JAMES LABRIE

I must confess I did not realise he is 14 days older than me (we are both 60 next month), as I always thought he was much younger, and although he still may struggle to hit the very high notes due rupturing his vocal cords when he had food poisoning back in the 90's, he has had a major impact on singers in multiple genres and can always be relied upon to deliver a great performance. The more acoustic setting on this album means that James is more relaxed and not as driving as one normally expects from him, and consequently delivers a wonderful vocal performance which is a delight. While the basis of this album is melodic rock, there are also elements of singer songwriter, and it very much feels like a singer's album with multiple layers contained within. Like most progheads I have been a fan of Dream Theater for many years, and have always been an admirer of his vocals, yet here he shines in a very different direction and the result is something which will appeal to those who are already fans as well as those who have yet to jump in. I certainly hope that Logue and LaBrie work again in the near future.

The lineup changes are mirrored by a significant departure from the sound LaBrie had explored on previous records. In fact, Beautiful Shade of Grey is as far removed from metal as anything that LaBrie has sung on before. The album's 10 tracks explore instead a musical space at the intersection between progressive rock and acoustic hard rock, visiting places that have more affinity with bands like Spock's Beard, their melodic rock offshoot Pattern-Seeking Animals, or Troika (Neal Morse's recent collaboration with Nick D'Virgilio and Ross Jennings), than Dream Theater or other prog metal acts. The songs are predominantly acoustic, even when they build up to a full-band approach. Acoustic guitars, piano, and Hammond organ provide the songs' harmonic texture, which Chance LaBrie's restrained drumming is careful not to overpower. Meanwhile, Marco Sfogli interjects some technical but exquisitely melodic solos, frequently using the acoustic guitar too.

This rich but delicate musical tapestry offers a perfect background for James LaBrie to explore the entirety of his vocal range and skills, in a way that he is often unable to do with his main band. On "Give and Take" the singer reaches the lowest notes in his range, and the contrast with the high notes he hits for instance on "SuperNova Girl" testifies to his impressive range. Elsewhere, LaBrie has a chance to show how expressive his voice can be when he does not have to sing melodies over speed-of-light metal anthems ("Sunset Ruin", "Am I Right"). Meanwhile, the gorgeous multiple voice harmony at the beginning of "Conscience Calling" provides an insight into what some of the singer's influences on this album may have been (Journey, Foreigner).

Beautiful Shade of Grey flows away very pleasantly, although it does lean a bit too heavily on mellow balladry. It's a pity because when LaBrie experiments with the use of acoustic instruments in a more hard rock / uptempo context, things get really interesting, like on the two acoustic rockers "Devil in Drag" and "Hit Me like a Brick". The slow tunes are of course great too, although only some truly hit the mark (the heartrending "Sunset Ruin", dedicated to LaBrie's late brother; "Am I Right", where we also find a cameo by Theresa Thomason, whom Dream Theater's fans may remember from her duets with LaBrie on "The Spirit Carries On"), while others fall somewhat flat, suffering from weaker melodic ideas ("SuperNova Girl", "Wildflower"). I am also slightly puzzled by the way LaBrie chose to close the album, with a Led Zeppelin's cover ("Ramble On") and an "electric" version of the LP's opening track, "Devil in Drag". While it may be mildly entertaining to hear LaBrie do his best Plant's impersonation, both songs feel largely unnecessary, and spoil somewhat the record's flow.

Nevertheless, Beautiful Shade of Grey remains a thoroughly enjoyable record that shows a side of LaBrie that we do get to see often with his main band. Dream Theater's fans (and metalheads in general) may not be overly impressed by the LP, because there are essentially zero traces of metal here. The album may instead appeal more to fans of 1970s hard rock / prog rock, who may be surprised to find in LaBrie a new, versatile voice for their favourite genre.

One of the biggest differences that set LaBrie's solo work apart from his main band is that the songs are a lot more straightforward and stripped down. The song structures are more akin to standard heavy metal. But with that said, the similarities are still there. Guitarist Marco Sfogli is an absolute beast on the guitar, yet his tone pretty much replicates John Petrucci's perfectly. Matt Guillory's keyboard playing never disappoints, and drummer Mike Mangini must have impressed someone, as he would later go on to join Dream Theater!

There's nothing fancy to say here, and no overly critical insults. 'Crucify', 'Alone', 'Lost' and 'Drained' are all solid tracks that make this a good, quality progressive metal album.

