This Live" plus the other long one "Home". Disc two is smashing. It's the longest but so many highlights during the mid-way point like the three in a row of "Finally Free", Metropolis Part 1" and "The Mirror" and then add "Caught In The New Millennium".

The final disc is where we get the mammoth tracks as we get just three worth over the 60 plus minutes, including "A Change Of Seasons", "A Mind Besides Itself" and "Learning To Live". What are the odds they released this on 9/11? And with the original cover art shown here with the New York City skyline on fire including the Twin Towers. They would go to the trouble of changing that art work but again the timing was crazy.

So a solid 4 stars for this beast. I do prefer the triple live "Live At Budokan" but that's mainly because of the abundance of material that comes from the "Train Of Thought" record which is my favourite from them.

That was the last album (for a very long time at least, as it turned out) with the most stable Dream Theater line-up which, I guess, the vast majority of their fanbase considers as the classic one. I have read many comments that Mangini didn't possess the musicality Portnoy did, but I have some other objections: I'm not sure that Rudess possess this musicality aside his jaw-dropping chops and also the direction here is far more safe and half as exciting as their earlier releases.

The album begins with the worst opener ever on a Dream Theater album. Although the song tries to recreate the vibe of Scenes From a Memory, either the quality falls short or the novelty has worn off and it isn't as attractive. Throwing in some shredding and some aggressive vocals by Portnoy don't help matters in the slightest. Granted, there are some dotted good parts but does that say much? Many a time have I missed the sense of melody that Kevin Moore or Derek Sherinian brought on the table, but on this album this thought came very quickly. Fortunately, on the next song things improve. A bit more melodic, the chorus is catchy even the shredding sounds much more in place in these improved surroundings. My hopes begin to rise but The Shattered Fortress, well, shatters them a bit. Clearly, the heavier side of Dream Theater doesn't appeal to me that much since it sounds like as if they are not that interested in coming up with something intelligent, instead they simply want to lay the foundation to allow their impeccable technique to shine and I say this because most of the times the rhythm part behind a solo is one that any ordinary metal band would have provided. Pretty much like on the opener, there are some good parts of course, but I never get excited while listening to this. Wither is the only song that makes me want to turn up the volume and let the music carry me away. Its simplicity, as well the lyrics for once, have won me over and it would be even better if there wasn't a break where LaBrie sings the chorus accompanied solely by the piano which sounds much too saccharine. The Best of Times initially keeps going on this direction before it transforms into a totally upbeat tune to reflect the best of times that Mike Portnoy had with his father and as it progresses the music duly is adapted to express the pain and the loss he feels. Once again it would be an even better song if there wasn't some out-of-place shredding by Petrucci in the end. Do they believe that they have to live up to the expectations of a very technical band or is the thought somewhere at the back of their mind that they should give to the fans what they want? Can't tell, of course. The Count of Tuscany is the coup de grâce to this average album and also to my relationship with Dream Theater. The riffing is unintersting, the chorus is totaly inane (more agressive vocals by Portnoy), but nothing is half as inane as the lyrics of this song. Petrucci is credited as co- producer, guitarist, composer, lyricist, well, one can't be exceptional on every level and the latter is surely his Achilles' heel. Also these instrumental parts that consist of eight-note passages in odd meters make me sick, just can't tolerate them any more. Once again some good parts here and there which can't salvage the situation.

No one expects from Dream Theater (or any prog band for that matter) to replicate themselves. Still, this effort to adapt to the 2000s metal, although did them the world of goods with regard to visibility and commercial success, was at the expense of imagination and creativity. If you don't believe me, I call to my aid no other than James LaBrie himself who said once in an interview "I felt that with Black clous and Silver Linings and Systematic Chaos our music no longer necessarily enveloped all of the styles for which we'd become known. Τhe metal aspect was becoming too concentrated". I have a distinct feeling that they were way too settled in their ways and didn't take any chances on this one. Just consider the diversity that was blooming on their earlier albums and now is totally absent. I still listen to it from time to time to see if this album of once one my ever favourite bands appeals to me in a different way, but the answer is no.

Two and a half stars is much more appropriate.

Review Nº 894

"Dark Side Of The Moon" is an EP of Dream Theater and was released in 2006. It's a cover album made by Dream Theater about the original album, "Dark Side Of The Moon" by Pink Floyd that was released in 1973. As with many Dream Theater's releases, some extras have been packed into this album to add value to it. So, a selection of bonus live performances has been added to it. All are Pink Floyd's covers that the band has performed in several live shows.

