Despite having that winning formula, this album sees James working with a new songwriter, and taking a new approach. Gone is the aggressive chugging, and instead we get lush acoustic guitars. Gone are the occasional barked vocals, and instead we get soft melodies. I know James has said he considered those previous albums to be a 'band effort', and only used his own name because it would get more attention, but that decision now makes this album seem curious when perhaps it shouldn't.
We heard this on "Devil In Drag", where the bluesy riff is played on an acoustic guitar, when I could easily hear it being turned into a djent-ish monster akin to the last albums. Instead, James and his band on this record decide to play things easier, focusing on harmonies and an older vibe. There are even hints of Opeth's softer moments, especially in the short turnaround guitar figure right before the solo. The song could be thought of as something from "Damnation", if it was a sunny day album instead of one obscured by rain clouds.
With softer instrumentation, there's more room in the mix for James' voice, and he sounds fantastic. These songs fit right in the sweet spot of his range, and he doesn't have to oversing to stand out, so he is able to shine in a way we don't always hear in Dream Theater.
There's another comparison that comes right to mind. Earlier this year, Neal Morse, Ross Jennings, and Nick D'Virgilio also released a song-based album that was primarily acoustic. Listening to the two albums back-to-back, there's an obvious similarity in the prog legends going softer, but also a drastic difference in the approach they take. James' record is more somber and dotted with pensive melodies and emotional guitar solos, while the album the other three produced was more joyous and veered more into 'dad rock' territory. Both sound like guys of their age knowing who they are, but one is trying to be more fun, while the other is trying to resonate more. While I enjoyed "Troika", I have to say the stronger focus at tugging on the heart-strings James LaBrie is engaged in speaks to me more.
But it isn't just James doing the heavy lifting here. The catharsis on "Hit Me Like A Brick" is absolutely the fluid guitar solo, which releases all the tension of the song in its weeping, clean-ish tone, letting the last run through the chorus be a joyous refrain. That's a perfect example of a guitar solo adding to the song, and not feeling like a required piece that is there mostly for the guitar player's ego. The payoff wouldn't be the same without it.
I have a feeling this album is going to wind up being divisive. I'm not sure how many Dream Theater fans are going to embrace an album that is dominated by acoustic guitars like this, where the 'heaviness' comes in the form of atmosphere and emotion. James' metal fan base might have issues here, but not me. This is exactly the sort of change-of-pace I love. For as much as another album like "Impermanent Resonance" would be amazing, this record is all the better for being something unique. You can't put this on and mistake it for another James LaBrie effort, nor can you say it's running through the standards. It's something fresh and new, and it also happens to be done exceedingly well. Going back to what I was saying earlier, this is the record I was hoping "Troika" would be.
"Beautiful Shade Of Grey" is an album I can play again and again, and get swept up in the beauty of the melodies, and the melancholic swells the album bathes in. Grey is a color that can be flat and soul-sucking, or shimmer with the riches of silver, depending on which light you view it in. I'm seeing the latter, and maybe you will too.
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