Dixon Rose – Trilogy

 Dixon Rose – Trilogy

Dixon Rose – Trilogy – Album Review

Calm’er down there big guy…there’s so much more time than you think there is Dixon Rose.

Dude’s been stressin’ about the release of this new record…and it probably just ain’t all that necessary.  Self-imposed pressure is a good thing & all, until it becomes unhealthy…that’s when it’s time to take a break.  I don’t know the inner-workings of the details behind the contract he’s signed & all…I don’t know how much the suit & ties are breathing down his neck to get his THIRD album out in his debut year – but I AM assuming, that none of these things are actual things at all – so calm’er down bud…take your time.

Plus, as I’ve pretty much pointed out systematically anyhow, there are about three albums out there in the world that came out perfectly with more than ten songs on’em…and with nineteen on this Trilogy record – which is again, the THIRD full album he’s put out in 2021 alone…I mean…yeah, there’s gonna be several issues.  Take the pressure off your shoulders Dixon…the odds are already stacked well against ya.  Especially when you consider the fact that Dixon Rose doesn’t really have ONE single sound yet – he’s searching for that still at this point so early on into his career; experimentation comes with its good & bad, its triumphs and tribulations, as they say…and there’s really no escaping that on this record.  As I also point out each time we’re talking about the debut of an artist or band – the last thing you’d ever want is for everything at the start of a career is perfection…no one should be ever stuck in such a hell, with no possibility to evolve, expand, or grow.  Heck, if I was Dixon, I’d be stoked about accomplishing THREE records within a single year – that’s incredible for anyone in the music business, especially at the very start.  Dude’s got a ton of talent…the more he focuses, breathes, and takes the time that his tunes genuinely need, the stronger his material will be, and the better off HE will be over the future to follow.

I’m not opposed to “The Day You Saved Me” – it’s a quality tune, though I’m not 100% sure about having it featured as the first track meant to somewhat draw us into the rest…Dixon starts out rockin’ mid-tempo, music’s most notoriously tough speed for the masses to connect with.  He’s drawing a bit from one of his main inspirations, the legendary Slash, and taken the inspiration they received from Bob Dylan in covering his music long ago, to kind of create a hybrid of his own, that’s like Rose’s own version of a “Knocking On Heaven’s Door” type-tune.  All-in-all, there’s definitely an extremely strong & moving song at the core of this cut…it feels played a little bit cautiously at this time, but I’d imagine over time the slight hesitation or trepidation we hear will easily smooth itself out – you can hear Dixon’s got the chops & ideas to make the magic happen, now it’s just about relaxing, settling into the moment, and really locking in on it.  “The Day You Saved Me” has a strong, desolate and despairing vibe to it, with great details in the music between the guitars and synths that brighten up the atmosphere with just enough hope to keep us from diving headlong into complete melancholy right away on the very first cut.  Dig the vocals though – and I love the way he’s able to bend the melody in spots like you’ll hear around the 1:42 mark…tiny moments of uniqueness like this stack up big together – and I felt like the chorus hooks of “The Day You Saved Me” really worked well too…excellent boldness in the music to be found during the transition, all these elements lead to the opening song making a solid first impression on ya.

So…okay…look.  Y’all regular readers know full-well that I listen to everything under the sun – and the simple reason that’s the case, is because I like a whole lot of things – that’s all there is to it really.  I like a lot of food too – but I wouldn’t wanna put everything I like into one sandwich – and Dixon already knows exactly where I’m going with this…he’s got nineteen cuts here – do they all belong on ONE record?  If so, what’s the main tie-in between them?  Sound-wise, would it perhaps been wiser to have split an album as big as Trilogy up into separate EPs, or gather material that’s similar to make a more cohesive record – or is the scattered diversity from track to track the real cohesion we should be paying attention to?  Stuff to consider there Mr. Rose…like I said, unless someone’s pokin’ ya in the ass with a sharp stick to get ALL this music out there at once in such a hurry…slow it down, think of things from both sides of the studio boards & speakers as best ya can.  The distance between the styles & sounds of the first two cuts alone should practically require a passport for listeners to cross – we’re talking about truly intense demands on the average everyday music fan’s ability to follow ya brother-man…I’m not suggesting that you alter the course of your vision to suit that, but it is something to consider.  That all being said, “Rise And Grind” freakin’ SLAYS – it’s a stellar cut that goes straight for the throat with a ton of punch, energy, menace, and mayhem fueling its angst-ridden sound.  Between the enormity of the guitars & overall strengths of the music, and the vocals hittin’ ya with screaming intensity – it’d be tough for a track like “Rise And Grind” to go unnoticed, believe me – they can hear this tune up there in the space stations floating a million miles above us I’m sure.  It all works brilliantly though – it’s aggressive as it gets, but the savage explosion of sound on “Rise And Grind” is played to perfection, sung with beastly passion, and even dips into a Rap/Rock moment or two along the way.  With hooks larger than life and a massive storming through the length of this cut from start to finish that never lets up on the gripping sound being pumped out at ya full force – “Rise And Grind” is an empowered anthem that makes you wanna get out there & kick serious some ass on whatever’s standing between you & your many desires.