As we know it's usual Dream Theater perform on their live shows many songs from many of their favourite prog rock bands. As a way of providing something different and special to their fans, Dream Theater began a series of live covers shows in 2002. Usually, the band performed two nights in the same city, and dedicated part of their second show to cover entirely classic albums. With the advent of their official bootleg label, some of these live performances have been immortalized on albums, like "The Number Of The Beast" of Iron Maiden, "Master Of Puppets" of Metallica, "Dark Side Of The Moon" of Pink Floyd, "Made In Japan" of Deep Purple and "Larks Tongues In Aspic, Pt. 2" of King Crimson.

The EP "Dark Side Of The Moon" is divided into CD 1 and CD 2. CD 1 has the entire live version of the original album. It showcases the band's 25 October 2005 Pink Floyd's "Dark Side Of The Moon" album, performed in its entirety at the Hammersmith Apollo in London, England. CD 2 has seven tracks: "Echoes Pt. 1", "One Of These Days", "Sheep", "In The Flesh", "Rune Like Hell", "Hey You" and "Comfortably Numb". "Echoes Pt. 1" is from "Meddle". It was recorded at the Tower Theater in Philadelphia, Pennsylvania on 2 April 2004. "One Of These Days" is also from "Meddle". It was recorded in Rotterdam, Nederlands on 18 January 2004. "Sheep" is from "Animals". It was recorded in Los Angeles, California on 9 March 2006. "In The Flesh" is from "The Wall". It was recorded in Berlin on 26 February 1995. "Rune Like Hell" is also from "The Wall". It was recorded in Poughkeepsie, New York on 30 December 1998. "Hey You" is also from "The Wall". It was recorded in Paris, France on 25 June 1998. "Comfortably Numb" is also from "The Wall". It's a special version because it was performed with Queensryche. In 2003 Dream Theater worked with Queensryche on a lengthy summer tour. So, this is a version with two singers, three guitarists, a keyboardist, two bass players and two drummers.

Not much needs to be said about "Dark Side Of The Moon". It's a landmark album of Pink Floyd and a landmark of the progressive rock music too. It's one of the best prog selling releases of all time and it's also one of the most influential albums of one of the most influential progressive rock bands in the world. It belongs to the famous trilogy of Pink Floyd albums with "Dark Side Of The Moon", "Wish You Were Here" and "Animals" which are generally recognised as some of the best progressive albums ever made. It's also because Pink Floyd is one of the most famous and respected progressive rock bands in the world beyond the universe of the progressive rock music. Everybody has heard of them.

This is probably the best album of their official bootleg cover series. The band seamlessly and almost effortlessly transitioned from track to track as if they had written the album themselves, and no less, in a real live setting. It truly showcases the band's appreciation and admiration for such a classic album of one of the best prog classic bands ever. They do not foist the solos, tempos, or intricacies that made this album what it really is. The band restrains and plays the album virtually note by note, fill for fill, tempo for tempo. Labrie does a surprisingly stellar job. The vocal lines seem to be perfect for his range. However, Labrie's performance ultimately is what keeps this from being a perfect cover, although it's more than enough, as his overall performance is one of his best I've ever heard. The slide guitar parts in "Speak To Me/Breathe" are provided by Jordan Rudess on his keyboards, maintaining their original luster. His solos in "Any Colour You Like" are also phenomenal. The vocal solo for "The Great Gig In The Sky", as well as backing vocal parts for other songs, was perfectly done by Theresa Thomason. Her stunning replication of this powerful aria sends shivers down my spine, as will the crowd's response to her. She received, literally, the loudest ovation on the entire show. On "Money" and in other parts, the saxophone of Norbert Stachel adds a bit of nostalgia to the final mix.

Conclusion: This Dream Theater's version of "Dark Side Of The Moon" is amazing. The band is faithful to Pink Floyd's original vision, holding back from the kind of instrumental virtuosity that typifies their original material. The band is joined by the guest vocalist Theresa Thomason on "The Great Gig In The Sky" and the saxophone of Norbert Stachel on "Money" and "Us And Them", who substituted Clare Torry and Dick Parry on the original version. Additionally, the extra live performances on CD 2 are also excellent and complete this album. Dream Theater can't be accused of never giving their fans as much as possible. As an official bootleg, the sound quality is excellent and proves that Dream Theater has ensured that their fans are able to witness some of the most unique performances the band had to offer. So, this is an enjoyable release that should be interesting to Pink Floyd's fans and as well Dream Theater's fan base.