Let's get the Dream Theater comparison out of the way right away: Impermanent Resonance is not a Dream Theater album... not by a long shot. If you read my reviews of DT's recent offerings, you'll see that for me this is a very, very good thing. LaBrie has essentially phoned in his Dream Theater performances over the past half- decade (or longer). His vocals here are powerful, soulful, genuine, and all around superior to anything we've heard him on in Dream Theater, at least since Octavarium. The thing that will strike you most is the melodies and hooks, which LaBrie nails here. If you're DT fanboy and enjoy his singing, you'll love Impermanent Resonance, guaranteed.

Lyrically this is familiar ground for LaBrie. He's singing about F'd up human experiences, often with a glimmer of optimism or defiance hidden amid the gloom.

But what about the rest of the music? Well, it's pretty damn good, actually. Going into the experience knowing that it isn't strictly "prog" music will help your enjoyment though. This is very modern hard-rock/metal, with somewhat more artistic sensibilities than you'll hear when compared to more well-known groups. Don't expect lengthy instrumental passages, dueling keyboard/guitar solos, or crazy time signature changes mid-song. This is a hard-rock album without delusions of grandeur, and it's very good at accomplishing what it's going for.

In general the tone is heavy and aggressive. Songs are short and punchy, not necessarily following the conventional verse-chorus-verse-chorus-bridge-chorus pattern, but still fitting into their 3.5 - 5 minute running times nicely. This gives you a quick dose of a memorable combination of hooks and melodies, then moves you right in to the next one. There are tempo and dynamic changes mixed into the track list, but most of this nuance comes from LaBrie himself. One surprise is the aggressive screams and growls of backing vocalist Guillory, which is a punchy addition. Sfogli's guitars bear special mentioning as well. This is his third collaboration with LaBrie, and at this point his riffing and soloing brings as much to the experience as LaBrie's singing itself. Sfogli is exceptionally competent, creating the tapestry of riffing that accompanies the melodic singing; unfortunately we aren't given enough time to enjoy his soloing more than a few short highlights.

In my mind Impermanent Resonance is a weak "prog" release, but I don't think it's going for an epic metal experience. This is LaBrie's chance to make the music he's interested in making, giving him the opportunity to break with the songwriting mediocrity of recent Dream Theater. That's not to say that the songwriting in this solo album is going to knock your socks off... but it stands on its own strongly, and LaBrie simply sounds like he's having fun singing, which is a welcome feeling.

Recommended for LaBrie fans, of course, for those like me who love classic DT and feel the pangs of heartache at their recent offerings, and for anyone who just needs a good kick in the teeth with some good, clean, heavy rock.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 4

There is a lot of variety here which is probably the main thing the album has got going for it. There are a good share of great guitar solos, no doubt about that. But everything is pretty straightforward for a pop/rock album. There are hard driving songs and there are pop songs, but nothing really that interesting.

Instead of a track by track analysis which I usually don't like to do, I will take a few examples that are representative of the songs all throughout the album. "Alone" is okay, but the drums are programmed and they sound that way. It's okay to use programming for certain effects, but they take over pretty much all of the rhythm section on this track. At least there is a decent guitar solo.

"Lost" is merely a pop-oriented song of which there are several on here. Nothing stands out here at all, not even the vocals. It's just another song to get lost in the endless list of radio friendly music that never really even makes it to the radio.

"Pretender" is just straight ahead hard rock track that really doesn't stand out. It's one of many instances of this on the album.

In other words, these are all just ordinary songs that can pretty much be listened to alone. That fits in well with the digital download age, but not fit for those who love album oriented rock.

There really isn't nothing on here that you can't hear on other rock albums. The production is great, the vocals and instrumentals are good, but there is nothing challenging and nothing stands out when the album is over. There is nothing progressive about it other than the lead singer being in DT. I haven't really listened to his other solo albums to see if they are more prog oriented, but as of this album, there is nothing much that can be considered progressive here. It's a good listen, but there are so many good listens out there already that this album just easily falls in between the cracks that lead to ambiguity. 3 stars. For DT fans that don't mind if the music is watered-down and for straightforward rock fans who don't mind a non-challenging album.

The best way I can describe James' solo career is much like Bruce Dickinson's solo career. It is very odd to learn, but yes, these two do have solo careers, even though they are the voices of 2 of the biggest metal bands on the planet. But instead of basically doing what there previous bands are doing, they offer something a little bit different to the table.