It’s a TALL ask Dixon…that’s the reality man.  Going from “Rise And Grind” to “Irreplaceable” is every bit as tough as going from “The Day You Saved Me” to “Rise And Grind” just was, only completely vice versa as far as sound goes.  Right after he’s just given us EVERY reason to get ready to rock, Dixon dials it back completely for a tender tune instead…and my brother, there is just so much risk being added to the way this record flows right from the start, that it’s going to genuinely be a tough mountain for most to climb.  Individually, the material is super strong – it’s hard to conceive that Rose hasn’t stacked the odds against himself more than necessary by trying to include the kitchen sink all at once; not everyone out there is gonna be like me & ready to head this way & that way from song to song…and deep down, he knows that.  All I’m sayin’ man, is that I don’t want people out there missing out on a song like “Irreplaceable,” which is pretty much 100% fantastic, but ends up sounding like it’s super quiet after the sonic blast of “Rise And Grind” only moments before, and even though it’s got such an exquisitely sweet sound that’s guaranteed to catch the attention of the hearts & minds listening, it still takes a huge adjustment on our end as listeners to go from one extreme to the other.  Ultimately, it’s crucial stuff when considering the masses out there…the more demands there are on their ears, the more they get restless, the more that fatigue can set in too – there’s risk here Dixon…and it can all be avoided.  Some of the guitar work in “Irreplaceable” is straight-up dazzling & spellbinding in the lead…the rhythm, though buried more in the mix, has a jumbled moment or two here and there timing-wise, but most listeners wouldn’t notice it.  Vocally, I dig just about everything I hear in this tune from the way he sings it, to the words themselves – it’s a really sincere love song that’s got goin’ for it…the only thing it’s suffering from is an extremely tough spot in the set-list to stand out in, but other than that, “Irreplaceable” is a truly special moment.

And there ya go!  A cut like “What Hurts The Most,” even though it comes with a more aggressive edge to it, is solidly right on the fringe of what listeners can accept, even after coming out of one of the album’s sweeter & mellower moments just prior.  While I’d probably argue I personally like the first three tracks a bit more myself, I felt like Dixon got the most outta the potential in “What Hurts The Most” – and for me, it was actually the guitars set in the distant background that made all the difference here.  For the rest of ya it’ll probably be the hooks on the surface or the radiant Pop/Rock energy that heats up along the way…and that’s fine too – whatever floats your boat is absolutely cool with me – but if you ARE asking me, and it seems like someone did – I’d tell ya it’s the Post-Rock/Black Metal guitars you’ll actually find in the background that are the most compelling singular element of “What Hurts The Most.”  Overall though, I can see people out there really digging this cut; it’s well thought-out, well played, and well executed from the concept on up…it’s arguable that “What Hurts The Most” might carry a more dated sound than we’d all want to acknowledge, but it’s undeniably driven with passion.  As I’ve said many times over the years, if YOU are into the music YOU are making, the better chance that we will be too – I felt like “What Hurts The Most” was the kind of song I might not actually normally like at all really, but the way it’s played was able to pull me onboard, and Dixon deserves a whole lot of credit for that accomplishment.  I mean really we’re talking about a cut that’s like, somewhere between a Bon Jovi ballad and a Daughtry rocker…Dixon’s not reinventing the wheel here, but it IS nailed 100%.

With the “Stand By Me”-esque bass-lines of “That 50s Life” coming through in a way that can’t help but draw comparisons…Dixon’s working with throwback sound on this cut from Trilogy.  I’m probably gonna have to vote no here…but don’t get it twisted, to a degree, I’m still enjoying listening to this tune in many ways – I’m just not entirely sure that this song pushes the music of Dixon Rose, or the lineup of this album that much further, you feel me?  Killer guitar solo – I’ll give the man that too.  “That 50s Life” still has a whole lot of charm working in its favor, but it does have moments of more dissonant melody at work too…which I’d assume is unintentional, as it’s a bit of an awkward fit at times vocally in the main hooks & harmonies.  I suppose it comes down to a case of what you’ll hear & enjoy is stuff you’ll feel like you’ve heard or that you recognize from music’s history; there’s a quaint nostalgia that works in our favor in that regard, but it’s much harder to argue that Dixon Rose is relying on his own creativity and imagination as much here with there being such comparable sounds & songs out there.  It’s not a bad track by any stretch, just not as particularly inspired as the majority of the others you hear on the album.