Prog is my Ferrari. Jem Godfrey (Frost*)

"Parasomnia" is the fifteenth full-length studio album by US progressive metal act Dream Theater. The album was released through InsideOut Music in February 2025. It´s the successor to "A View from the Top of the World" from 2021. There´s been one lineup change since the predecessor as original drummer Mike Portnoy has returned to the fold replacing Mike Mangini, who had held Portnoy´s seat warm since 2011, where Portoy left to concentrate on other projects. Although the split with Mangini was amicable, he was in fact fired to make room for Portnoy´s return.

Portnoy was always much more than "just" the drummer in Dream Theater as an integral part of the songwriting team and the production team, and also as one of the most active band members when it came to media interviews, and his return to Dream Theater has made huge waves on the progressive metal scene. "Parasomnia" has as a result been an even more highly anticipated new release from Dream Theater than usual (and it´s not like every Dream Theater album before this one haven´t been met with almost hysterical level fan expectations and media attention). They are indeed the most well known and respected progressive metal band in the world...

Stylistically "Parasomnia" is one of the darker and heavier releases in Dream Theater´s discography along with albums like "Awake" (1994) and "Train of Thought" (2003). But albums like "Metropolis, Part 2: Scenes From a Memory" (1999) and "Six Degrees of Inner Turbulence" (2002) are valid references too if you want something from the band´s past to compare "Parasomnia" to. It´s like the band have consciously looked back at their turn-of-the-century albums and have found inspiration there for this album. At this point James LaBrie doesn´t sing that many really high notes though and it´s probably a good idea that Dream Theater have composed the material to accommodate LaBrie´s voice. He can still sing and he has a distinct sounding voice, which suits Dream Theater´s sound well, but age and years of touring the world have taken a toll on his ability to hit the high notes (which is audible when you attend a Dream Theater concert these days). While it´s not LaBrie´s fault, it doesn´t help make the vocal part of "Parasomnia" more interesting and varied if you compare it to some of the band´s earlier releases, but of course that´s been a tendency for now many albums, so it shouldn´t come as a surprise to anyone.

Other than that Dream Theater are as well playing as ever. Four virtuoso instrumentalists in the same band writing and playing complex progressive metal is always worth the price of admission, but honestly the incredible musicianship doesn´t mask the fact that the songwriting could need some focus and attention. Even better an outside producer would be nice at this point (guitarist John Petrucci is again credited for producing), weeding out some of the less interesting parts and making the band focus on and develop upon some of the amazing songwriting ideas this album also features. While songs like "Night Terror" and "Midnight Messiah" are immediately catchy and memorable, it takes quite some time to get familiar with the remaining material, because it´s either not as hook laden or sometimes have a tendency to wander off into noodly territory, which of course is what we expect from Dream Theater, but it often feels like the technical playing isn´t a means to an end (read: an integral part of the composition), but just there because the band knows that this is what the fans expect.

The sound production is overall well sounding, heavy, and detailed, and it´s not surprising to learn that Andy Sneap is responsible for mixing and mastering "Parasomnia". There´s a heavy metallic tone to the album, which suits the material well. Upon conclusion "Parasomnia" is an album which leaves me biased when rating it. On one hand it´s probably exactly what most Dream Theater fans expected and wanted, but as a more casual fan it would have been nice if Portnoy´s return had brought some of the 1990s Dream Theater greatness with it...but it really doesn´t. This is just another high quality progressive metal release from Dream Theater in a long line of relatively similar sounding but still high quality post-2000 releases from the band. The only time they´ve truly challenged themselves since the early 2000s was with the release of "The Astonishing" (2016), but I guess the fan reactions (mine included) to that album made them think twice about ever experimenting with their core sound again.

