I’ve been a longtime Dream Theater fan – 21 years, in fact, since the release of one of the finest progressive metal albums ever released, Images and Words. And yet, in all of that time, I’ve never checked out any of vocalist James LaBrie’s solo material (4 albums’ worth). A friend slapped me around a bit recently and made me listen to LaBrie’s last release, 2010’s Static Impulse. “It’s Dream Theater meets Soilwork,” he said. “You’ll love it.” And I did.

Then I found out that LaBrie’s latest solo album, Impermanent Resonance, came out a few weeks ago. Once again, it’s Dream Theater meets Soilwork, except now with even more Soilwork, thanks to the addition of Peter Wichers as co-songwriter, and the return of former Soilwork producer (and current Darkane drummer) Peter Wildoer on drums and harsh vocals.

And yes, I said harsh vocals, as this isn’t a flowery progressive metal album – it’s melodic death with ear-candy choruses. Make that James LaBrie singing ear-candy choruses, which makes this even more listenable and addictive. That puts Impermanent Resonance right up next to poppy melodic death like Scar Symmetry or Sonic Syndicate. The near-constant burble of techno synths throughout also reminds me of spastic technocore bands like Eskimo Callboy or Blood Stain Child, but it’s amazing what smooth, hook-filled songwriting will do for you.

Although “Agony” kicks off with standard melodic death chug and growls, LaBrie’s high, clear croon soars in for the chorus and just kills it. And then he does it again three more times on “Undertow,” “Slight of Hand” and “Back on the Ground, each with its own addictive peaks. Wildoer and LaBrie trade off in the verses on these tracks, but then starting with “I Got You,” the rest of Impermanent Resonance is focused on LaBrie and a varied vocal performance of breathless sighs and soaring choruses. However, after “I Got You,” the album downshifts into a long sequence of slow-burner, pensive tracks like “Holding On,” “Lost in the Fire,” “Destined to Burn,” and “Amnesia,” without many fast or aggressive moments to liven them up. They’re all listenable and well-crafted tracks (particularly “Holding On”), but they tend to blend together after awhile. More variety in the pacing might have made the overall effect less, well, impermanent.

Soilwork has already released two phenomenal albums this year, and although this doesn’t match The Living Infinite‘s spectacular energy and fireworks, it’s a fine companion piece. It hits my melody sweet spot in many ways, and once again, I never would have expected James LaBrie to be doing melodic death for his solo efforts. Refreshing, fun and a great warm-up for the upcoming Dream Theater release.

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