So…again…multi-directional records are cool with me, but let’s not lose sight of the quantum leap we’ve taken from a song like “Rise And Grind” to get to “Wherever You Go” only four tracks later on in the set – I maintain, that’s a ton of ground to have attempted to cover on one record.  The female-driven vocals of “Wherever You Go” makes a brilliant impression on us instantly, and gives this record the kind of diversity & change in direction that ears will readily accept & go right along with.  Dig the beat, dig the vibe, dig the fact that “Wherever You Go” flexes what’s essentially yet another entirely different sound, style, and atmosphere that you’ll find on Trilogy – but one that’s genuinely bulletproof and impossible to resist.  There’s a more synthetic, digitally-enhanced vibe to the ethereal blend of aura & atmosphere on “Wherever You Go” – while it’s still a large departure from…well from just about everything you’ve heard so far in some way, shape, or form…I think the evocative sound and serious weight that this whole melody comes with is going to have no problem whatsoever winning over the audience listening.  In fact, I might even be inclined to go as far as to say there’s a lot of single-worthy potential in this cut that would make for a magnificent gateway in…just sayin.’  There’s no way that you’ll find me complaining about a song like “Wherever You Go” though…I felt like this cut came out spectacularly well for Dixon, and proves his collaborative spirit, combined with a little creative freedom, really brings out the magic.

I know there are about five covers on this record…not sure if I know ALL of them, but “Human” is one of them, originally by Rag’n’Bone Man if I’m not mistaken.  I’m not opposed to what I hear on this cover, I’m not really feelin’ like advocating for it either…it’s a solid version that puts a lot of work into adapting the original into something new to experience…the main hooks are essentially still well-preserved…and yeah…I mean…if “Human” was your jam before, I’d expect that it’s still got a solid chance of being your jam now in this new form.  It’s never been a song I’ve sought out personally, though it’s definitely one I can remember hearing just about everywhere for a hot minute or two there…I can’t really hear anything I’d tell Dixon Rose to do differently or advise him on…he’s rockin’ this cover the right way, with passion and intensity, giving “Human” a bold backbone of hard-hitting sound that should give it an advantage or two in winning over the grumpy cats that are always like, “the original is always better anyway.”  Dixon’s given ya proof that the covers he’s creating can at the very least compete, or offer ya a new twist or two in the dimensions of what you know, to give his versions just enough of a refresh to keep ya interested.  To his credit – I suppose what I’m saying is so far, I’d prefer his original tunes ten-to-one over the covers.

Borrowing a bit out of the G&R playbook to create the guitar hooks of “Gave It Away,” Dixon’s givin’ ya some “Paradise City”-esque riffage & energy to spark the vibes of this cut.  And we’re different folks in that respect for sure – I definitely admire the contributions Guns & Roses have made along the way…heck, I even read the bio of the band cover to cover even though I don’t listen to them anymore & haven’t by choice for nearly three full decades now – I was raised on Grunge and naturally to resist what I’m hearing on “Gave It Away” – I come by it honestly.  If I could change that about myself, I would – but I’m born Grunge and Grunge is who I’m always gonna be.  The flashy rock vibes of stuff like G&R or Van Halen were always a bit too showy for me – I don’t mind what I hear on “Gave It Away” but it’s never going to be able to compete for my affections the way that cuts on this record that are beyond compare to anything else will, you feel me?  At the end of the day, we all like what we like, we all love what we love – I don’t blame Dixon Rose for wanting to emulate his heroes, that’s what half of music is pretty much all about at the beginning – but it’s ideas like “Gave It Away” that will likely dissipate over time as he continues to surge into the prime of his career down the road.  He’s got the chops out in full force on “Gave It Away” and the harmonies in the vocals are equally rad – but he does have more uniqueness in the tank than he’s letting you in on here.  It’s a good Rock song, nothing more, nothing less.

