By John Sturm
And so we have the latest solo offering from James LaBrie in the form of Impermanent Resonance. Again written with long-time writing partner Matt Guillory this album pretty much picks up where 2010’s Static Impulse left off. If you are expecting the kind of tunes that he is known for with his other band you’re going to be either disappointed or happy depending on your point of view. This is much more to the point, more direct and much, much heavier.
‘Agony’ is not so much an opening track as a rallying cry; a statement of intent. It’s slaps you in the face and yells at you to sit up straight when you are in its presence. Guitarist Marco Sfogli unleashes a riff so heavy and twisty that for a second you check to see that you have indeed pressed play on a LaBrie solo album. Where are the widdly 38 minute keyboard and guitar “duets”?!?!? Much like the rest of his solo work, LaBrie prefers a more direct and immediate approach to his solo tunes.
But fear not prog fans!!! All is not lost. There are still plenty of keyboards and time changes across this album to make even the most analytical beard stroker smile. Guillory and LaBrie know their prog rules and also know how to utilise the unbelievable skills of drummer Peter Wildoer, who even adds some vocals to this album in the form of some remarkable guttural screams. Although probably not at the same time. There is an immediacy to the whole of this album that might surprise some people and a melodic edge that shows there’s more than one strong to LaBrie’s bow.
If I may address something that divides a number of people (DT fans or not): LaBrie’s voice. Much has been said/written about his voice over the years. It’s a kind of musical Marmite really. In fact, in my much younger (and less musically experienced) years I was put off Dream Theater because of the vocals. On the last Dream Theater album, LaBrie showed considerably more restraint in his vocal range and delivery. There was less top end wailing and a much more fuller rounded mid-range vocal delivery. This continues here, James use much more of his lower and mid registers to impressive results. So if you’re put off by the operatic side of his work it’s not as present here. And this is in the music’s favour.
This album is peppered with riffs heavier than granite, moments of tenderness (‘Say You’re Still Mine’) and downright awesomeness (‘I Will Not Break’). There really is something here for both metal and prog fans alike. And with the new Dream Theater album arriving in September, this record will not only please fans but will show new fans that there is more to James LaBrie than people think.
