Fans waiting for Dream Theater to follow up on 2025’s Parasomnia can stop refreshing their feeds, at least for a while. In a new interview with Brazilian journalist Igor Miranda, singer James LaBrie laid out the band’s rough timeline for the next album, and “rough” is very much the operative word.

Asked whether the band had begun discussing a follow-up, LaBrie said (transcribed by Blabbermouth): “Whenever we approach a new album, it’s where we feel that we’re all presently sitting in life, what is affecting us, what is inspiring us, and most importantly, what do we feel should be the next chapter in Dream Theater as far as another album, its music, what is it going to represent, and something we can stand behind 100%. So we usually slowly transition to that when we know that we’re gonna go into the studio, when we know we’re gonna be writing a new album. That’s when we start having the conversations, as, ‘Hey, what do you guys think about maybe this kind of an album or…?’ And then at the same time, even regardless of all the conversations we have, each guy will come in with seeds of ideas, and we throw that on the floor. ‘Here we go, man.’ It’s there. Which do we feel is something that’s really cool and something that we can build on, something that we feel is going in the direction that we’ve been discussing? And so it’s kind of like that.”

He continued: “Right now, the focus is on this world tour. We’re gonna be on the world tour until — what? — mid-May. And that’s the focus. Then we’re gonna take a break for a little bit. And then probably late ’26 or early ’27, we’ll get into starting to write and record a new album. And then hopefully late ’27 or early ’28, we’ll go back out with a new tour. And this is just — this is all not concrete. But this seems to be the idea at this point.”

Drummer Mike Portnoy expressed the same uncertain tune back in December. Speaking to Troy Culpan of Australia’s May The Rock Be With You, Portnoy said: “Well, we have to wait, ’cause it’s been a long tour. We’ve been out for a year now at this point. We started in October of 2024. And here we are, a year later now, and by the time we get down to Australia [in February 2026] and wrap up the tour cycle a few months after that, it’ll have been a year and a half on the road. So, that’s the focus right now. But once the tour cycle wraps and concludes by next spring or so, we’ll probably take the summer [of 2026] off, ’cause it’s been a long road, and then start thinking about a new album after that.”

In the meantime, last November, the band released Quarantième: Live À Paris via Inside Out Music/Sony Music, documenting their Nov. 23, 2024, concert at the Adidas Arena in Paris during the 40th-anniversary European tour. Parasomnia itself — an eight-song, 71-minute set recorded at the band’s DTHQ studio on Long Island, N.Y., produced by Petrucci and mixed by Andy Sneap — came out Feb. 7, 2025 via InsideOut Music.

The post JAMES LaBRIE Says DREAM THEATER Will Probably Start Writing And Recording A New Album Around “Late ’26 Or Early ’27” appeared first on Sonic Perspectives.

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Underoath announces The Van Tour to Vans Warped Tour was originally published on HM Magazine by Nao Glover.

Underoath invites fans to connect with them this summer at some of the most intimate shows the band has played since their earliest days. Underoath: The Van Tour to Vans Warped Tour is presented by Vans and set to kick off on June 8th in Jacksonville. The tour will hit independent venues around the country as Underoath gets back in the van and […]

Underoath announces The Van Tour to Vans Warped Tour was originally published on HM Magazine by Nao Glover.

Photos by Glen Muller Presented by Melbourne Metal Mates, this was an unapologetic, raw showcase of volume and grit. The evening offered a seamless progression of heavy music that left the floor shaking and the fans wanting more. King’s Vengeance kicked off the festivities with an explosive opening, delivering a thunderous performance fueled by magnetic […]

Haven’t slept in a thousand years
But I see you
I always see you
In my restless dreams 

A Copy For Collapse’s The Line arrives after years of silence from Daniele Raguso, the Italian producer who has spent more than a decade dragging electroclash, EBM, synth-pop, and post-punk into the same strobbed basement and seeing which one comes out with lipstick on its teeth. Due March 2026 via Async Delay Records, the album ropes in Fivequestionmarks, Lady Maru, Elisa of Dear Company, Simona Pietrucci of Sorry Heels, Giovanni Santolla of The Spoiled, Milena Medu, Happy Skeleton, Kitty Willenbruch, and Caramel Chameleon, turning the record into a wired little séance table of voices, moods, and bad decisions.