I was shocked to read the linear notes of the album and discover that in fact a lot of the songs where not even written by James himself, and instead most of the songs where written by writing partner Matt Guillory. I'm not sure if this is 100% correct, but either way I'm not too phased by it, because it doesn't take away the impact of the material.

Now, musically James has now been able to create a new sound and a staple for himself. The last album "Static Impulse" did flirt with melodic death metal ideas and bringing in death growls from Peter Wildoer did give the album a certain flair, but on this album those ideas have been melded with a bigger focus on songwriting, giving the album a more pop laced feeling. I mean it, the best way to really describe this album is a weird hybrid of Soilwork and One Direction.

The albums lead single "Agony" is one of the main highlights. Whenever this got released, I was so surprised at how much I liked this song. Having not not read the lyrics to the song, I was just enjoying it for the catchy moments, but after getting the album and having a read...yea...pretty dark stuff (it's about domestic abuse by the way).

"Back On The Ground" could easily be a One Direction song. I really mean it, this song is so poppy and catchy that James & Matt could have easily sold this off to Simon Cowell. The guitar sound is surprisingly heavy as hell as well, which does make the song a little bit more enjoyable. A great and diverse vocal performance from James too.

"Destined To Burn" is probably the best lyrical moment on the album. A song about racism...yea sometimes this can either be alright, terrible or just very cheesy ("Ebony & Ivory" comes to mind). It is pulled off very well and has some great riffs and melodies throughout.

"Say You're Still Mine" is also another great pop meets metal collaboration. A brilliant uplifting chorus and total cheese.

I recommend getting the Digipack version because there are two bonus tracks "Unraveling" and "Why", and they are great songs that could have even been on the album and wouldn't affected it in any way.

In conclusion, this is definitely James' strongest solo effort to date. With some of his most memorable tracks and some of the catchiest songs I've heard in metal for a long time, this really is going to challenge a lot of what is to come on the new Dream Theater album. Brilliant album with some timeless classics in my opinion.

8.2/10

No applause, please, just some nice feel good music.

Obviously this record won't be the first on everyone's mind, but in reality, this record reminds me of BMW's X6; it shouldn't work. The car itself is a frankenstein, a sporty SUV trying to look like a coupe. In fact, Mike Portnoy even stated in a "Black Clouds & Silver Linings" interview that he wanted a death metal-esque growl on "A Nightmare To Remember". While I would've loved that instead of Portnoy's "roooaaar"-ing sound, the other members didn't think it worked. I'm guessing the blastbeat at the end (first and only time Portnoy ever did that on a DT recording) was compensation.

Judging from that interview, you'd think LaBrie of all members (maybe Rudess) would be anti-metal. Yet, what do you get once you start up "One More Time"? Screaming, bone- crushing riffs, and a blastbeat at the end (sort of, although it's definitely more pronounced on "Mislead". "Jekyll And Hyde" starts off in similar fashion, almost sounding like a dark power metal group. Yet, even with this sharp change of direction in sound, it, well, sounds...normal. Actually, though. Maybe I'm just used to screaming and death metal growls (not the genre in general), but it kinda makes sense.

Maybe this was just further development in that dark ominous, heavy sound DT had developed since "Train Of Thought" and continued with "Systematic Chaos" and BC&SL. In fact, there are many elements from LaBrie's debut solo record (3rd if you're counting the Mullmuzzler albums) that foreshadow a heavier approach, especially "Crucify" (containing one of the most epic guitar solos ever).

"Mislead" almost definitely sounds like something Divinefire would create. It's fast in that power metal aspect, yet it contains that dark, ominous, symphonic element that provides depth and atmosphere to an otherwise heavy and brutal (somewhat) track, yet LaBrie sounds at home here (although I think the screaming here is overdone), which is quite unusual since LaBrie is really one of the more anti-metal vocalists you'll ever see. I always considered him as the "Geddy Lee" of prog metal, simply because he's infamous for his falsetto and an amazing voice (at least for prog metal, because he really doesn't pull off most cover songs well at all).

Even though you don't hear it immediately, Marco Sfogli is really good. You can definitely hear on "Crucify", but he continues to make an impact on this album (is it me, or does LaBrie really like to work with guitar masterminds?). Sfogli managed to make enough noise working on LaBrie's solo work that he even had enough momentum to release a solo record of his own (and a pretty damn good one at that).

