Author: Aleš Podbrežnik
Artist: LaBrie, James
Label: Century Media
Release: 2013
Rating: 3/5
An enigmatic write-up this time around. Apparently Dream Theater vocalist James LaBrie found an effective musical formula with what his second studio album »Static Impulse« served up. In the sense that he’s happy with the effect of completely distancing himself from the Dream Theater style. The album title alone likes to hint that LaBrie loves physics, since on the previous album he studied statics, and on the new one he’s tackling resonance. The guy actually kept pretty much the same crew of studio aces around him, and the new album digs in the same direction as its predecessor. Similar cover art, similar sound – Jens Bogren handled the mix again, and as mentioned, the two albums have similar titles.
So this is the heaviest album of LaBrie’s solo career, one that will have die-hard fans of the Dream Theater style, as well as of both of LaBrie’s Mullmuzzler albums, turning their heads away pretty quickly. Unlike with the earlier ones, though, fans of modern, pretty, melodic-to-the-bone death metal sounds that only bark and don’t bite too hard will be perking up their ears. What In Flames and Soliwork are doing these days is being poured into molds by a whole host of modern, trendy metalcore outfits. The songs are compact, miles away from Dream Theater’s typical progressive looseness. In them LaBrie gets what he has a hard time pulling off in Dream Theater songs. Compact melodicism in the tunes. That is, heads-and-tails arrangements where his vocal actually dominates.
How LaBrie shifts stylistically from album to album is best illustrated by the lineup of collaborators, which keeps shrinking from album to album. The only name that has stayed constant since the Mullmuzzler days is keyboardist Matt Guillory, who, besides coloring with synths and loosening up the avalanche-like massive form of the riff wall, adds highly welcome programmed samples, especially emphasized in the intros and outros of the songs. The crew LaBrie has in the studio is excellent. The album works like a band album and not like a solo album by one individual. Well, let’s rather say it works first as a band album, and only then as a standalone LaBrie album (even though we file it under his solo releases).
LaBrie didn’t write a single song this time, but he certainly shaped their look with his chosen vocal melodies. The main creators of the new album, in terms of leading ideas, are, besides faithful keyboardist Guillory, Patrick Wichers, infamous former Soilwork member, who added extra riffs in the studio behind the producer’s console, and the other is drum grandmaster Peter Wildoer (Armageddon, Majestic, Pestilence, Silver Seraph, Arch Enemy, Time Requiem, Soilwork, and the list goes on), who also takes care of the death metal growling. The latter usually joins LaBrie in duets, or is layered under LaBrie’s leading melodic vocal lines, tagging along in the shadows like an evil alter ego and coloring them with contrast.
The further shaving off of progressive elements has led to guitarist Marco Sfogli being less noticeable on this album than ever before. Not in the riffs, of course, but in the solo spots. Transitions are often decorated with simple harmonies in thirds, typical of the moves of modern bands that »play metal« (inherited from Iron Maiden, of course).
ŠOne would still wish that LaBrie would record an organic-sounding album. His voice is simply not rough enough for what he’s creating these days. He always caught fire in ballads, especially on »Falling Into Infinity« (1995). In arranging his material, LaBrie should take a page from the arranging principles of that Dream Theater album. His specific vocal approach and tone of voice give everything its own special flavor even in the new stylistic moves he’s been picking up on the last two albums, and yet the tricks often come off generic, chewed-over, actually unnecessary. Because their originators did them better. Otherwise, the new album is superbly played. LaBrie also offers fitting variety in his diverse lead melodies. He still ignites best when he’s not accompanied by »growling«. That’s in the calmest moments of the album, like Amnesia and the power ballad Say You’re Still Mine. LaBrie’s weak card, though, has always been the same. He’s always written weak lyrics, which often adds to the feeling of emptiness, the »hollowness« of a product that gets swallowed up by the occasional generic use of chewed-over »templates« and a sense of emotional castration.
So the feelings are mixed. Those of you who catch fire on first listen will take this album in without any baggage, because it has a predatory, vampiric, crushing modern production (acceptable for the genre of modern »Scandi-like« melodic death metal) and a white-hot energy generated by the full-on excellence of the playing from the crew of musicians, as well as the high melodic catchiness of the tracks, which the reliable LaBrie vocal takes care of. So there’s nothing wrong with the album, but there are still big reserves in the exposure of LaBrie’s vocal characteristics. But apparently, with this album the solo career of this fine vocalist is mapped out for a good while. Metal! From head to toe!
Lineup
James LaBrie – vocals
Matt Guillory – keyboards, backing vocals
Marco Sfogli – guitar
Ray Riendeau – bass guitar
Peter Wildoer – drums, backing vocals (growling)
GUEST MUSICIAN:
Peter Wichers – guitar
Production
Peter Wichers & Jens Bogren
Tracklist
01. Agony
02. Undertow
03. Slight Of Hand
04. Back On The Ground
05. I Got You
06. Holding On
07. Lost In The Fire
08. Letting Go
09. Destined To Burn
10. Say You’re Still Mine
11. Amnesia
12. I Will Not Break