The Line opens like a private warning scratched into concrete. Raguso builds the track around restraint, repetition, and that awful little border you draw around yourself when freedom starts looking too much like disappearance. It has the cold patience of early synth-pop filtered through post-punk self-interrogation, a song about escape that seems to know every exit leads deeper inside.

Faded takes the motivational poster off the wall, tears it in half, and lets the glue stick to its fingers. Simona Pietrucci’s words hover between endurance and collapse, while the music keeps nudging the body forward with a glazed, damaged tenderness. Desire is here, sure, but it has bags under its eyes and a bus to catch.

Sirens is where the record gets wet, feverish, and dangerous. The backing track recalls The Knife if they’d wandered into a Julee Cruise torch song at closing time, all moonlit menace and drowning-room glamour. Elisa of Dear Company sings as if desire were a tidepool full of glass, pulling romance, death-wish, and sleep into one slow marine spell.

2020 XXX turns lockdown lust into a sweatbox hallucination without pretending the pandemic was ennobling. Fivequestionmarks brings a horny, half-crazed energy that lands somewhere between Peaches and Gossip, with high-energy retro synth pressure and spooky atmospherics curling around the vocal’s bizarre little angles ala Vicious Pink and The Domanatrix. It’s funny, filthy, and lonely in the exact way 2020 made everyone weird.

Dark Planet comes on like a chrome-plated transmission from some club buried under an office block, with a spoken-word strut recalling Grace Jones and Die Krupps. The zippy laser hook gives it a cartoonish sting, but the menace stays real enough. It’s catchy in the way a warning siren becomes catchy after the third evacuation.

Heat is the album’s body count, its clenched jaw turned loose on the floor. The hypnotic bloops evoke minimal synth and electroclash, while the motorik beat keeps the track moving like a stolen car with bad brakes. Lust, rage, dancing, and psychic jailbreak all pile into the same overheated room.

Seance simplifies the drama to a minimalist rhythm, allowing Milena Medu to drift through the ruins. Boy Harsher meets Ladytron serve as ghostly reference points, particularly in the track’s detached delivery. The song’s true emotional power arises from regret reaching out for connection. Each line feels like a hand hesitating over a planchette, anxious for blame.

NCUPK feels woozy, warped, and strangely wired, in the most captivating way, filled with quirky bloops before erupting into chaos. The comparison to Neue Deutsche Welle and French Dark electronic acts like Malaria! and Hard Corps is fitting: it embodies the same vibe of club music twisted into a mischievous, crooked grin—playful yet wild. It resembles sentient machinery that’s developing a crush and making impulsive decisions.

Don’t Break Away is anxious electronica with a bruise under its eyeliner. Simona Pietrucci turns attachment into a trapdoor, singing from inside a state where love and self-sabotage keep exchanging coats. The track has drama without grandstanding, pain without politeness, and a rhythm section that keeps poking the wound just to see if it still answers.

The Last Warning is all blunt-force repetition and end-of-rope logic. Happy Skeleton’s words treat finality like a busted mantra, circling the need to stop until the phrase starts sounding less like a decision and more like a bodily reflex. The track works because it does not decorate exhaustion. It lets the dead end speak plainly.

Sleeper closes the record by crawling toward oblivion with a pillow over its face. Giovanni Santolla of The Spoiled gives the song its hollow-eyed ache, turning sleep into mercy and memory into a bad creditor banging at the door. It’s a bleak finish, but a fitting one: after all the heat, hunger, ghosts, and bodies, rest becomes the final forbidden luxury.

Listen to The Line below and order the album here.

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The post “In My Restless Dreams” — A Copy For Collapse Returns With the Collaborative Synth Séance of “The Line” appeared first on Post-Punk.com.

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