Dexter Freebish – Shine On

Dexter Freebish – Shine On
2010, Copper Moon Records

Dexter Freebish rocketed into the national consciousness in 1999, winning the John Lennon Songwriting Contest with a number entitled “Leaving Town”.  The win led to a recording contract with Capitol Records and a top-40 single from their debut album Life Of Saturdays.  The relationship with Capital Records didn’t last long due to creative differences, but going independent never stopped the Austin’s quartet’s flirtations with success.  Two additional albums have seen Dexter Freebish land multiple songs on MTV’s The Real World, as well as placement in several video games and the movie Superman Returns, as well as racking up a second John Lennon Songwriting Competition Award in 2004.  After a six year hiatus, Dexter Freebish returned in October of 2010 with Shine On, their best work to date.

Shine On opens with “Wide Awake”, a highly catchy piece of pure pop music with a chorus that will ring in your ears.  This is the sort of tune that will have people running to Google to find out who sings it.  “Save The Last Dance” is in the same vein; highly danceable pop/rock with great harmonies.  The energy here is amazing.  “Do You Want To” shows off distinctive harmonies ala Yes or 1980’s Asia in a tune vaguely reminiscent of classic Rolling Stones.  “Made Some Friends Along The Way” shows a solid U2 influence in a soul searching tune full of big airs in a wide open arrangement.  “When The Sun Shines” maintains Dexter Freebish’s big pop momentum before moving into the album’s apex, “Shine On”.  “Shine On” could be either a love song or a song about making dreams come true; either interpretation works, but ultimately it’s a great pop song.  “Beautiful Girl” is a low key pop love song whose greatest weapon is the subtlety and touch in the songwriting. 

Dexter Freebish returns in fine style with “Shine On”; their most well rounded and complete work to date.  You don’t win the John Lennon songwriting contest twice for no reason, but Dexter Freebish continues their tradition of writing stand out songs.  Even if the industry at large and pop radio don’t pay attention, this turns out to be one of the more satisfying pop/rock albums of the past year.

Rating: 4 Stars (Out of 5)

Learn more about Dexter Freebish at www.dexterfreebish.com or www.myspace.com/dexterfreebish.  Shine On is available digitally from Amazon.com and iTunes.

Alex Hirsch - Naturally...

Alex Hirsch - Naturally...
1997/2006/2010, Key Wins Productions

 You might say that Alex Hirsch was born with a silver spoon in his mouth, but all of the silver in the world can’t make up for talent.  Hirsch has proven his talent over the years, collaborating with folks such as Elliot Randall, Ice-T, Bionik, Too Short and Griffen.  Alex Hirsch is the son of actor Judd Hirsch (Taxi, Dear John, NUMB3RS) and has certainly benefited accordingly, but Alex’s approach to music has always had a DIY slant.  A few years back Hirsch borrowed money from family members and started his own record label, Key Wins Productions, focusing on releasing albums made with real instruments by real people.  Hirsch’s latest album, Naturally…, is steeped in highly original songwriting that blends progressive and classic rock styles with doses of 1960’s psychedelia and jazz. 

Naturally… opens with “Martian Advance”, featuring churning guitars and an exotic progressive rock sound ala The Rheostatics.  Lyrically the song is more of a riff than a complete idea, but the grand crests and theatric turns play like a film score element.  “Naturally” is ethereal rock with a lot of open space in the arrangement all done up in reverb.  It’s a love song full of sadness and memory; Hirsch’s lyrics are intelligent if a bit off the map for your typical love song.  You might be forgiven for thinking this is geek rock with a refined touch, as Hirsch mixes a distinctive breed of intelligentsia with a charismatically finessed low-fi sound.  Hirsch takes on pure jazz form with “Structure”, offering wicked guitar and bass solos and filling in on piano is subtle but tangible fashion.  Rush fans may be reminded of the sort of structure and style displayed on their Gangster of the Boats Trilogy.

“I Speak The Truth” is an odd bit of atypical blues featuring simply Hirsch and his guitar.  Sparsely arranged and intriguing, the song is like eavesdropping on someone’s internal dialogue.  “Nova” is a dreamy ode detailing the moment of falling in love in graphic detail, reveling in the wake of the emotional explosion.  “Christine” revisits a chance meeting at the wrong time, where possibility and romance churn against limited time and circumstance in a mix of hope and frustration.  The chorus on this song is hauntingly familiar.  “One Confession” is an angry emotional jam with minimal lyrics.  Dark and vibrant, the song is full of anger and seeks an answer in no uncertain terms.  “5755” is dreamy 1960’s folk/pop ala Crosby, Stills and Nash written with a 1970’s singer/songwriter pastiche.  Well constructed, this tune is simply a pleasure to listen to. 

