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MP3 Fox - The Dream
11 MP3 Songs
POP: British Pop, ROCK: Acoustic
Details:
Fox
The Dream lp
Fitted wardrobes, a nice wicker clothes basket, the odd stuffed antelope; there are plenty of Linda Barkertastic ways to tart up your bedroom. But by the look of this lp from Penkridge singer/songwriter/samplemeister Fox, he’s taken it to extremes and transformed his humble abode into a 60,000-seater stadium. Fashioned at home with a guitar and a PC, the 11 tracks here are a living, breathing arena rock show. Imbued by the spirit of U2, Coldplay and REM; this is a big, moving sound that could have you queuing for your own toilet.
Kicking off with a single earthquaking Pete Townsend power chord, “One Thousand Ways (To Kick A Habit)” sets a high ante from the outset. Bursting with energy, this driving Stonesy rocker could take on anything by Jet or The Datsuns. “Gone Too Far” is a similarly colourful slice of rifferama that wouldn’t be out of place soundtracking the latest Maserati test drive on Top Gear. But it’s on “Do You Know” that Fox’s rock shapes truly take on Boeing 747 proportions. With shining guitar licks, galloping drums, a vocal that sounds like a less pretentious Bono and The Mother Of All Choruses, this is the consummate epic pop record. Previously reviewed on overplay as a single, “Do You Know” still stands out as a highlight.
By the time we arrive at “Feeling Sorry For Myself” however, we get a more representative taste of the album. The mid-paced melancholy exudes lazy charm with restrained electro beats, sparse piano and steel guitar. And it’s these subtle touches that help to bring a soulful edge to the quirky country ballad “It’s Alright,” streamlined rocker “I’ll Get By On Love,” the fuzzily spiritual “Time” and the fractured acoustica of “Dreams” (albeit with a dirty great punked out chorus). The most affecting example of this frazzled folk, though, has to be “The Day Is Hers.” Low-key strumming and chopped up beats evoke the hip hop psychedelia of the Jay Z/Beatles hybrid, ‘The Gray Album,’ while a simple vocal about the “face that lights up my darkest day” manages a triumph of sincerity over schmaltz.
The sleek, spooky space rocker “Clear Sky” is one of the few tracks that lets the electronics move in to the foreground; but it’s on the closing bonus track, “99% Myself,” that Fox loosens his grip on the controls just a bit. And it’s well worth it. Gnarled aggro folk strumming plays off against a bouncing acid house beat and Fox’s own helium Bee Gees backing vocals. Technology’s a wonderful thing, but it sometimes helps to throw in a bit of good old fashioned weirdness.
by overplay
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