While my review may come off as a bit harsh and negative, it should not be misunderstood as if I don´t think "Parasomnia" is a high quality release, because it certainly is. The dream/nightmare lyrical themes which grace all tracks on the album is also well thought out and implemented, and when all is said and done "Parasomnia" is overall a strong release from Dream Theater. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

Once again a member change: Derek Sherinian out, Jordan Rudess in, although this time I don't think many people wondered who this guy was because most of us were already familiar with the Liquid Tension Experiment project. Aside that, we had already read at interviews that there was a second part for Metropolis - "The Miracle and the Sleeper" somewhere lying around and it would see the light of day soon. That day had come and I don't think I am exaggerating in the slightest by saying that all Dream Theater fans were scratching puzzled our head when we were reading statements where the band members were informing us that they had to put in a lot of practice to deliver their parts - honestly, how much more technical could they get? We had our answers when we took hold of our copy of the new album.

Pretty much like Awake and Falling Into Infinity I wasn't immediately won over and also pretty much like the aforementioned albums I came to love it, too. Nevertheless, to my personal taste it isn't as perfect as the other two because on Beyond This Life Petrucci and Rudess solo way too long and also I always skip The Spirit Carries On, I find it boring no end, whereas on Images... and Awake there isn't a single note to spare. Other than that, Metropolis pt.2 has won deservedly a place in the pantheon of the best prog metal albums ever, with Home/The Dance of Eternity as the pick of the bunch. It would be interesting to know if this album was mainly responsible for bringing Prog Metal to the fore, but the only certainty is that it sent all budding musicians practicing endless hours honing their chops (most of the times at the expense of quality music, I might add). Personally, after this album my interest for the band began to decline until it disappeared completely. Jordan Rudess is a formidable and out-of-this-world keybordist, but musically he never captivated me as Kevin Moore or Derek Sherinian did. Also the sound of the band became significantly heavier, a fact that contributed generously to the rising of Dream Theater as a prime force since the audience there is wider compared to that of progrssive rock.

After the rampant backlash of fans against the double album 'The Astonishing', Dream Theater returned with a concise yet focused album that could only be seen as a "back to basics" effort - 2019's 'Distance over Time' is the fourteenth studio album by American progressive metal headliners and is a creative offering that eventually sees the band at their most appealing and accessible in years. This album seems to be all about the songs, the feel and the sound that comes out of a band playing together in a cabin, which is exactly the location at which the album was recorded. Taking less than three weeks to record 'Distance over Time', we have a Dream Theater focused on their hard-rocking influences as well as occasional glimpses of a glam flamboyancy. Of course, this comes at the premise that none of the complexity or intricacy of the usual DT sound gets compromised; instead, there is a flaring, well-executed amalgamation between accessible and progressive.

Full of memorable riffs and vibrant guitar and keyboard solos, this album is crafty and focused, there is a generally uplifting feel to it and a recognizable swagger that definitely makes it a more universally appealing work. No big suites, no mind-blowing twists, no excessive point, just a more straightforward and organic playing, which also allows James LaBrie to shine on with one of his better performances in recent years. Each song kind of lives a life of its own and what might amaze you about this release is the fact that there are no weak entries on here - from the melodramatic opener 'Untethered Angel' and the elegiac 7-minute 'Fall Into the Light', to the sharp-edged and mechanical 'S2N' or the more complex arrangements of 'Pale Blue Dot', one might as well be drawn towards catchier numbers like 'Barstool Warrior' and the Van Halen-esque bonus track 'Viper King', this entire album is all about the songs, which are of pretty damn good quality all throughout. 'Distance over Time' is a welcome return to a more familiar but brilliantly-executed rocking sound for Dream Theater, with each band member showcasing why this is one of the most celebrated technical bands worldwide.

Unanimously seen as a reunion album for Dream Theater (despite the band never really going away), 2025's 'Parasomnia' marks the surprising and exciting return of original drummer and founding member Mike Portnoy, restoring the lineup that had been responsible for all of the fantastic albums released between 1999 and 2009. This new album by the kings of progressive metal is the sixteenth overall in their studio catalogue, expanding upon the material released in the last fifteen years, with the band loading up on their darker riff-heavy compositions that encapsulate both the melodic and the more technical aspects of their sound. Not a concept album, but a thematically cohesive work centered around the consequences and impacts of sleep disruption, intertwining this thread into their diverse and intriguing stories, as told on 'Parasomnia', this album generally seems to have something stylistically in common with both the self-titled album from 2013 and 'Train of Thought', both darker and heavier albums from the past.