“Jail” is a jazzified rock composition with theatrical elements.  There’s a diffuse sense of humor running through this song that’s mildly entertaining as well.  “Girlfriend” is full of reverence; intelligent and off-beat.  Hirsch moons in a stream-of-conscious vamp in a blend of spacey rock, jazz and singer-songwriter styling.  The solo version of “Christine” sounds to be recorded live in the studio and is a bit more affecting than the standard version.  Hirsch manages to capture a live energy in this recording that casts the song in a better light.  “The Day” is a diffuse, open arrangement; a memorialization in song dotted with Branford Marsalis-style saxophone fills and runs.  “Time And Space” plays like two songs.  The first half is a long instrumental jam.  Once the vocals kick in Hirsch creates vocal triads that sound a great deal like early 1980’s Asia.  “Time And Space” has a finding-our-way feel to it that’s communicated in both the lyrics and arrangement, in what may be the most dynamic and original songwriting in a highly original collection of songs.  Natually… closes with “Lennon”, a tribute to the ex-Beatle that’s both musically and emotionally committed.  It’s a well-written and well-executed closer.

Alex Hirsch hits all of the right notes on Naturally…, following his muse wherever it leads.  Influences run through the album in veins, playing off of Hirsch’s natural musical proclivities and creating dynamic musical moments, helped along by highly intelligent lyrics and an intense creativity that seemingly never rests.  Naturally… is an exciting listen; you never know what’s around the next musical turn, or what else Hirsch might have up his sleeve.  Naturally… is an album that will keep you coming back.

Rating: 4 Stars (Out of 5)

You can learn more about Alex Hirsch at www.alexhirsch.com or www.myspace.com/alexhirschmusic.  Naturally... is available from Amazon.com as a CD or Download.  The album is also available digitally from iTunes.

Centrevol - Momentum

Centrevol - Momentum
2010, Centrevol Music

Long Beach, California rockers (by way of Boston) Centrevol made a splash with their 2008 debut album, the Wyn Davis (Sublime, No Doubt) produced Beggars And Thieves showed a propensity for grand rock songs with distinctive melodies in the tradition of bands such as U2, The Police, The Killers and Coldplay. Centrevol returns on September 29, 2010 with their third EP, Momentum. Produced by Eric Palmquist (The Ataris), Momentum is likely to be a self-fulfilling prophecy.

Momentum opens with "Don't Hear Me Wrong", showing off an open sound with great pop sensibility that's reminiscent of U2 (or U2 jamming with the Geoff Downes version of Asia. The chorus here is brilliant, the sort that catches attention on the radio. "Ready To Go" is a bit more mundane than the opener but is a solid album track "I Walk The Line" is an intriguing cover of the Johnny Cash classic that sounds very little like the original. Centrevol brings out a different feel in the song; where Cash's version was confident and proud, the version presented here is melancholy and resigned. "Save Yourself" is very catchy, and jumps right out of the speakers into your ears. Centrevol's ability to come up with these big choruses filled with ample hooks and harmonies bodes well. The best comes last, however. "Shine A Light" is a prospective love song; hopeful in a prayer-like fashion. Melody is king here, and even if the lyrics dance on the edge of trite at times the song works for what it is.

Centrevol overcomes the sophomore jinx with Momentum. Even with a couple of tracks here that just take up space, Centrevol exceeds all expectations by blending a distinct pop sensibility with great melodies and the occasional chorus that will simply blow your over. With the right luck Momentum could be a breakout EP on the strength of a few of the tracks here. Don't miss it.

Rating: 3.5 Stars (Out of 5)

Learn more about Centrevol at www.myspace.com/centrevol.  Get Involved drops September 29, 2010.  You can pre-order your digital copy from Amazon.com.  Expect wider availability both on CD and digitally soon.

Kevin Wilson - Self Portrait

Kevin Wilson - Self Portrait
2008, Kevin Wilson

Kevin Wilson has been an integral part of the Florida heavy metal scene for more than a decade, writing and playing guitar for Liar, Astaroth and Lucian Blaque, which was nominated by both the Tampa Bay Music Awards and Tampa Bay Metal Awards as Metal Band of the year two and three times, respectively. Wilson himself was nominated once for Metal Guitarist of the year. As most things do, Lucian Blaque ran its course, and Wilson found himself in a period of re-assessing his goals. The result of that contemplation is Wilson' debut solo album, Self Portrait. Comprised of fifteen original songs, Self Portrait features Wilson's softer, singer-songwriter side on nine tracks, but also shows his hard edge on the six tracks on the second disc.

