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James LaBrie's
Mullmuzzler By Vinnie Apicella |
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An impressive work of
art right down to the Dali-esque images that grace the cover booklet,
every picture in effect tells a story though the words paint an equally
deep picture. LaBrie's second solo effort, "2" under his continued working
name of Mullmuzzler is a step out of character of sorts from his '99
"Keep it to Yourself," release, that being more in the expected traditional
range of Progressive Rock acceptability. "2" being no less Progressive
and in fact more so if we were to break down all of the in studio interludes
and make shift instrumentalism, more freely executed deftly between
a ranging stylistic movement less to do with the line up of players,
more to do with LaBrie's desire for self-expansion. The line up, capable
as ever, names like Keneally, Beller, Gardner, well known in Prog-Rock
circles, reaching for and finding that golden key of sound that sets
this apart from LaBrie's past and above most others housed within MCs
holy house of inspired story tellers. "Afterlife" begins in a can't
miss Styx-like 1970's theatrical opening, becomes unsettled, a bit funky,
then smoothes the wrinkles in time for "Venice Burning," one of the
highlights going on here, carefully executed soft and pale and then
only silence. The percussive tranquility of "Falling," allows further
light to shine through, without mystery, sticking close to home with
a very contemporary AOR friendly arrangement at and around the chorus.
LaBrie opts in many instances for the straightforward path, songs simple
and direct, occasionally complex, easy to absorb, and a nice mix of
heavy guitar parts and still moments-take "Stranger," for a prime example
which we'll use to close this latest chapter, opening much like a light
evening breeze, interrupted by a sudden storm of grinding guitar riffs,
a return to complacency, LaBrie's voice moves to croon capacity, and
an earnest piano-driven verse sets this apart from the others, the difference
being noticeable, immediate and welcome. "2."
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