Of course, the return of Mike Portnoy does not necessarily imply a return to the band's state prior to the 2010s, since the inventive and eccentric drummer did not redeem any of his production duties (handled exclusively by Petrucci) and it is not directly discernible how involved he has been with the songwriting process here, the direction of the music, or the conceptual side of it all (credited with writing the lyrics of just one of the six non-instrumental songs), which have more recently been dominated by the ideas and vision of John Petrucci and Jordan Rudess. With this in mind, 'Parasomnia' seems to be a direct continuation of the rather fine thread of albums released by Dream Theater between 2011 and 2021, and the similarities are quite tangible. This new work introduces nothing unheard of before - the cathartic and sophisticated songwriting dominates most of the songs on 'Parasomnia', which are quite effective and exhibit some really excellent riffs, mind-boggling guitar solos as well as well-written and memorable melodies, many of which can in reality be traced back to past works. The intricacy is here, the depth and the texture of the music are here, together with the signature dramatic delivery of James LaBrie. With the sole exceptions of 'Bend the Clock' and the big closing epic, 'Parasomnia' is incredibly consistent, enjoyable and generally uplifting, there is a sense of rejuvenation brought along by Portnoy's return, even if the album closely follows the well-known DT template, making it a fine listen and a more guitar-driven offering that probably lacks some of that characteristic flair, ever so poignant on some of the classic albums from the 2000s era of the band.

OK, I'm not a big fan of Dream Theater or Prog-Metal in general, so maybe it's not surprising that I was not very impressed with this new album, their first since drummer extraordinaire Mike Portnoy re-joined the band. There is no denying the excellent musicianship on display here and the sound is great, but there is just too much metal and not enough prog influences present here to work well for me. I think many were hoping that there would be more of a return to the old Dream Theater with Portnoy's return, but this sounds just like their last few albums, which I have tried to get into, but it just doesn't click for me. Not bad, just not that great. Rating 3.0

'Cleaning Out the Closet' is a compilation album by progressive metal legends Dream Theater, released in 1999, exclusively to fan club members. It features a variety of unreleased songs and singles b-sides, most of which were recorded and intended for 1997's 'Falling Into Infinity', but ended up not making the cut.

And that's probably a good thing, too, because some of these songs can be pretty average at times. That's not to say that they're bad, but they were clearly left unreleased for a reason! However, a number of these have gone on to garner almost classic status. 'To Live Forever' has been floating around the bands live set for years, and 'Raise the Knife' appeared on their 2006 live album 'Score: 20th Anniversary World Tour'.

Other notable highlights include 'The Way It Used to Be', 'Cover My Eyes' and 'Speak to Me'. Although, in all honesty, while this compilation is decent enough, I don't think I'd ever choose to listen to any of these songs over any of the bands official studio output. Still, if you can find it, this is worth owning if you're a die-hard Dream Theater fan.

The tenth studio album of Dream Theater can easily get itself listed among the "classics" of the band, with its all-out epic sound, masterful playing and great writing. 2009's 'Black Clouds and Silver Linings' is the last studio recording with Mike Portnoy before his 2010 departure, and is an album that bears a strong resemblance to almost every album preceding it during the decade, since this was an attempted pitch-perfect representation of every constituent element of that signature Dream Theater sound, and the album is indeed a rather excellent excursion into the DT world, replete with massive, fierce riffs from John Petrucci, performative and acrobatic playing from Portnoy, Rudess and Myung as well as some really good vocals by LaBrie, definitely among his better in-studio performances. Composed of just six tracks, this album is epic in every sense of the word, which also makes it a somewhat demanding listen.

A 16-minute live set staple sets the tone for the record - 'A Nightmare to Remember' is a well-known song by Dream Theater, and one of the most focused and impressive pieces of their catalogue, from the dark and almost goth-inspired intro, to the rampant soloing and all through the various passages of this complex track, it is a strong, impressive album opener. The doomy 'A Rite of Passage' comes next, with its melodramatic chorus and killer soloing, this is definitely one of the Petrucci highlights on the album, followed by the elegiac 'Wither' and the final part of Mike Portnoy's Twelve-step Suite, reprising many of the themes heard previously on the cross-album suite, here concluded gracefully, an excellent addition to this thematic project. 'The Best of Times' acts as a fine Rush homage, but this lengthy composition can get cringe and indulgent from the second half onwards. Closing off the record is the 20-minute track 'The Count of Tuscany' is another exemplary composition by Dream Theater that just affirms their signature style of prog metal, which is what this album is all about, as it manages to deliver an exhilarating and enjoyable performance of a band honoring their catalogue in the usual flamboyant way.