Then I get to Euphoric. This seems completely foreign to me, as LaBrie goes for an alternative metal approach right from the start. No long intro, no complex rhythms or time signatures, really nothing of interest for a prog metal fan. Yet, it still seems to work, but why? Well, LaBrie isn't unknown to this genre as he has recorded similar songs (most recently "Wither" on "Black Clouds & Silver Linings". The heavy approach is there, but Matt Guillory saves the day with his keys, which almost remind me of Kevin Moore's playing style (which fits for this song, as it's a light string midi sound, quiet, almost haunting throughout the entire track). What in most cases would turn into a disaster has managed to be diverted by LaBrie himself, which is why he's one of my favorite prog vocalists of all time.

"Over The Edge" is another sharp blade of metallic force that once again comes equipped with clever and fantastic lyrical performances by LaBrie. It's another heavy song that, while it is short like just about all his other stuff, imstrumental performances are still abound, highlighted by Sfogli once again. Same can be said for "I Need You" which once again starts out in a modern power metal fashion, this time resembling more like Masterplan, it just seems like old hat this time around, so it's really not a favorite of mine, especially the sporadic screaming and stop-and-start drum patterns (although the chorus is fabulous as always).

"Who You Think I Am" is a quite heavier track than normal, not necessarily more metal. It really sounds like it should be on "Elements Of Persuasion", as that record is more of that heavier, ominous sounding metal, while this record is straight up metalcore, alternative, catchy lyrics, catchy choruses and, in my opinion, more accessible. Even though both records are similar, Sfogli seems to have more showtime on "Elements" even though he still shines on here. Peter Wildoer actually gets some action on "Who You Think I Am", a little breakdown of complex rhythms and spastic punk, although I prefered Mike Mangini who lit up on "Elements" (which could make perfect sense on why he replaced Mike Portnoy for DT's drummer. Or, maybe the band just likes drummers named "Mike".)

Guess I'll never get an opportunity to audition for Dream Theater now. :(

Now, even though LaBrie will forever be known as a progressive metal singer, "Static Impulse" broadens the genre, whereas "Elements" still maintained a significant element of prog metal in there. Here, the fiercesome fury of metalcore is unleashed on "This Is Was" (with another blastbeat by Wildoer) and "Superstar", while LaBrie's softer side comes out on "Coming Home" and "Just Watch Me", while a third side, evidence of alternative metal, is creeping in on songs like "I Tried".

All in all, though, LaBrie hasn't lost a beat in almost twenty years, and the high notes he hits on "This Is War" is almost positive evidence that's still healthy enough to make more music, and easily explains why he, like the rest of Dream Theater (except Portnoy), wanted to continue making music and head to the studio again. Now, while this record is not exactly "Six Degrees Of Separation", this record defines LaBrie as one of the best singers in the music business today.

Move over, Kesha. Disco balls and cocaine can't kill a psychotic madman like James LaBrie.

Retained from EoP was his writing partner Matt Guillory and the Italian guitar prodigy Marco Sfogli, giving some continuance to the overall sound. Especially Guillory with his guitar-like keyboard solos is as much a part of the sound of LaBrie albums as LaBrie himself. The new boys this time are the Swedish drummer/vocalist Peter Wildoer who along with the drumming also handles the growl vocals (!), and bassist Ray Riendeau.

And what about the music then? Well, 12 tracks of melodic metal, with some prog and death metal thrown in to spice things up. At the same time Static Impulse manages both to follow its predecessor and be different enough. LaBrie's singing is top notch, and Wildoer's growls seem to fit very well into the tapestry, which I really didn't expect. The instrumentation overall is of expected quality, and the stars (like with EoP) are Guillory and Sfogli, creating some very memorable solos.

In the end we are left with 12 quality songs, with strong, good melodies and enough crunch to satisfy us who like metal. It might not be a very complex album, but it's not just any straight metal either. 4 stars.

So.. Its pretty good, but that really is the problem. Its just good and maybe very good in some places, but never transcends to a level of excellence or brilliance (like Images and Words for example).

Now when I first bought this album way back in the day, I absolutely loved it, but over time I kinda forgot about it, and honestly I just listened to it again for the first time since probably 2007, so I guess that really says it all. I forgot about it. Something like Images and Words won't allow itself to be forgotten, it will burrow its way into your brain and DEMAND to be listened to. Yes it has its highlights such as Slightly Out of Reach, which is fantastic, but after just listening fresh, I have to say it kinda has a Strait Forward heavy rock sound, and maybe I'm just progged out of my mind at this point, but it just feels like Generic Meh.

3.5 Stars or B Grade