Self Portrait opens with "On The Lake", a solid slice of melodic rock with great lead and harmony vocals. "On The Lake" has great energy but doesn't bowl this listener over with it. It's a song of reverence for time and place, with hope, peace and comfort wrapped in one focal point. "Winter In Paradise" shows off some guitar muscle in the middle of a fairly gentle rocker. Wilson has great feel on the guitar, culling musical streams out of the arrangement as if peeling back layers to show you what is beneath. "Scars" is a mellow acoustic rocker that sounds a bit like a power ballad but never explodes into full sound like many power ballads do. The vocal harmonies here are tremendous; Wilson takes his cue from some of the big triad harmonies popular among arena-rock bands like Styx, Journey, Asia and Kansas in a song about salvation and moving on.

"Self Portrait" is actually rather bland for a title track, lacking any real energy and suffering from a vocal line that has a whiney quality to it. Wilson's guitar work is a highlight here, however. "What If" explores existential angst about the future in contemplative fashion, using a mellow arrangement that hides country music threads in the musical seams. Wilson seeks rebirth and renewal on "September Comes"; a song about moving beyond the restrictions and fears we trap ourselves in. "September Comes" features a light airy melody that is almost an ironic foil to the heavy emotional makeup of the song. This irony is enhanced as Wilson seeks rebirth in a season known for the beginning of decay. "Pictures" is lush but not dramatically so, again going for the big vocal harmonies but this time in an Asia-meets-Alan Parsons vibe that's surprisingly good.

Disc two features material that will feel more at home of Wilson's fans from his heavy rock and metal days. Wilson starts out with blues based rock n roll on "Whiskey", an entertaining monologue decrying the spirit's effect on him. It's a solid tune that's likely to be a favorite live. "16 Days" sticks with the blues/rock sound; a somewhat darker with real movement and energy that's an enjoyable listen. "Hellhole" finds Wilson digging into a heavier sound. Lyrically and melodically the song is fairly average, but Wilson's guitar work is very much worth checking out. "Who I Am" and "Angry Now" continue the barrage with darker tones and heavier guitar work, culminating in "A Tale Of Woe". "A Tale Of Woe" wants to be a heavy metal anthem, and has all the needed elements. Wilson has stripped the song down a bit, perhaps to avoid overwhelming the folks who enjoyed with more mainstream rock on disc one. The true metal heads out there will appreciate "A Tale Of Woe", but you'll be wishing for a louder and heavier take; the sort that will likely happen naturally live.

You might expect going in that Kevin Wilson's heavier material would be more prolific than the lighter fare, but Self Portrait defies expectations. Wilson shows himself to have a keen ear for melody and harmony while stripping away the metal accoutrements he generally creates with. Wilson calls on the influences of his youth, blending a mellow mien with the sounds of 1980's rock scions and a bit of guitar muscle to create a sound that's not exactly new, but novel enough and well-crafted enough to catch your ear. The heavier material on Self Portrait is surprisingly mundane; Wilson seems to abandon his more melodic tendencies here but also strips the sound down, robbing the songs of their more vociferous and angry natures. Self Portrait is likely to gain Wilson a number of new fans, but may alienate some of his established fans in the process.

Rating: 3 Stars (Out of 5)

Learn more about Kevin Wilson at www.myspace.com/kevinwilsongs.  Self-Portrait is available from Amazon.com on CD or digitally.  The digital album is broken up into two parts, allowing you to purchase the full release or simply Disc One or Disc Two, as you wish.

Erik Norlander - The Galactic Collective

Erik Norlander - The Galactic Collective
2010, Chian Productions
You may know Erik Norlander as the keyboardist/spouse of Lana Lane or from his work with Rocket Scientist or even Asia With John Payne. The list of artists Norlander has recorded with or produced/engineered is too long to list here. With influences ranging from Rick Wakeman and Keith Emerson to Jeff Lynne and Alan Parsons, Norlander draws from a rich musical history to create compositions with a classic feel and fresh energy. Norlander recently released The Galactic Collective, his 8th solo album and 33rd overall, Norlander builds on an impressive body of work.

