NOTE: What is below is an UNEDITED review. It can be a few days in editing and I wanted to get this out to you guys, so before I post in the review section or on my site I figured you guys could get a taste awhile. There are probably spelling, grammar, and readability errors.
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Impermanent Resonance
These are calmer times. However things weren’t that way the last time James LaBrie, best known as the lead singer for prog-metal icons Dream Theater released a solo album. In 2010, only a few weeks before the release of Static Impulse the founding drummer of Dream Theater left the band, shaking the foundations of the fan base and the genre. Since then James and Dream Theater have renewed their success both in the studio and on the road, and through it all a new studio album has found its way to the surface.
Impermanent Resonance will certainly draw a few comparisons to the aforementioned Static Impulse, however there is certainly evolution here, and not an AC/DC style carbon copy of previous albums. One fantastic example of this is in the harsh vocals of drummer Peter Wildoer on the two albums. On Static Impulse his vocals were a surprise to many and very much jumped out of the music at times. The new album should do a good job of pleasing those who enjoy the harsher vocals, while being less alienating to those who don’t. While the amount they are used on the two albums is comparable, they are lower in the mix and used in a less jarring manner, especially after the first two tracks. The album’s first track and lead single “Agony” features a vocal tradeoff between LaBrie and Wildoer during the verses, starting with Wildoer. While I’m still baffled why such a high profile track would start with vocals from someone other than LaBrie, it is a fast and energetic kick start to the album with excellent soloing from guitarist Marco Sfogli that gives a good indication of what to expect from the heavier selections going forward.
The next track, “Undertow” and continues to showcase the heavier elements of the album, while seeming to tradeoff a bit of bite from the last album for a more polished final product. And while I’m sure prog fans especially will debate the usefulness of Wildoer’s vocals up to this point, I don’t think anyone will question that he continues to bring his A game behind the kit. The heavier the section of the song and the more impressive the Swedish sensation sounds. The fourth track, “Back on the Ground” has a structure and beautiful vocal melodies of a power ballad, but one that, at times, goes on steroids and turns up the power aspect to 11. In a perfect world I think a track like this could see significant radio airplay.
“I Got You” is a straight forward rocker with a strong and melodic chorus that features a variety of electronic elements in the background that have been noticeable since 2005’s Elements of Persuasion album, though they are again more refined and less obvious on this track and album. Much of the same can be said of the next track, “Holding On” with the addition of another fantastic guitar solo from Sfogli. The next few tracks take their foot of the gas a tad, focusing on LaBrie’s vocals, especially on “Destined to Burn” during which many long time fans will enjoy the soaring vocals, most notably on the chorus.
“Say You’re Not Mine” starts out with piano and soft, warm vocals from LaBrie, reminiscent of “Coming Home” from LaBrie’s last album, and it a welcomed break in style from the rest of the album till that point. However unlike “Coming Home” the track picks up, leaving the album lacking any true softer ballads. The following track, “Amnesia” is similarly structured, with softer sections which really contrast well against the chorus that manages to end with harsh vocals from Wildoer that don’t seem at all out of place.
The final track on the album, “I Will Not Break” returns fully to the sound at the start of the album with its aggressive start, especially in the drums. And for those in Europe, or who can get their hands on the European release of the album will be treated to two bonus tracks. The first of which, “Unraveling”, treats the listener to a softer sound, especially in the first half of the song, that will serve as a nice counterpoint to what came before it. Finally “Why” ensures that no matter which version of the album you get it will end by leaving your blood boiling for more.
While LaBrie’s fantastic vocals, Wildoer’s drumming, and Sfogli’s excellent guitar work, both lead and solo all help make this album what it is, the standout star if keyboardist Matt Guillory. Not because the keyboard work itself is anything overly complex or groundbreaking, but simply because as the primary composer it was his work that made this album work. Wildoer’s vocals were better incorporated into the music and the keyboards were a perfect example of how to add texture and an extra gear to what is primarily a guitar driven metal album. While the polish of this album does make it a slightly tamer to the ears compared to Static Impulse, it does serve to help draw out and highlight the many memorable melodic moments of the album. Picking favorite tracks is difficult, but for the right reason, as much of the album rises to a very high level.
Fans of LaBrie as a vocalist will not be disappointed in this album, nor will those who have been fans of the other two LaBrie releases. Where fans rank the album will likely be determined by preference in style. Whereas Elements of Persuasion was put electronic elements in the forefront, and Static Impulse highlighted punch and aggression this album blends everything together well with perhaps the best guitar work throughout it all to date.
Nick’s Rating: A
Topic: James LaBrie Solo (Read 413611 times)