The Galactic Collective opens with “Arrival”, a brief musical prologue that’s more atmosphere dark, plaintive atmosphere than anything else. “Nurosaur” dances on the edges of gothic and baroque progressive rock; a big, heavy sound with a chorus at the opening becomes a rambunctious Prog gem. “Fanfare For Absent Friends” is an over-the-top announcement with a martial feel. Driving guitar and heavy rhythms grow into a more space-age rock sound. The most intriguing composition on the album is “Astrology Prelude”, a musically violent and complex world of musical ideas and action beneath the surface that occasionally resolves into a relatively peaceful and melodic passage before falling back into its own driven nature.

Norlander gets a bit repetitive with “Trantor Station”; The highly rhythmic nature of this synth-driven song becoming as much of a liability as a benefit. “After The Revolution” is laden with arpeggios, alternating with passages marrying synth fills and rhythmic guitar ambience. The song seems to depict struggle amidst a tide of change, and begs for a vocal line. At twelve minutes, “After The Revolution” simply runs too long, becoming nothing more than a Prog rock jam that recycles itself to fill out the space. “Garden Of The Moon” starts out with an intriguing theme, but ends up sounding like incidental score music. Norlander gets to show off his raw piano skill on "Dreamcurrents", a master class in speed and precision on a solid, classical-style composition. Norlander closes with “The Dark Water”, a twenty minute collection of variations that’s probably 10-12 minutes too long.

Progressive rock is a double-edged sword. Some of the most talented and musically complex artists gravitate there because of the stylistic mix of jazz form, classical composition and rock energy and glamour; but like jam-based music, progressive rock lends itself to the conceit of doing too much and going too far. Norlander crosses this line a few times on The Galactic Collective. That being said, it is an ambitious and expansive album. Where Norlander loses himself it’s not for being mundane, but simply trying to push the envelope too far. It’s much preferable to hear an artist push too far than become mundane through not pushing enough. There’s enough really great material here to make The Galactic Collective worthwhile, and even where Norlander over-steps there is much you’ll care to hear.

Rating: 3.5 Stars (Out of 5)

Learn more about Erik Norlander at http://www.eriknorlander.com/ or www.myspace.com/eriknorlanderandlanalane. The Galactic Collective is available on CD from Norlander's web store. Digital versions are available from Amazon and iTunes.

Review: The Upset Victory - Between The Walls And The Worlds That Sleep

The Upset Victory - Between The Walls And The Worlds That Sleep
2008, Take Over Digital Records

Cincinatti rockers The Upset Victory know exactly what they’re doing. Since their inception in 2006 the band has been featured on the Vans Warped Tour and in AMP magazine, producing 2 well-received EPs and touring with a host of national acts. With the release of Between The Walls And The Worlds That Sleep, The Upset Victory proved they were ready to play with the big boys. The Upset Victory are working on a full length album due in summer of 2010.

After the odd sound collage of A Galaxy Untamed, The Upset Victory kicks things off with The Genius Of Water. Featuring heavy, clockwork style guitar play overlaid with big melodic riffs and heavy rhythms, The Genius Of Water is a treat for Progressive and Hard Rock fans. Both Frank Hammonds (lead) and Frank Harrison Jr. (harmony) fare well on shared vocals, and this carries over into The Small Space Between You And The Sun. If it wasn't apparent in The Genius Of Water, The Small Space Between You And The Sun will give you an appreciation of the level of intricacy in The Upset Victory's guitar work (someone listened to a lot of Iron Maiden growing up). Signals is more of a big rock anthem, fit for the stadium nearest you. For a change of pace you might hear elements of Steve Howe's work with Asia in the guitar line of Signals, and the big harmonies are a definite throwback. The Upset Victory closes out with The Will, growing from synth and quickly crescendoing into a full onslaught of guitar-driven melodic metal. The Will relates to the resilience of the human spirit, which seems to multiply at times in the face of additional barricades.

The Upset Victory are a highly pleasant surprise, taking a Progressive Metal sound and making it lyric and melodic. Frank Hammonds serves the vocal material well, and guitarists Hammond and Stephen Campbell remember that it was like when Rock Guitar reigned supreme. Between The Walls And The Worlds That Sleep is certain to intrigue fans old and new.

Rating: 3.5 Stars (Out of 5)

You can learn more about The Upset Victory at www.myspace.com/theupsetvictory or http://www.takeoverdigital.com/. You can order Between The Walls And The Worlds That Sleep on CD from CDBaby.com.