Ahem.  Dixon.  Dixon this is exactly what I was tellin’ ya about and why it’s important to take your time brother.  What happened to “Beside You (Guardian Angel)” and the mix here brother-man?  What happened to the standards?  WHY did you let a gem like this get savaged production-wise when you’ve proven to be so freakin’ capable up to this point?  You’d have to turn this track up about ten notches on your stereo at the very least to be able to compete with the rest…and brother-man, we can’t afford to be making these kind of moves in the context of an entire record.  What’s the expectation?  That we’ll all reach on over to crank “Beside You (Guardian Angel)” way the heck up so that we can hear it, only to not know if we’re now gonna get blasted into the next century if things go back to normal on the other side of it in the next song to come?  No thanks!  This is the beauty of the internet Dixon…if the mix or the final results can’t line up with the rest, and would actually threaten the overall playability of a record like it’s arguable that “Beside You (Guardian Angel)” DOES – that’s when you go with the single or the EP release my friend.  I’m extra fired up about this, because if it was at a similar volume to what we find in “Gave It Away” right beforehand, “Beside You (Guardian Angel)” probably COULD have been the album’s very best song.  The songwriting & melody are exquisite…and everything else has gone south on Dixon here…and what I’m missing, is how that could have been overlooked or missed based on everything else we’ve heard so far…it’d be impossible not to notice the difference in the sound & production on this cut.  So the ONLY other thing it CAN be then Dixon, is a matter of rushing things way more quickly than they should be.  Time and experience are gonna treat Rose really well as he sorts these issues out; the songwriting and musicianship, he’s already got a great grip on all that – like I said, even though I gotta turn this cut up ninety more notches on my stereo, it’s completely worth it – it is by FAR one of my favorites from Trilogy, yet I am genuinely scratching my head over what it is that went so wrong here.

I feel about the same towards “This Is Me” as I did with “Human” earlier on – it’s a good tune, but I’m not entirely convinced that Dixon is setting himself up completely for success with the choices he’s making in terms of covers.  I personally think “This Is Me” stands a bit better of a chance to make an impression on ya and that it’s that much better of a song in comparison to “Human” beforehand – but when I think of all the millions of covers that are already out there of “This Is Me,” it again becomes really tough to advocate for this being a necessary inclusion onto the Trilogy record, as opposed to just a solid cut to rock out on live, or put out there as a potentially one-off single on its own.  Ultimately, the triumphant & uplifting vibe & spirit of “This Is Me” pretty much can’t help but win you over, no matter which cover of it you’re listening to – and that’s still the case here on Dixon’s version.  Mix-wise, it could use some help, but it’s nothing nearly as detrimental as we just experienced with “Beside You (Guardian Angel)” just prior, and it starts easing the volume back in the right direction again.  Known mainly as the big moment from The Greatest Showman, this song has become a mainstay staple for BIG singers and artists out there to cover if they don’t have the natural sound for whatever the heck that one song from Evanescence is…so yes, we’ve heard it, and many times.  As to whether or not this version is gonna be THE version of all versions for ya or not, I cannot say – maybe it will be, and that’s fine with me – at the core of it all, “This Is Me” is a freakin’ brilliantly written song and bound to connect in some way, shape, or form with all of us listening on some level.  Does it reveal enough of the artist Dixon Rose in here for ya?  That might be another question entirely.  Again, I’d take twenty more of his originals over this cut, despite the fact that it’s really well played & sung; if my choices were scrapping “This Is Me” or “Human” to work on making “Beside You (Guardian Angel)” as perfect as it COULD HAVE BEEN instead – I think you know where I’m at.  “This Is Me” is entertaining, but I don’t know if that’s really on Dixon – to me, this tune is always entertaining & uplifting, no matter who is playing it…it’s just a really damn good song.

Trust me young-blood…there is SO MUCH to consider when making a record that it’d make most heads spin and send a whole bunch of artists running in the other direction before their careers even started.  Including a cover of a song as gigantic, recognized, powerful, and well-known as “This Is Me” presents another immediate problem to follow, which is that it’s nearly impossible to measure up to the size, scope, and scale of such a massive hit song.  The results are that whatever comes next, it’s gonna sound reduced, or smaller by comparison – which is what happens with “Always With You” to a large degree.  Not sure if it’s just something that Dixon has against me personally or what, but it seems like all my real favorites on this record needed more volume than the rest did – “Always With You” certainly included in that assessment.  There’s a lot that I love about this cut…like the distance in the guitars and how far away from us it sounds…I like the low-key vibes of the verses, and I like the fired-up way that “Always With You” expands and spreads out like a slow-burning fire you couldn’t possibly keep control over.  So we kind of just get mesmerized by the blaze as it sparks and reveals how deadly it really is – there might be some room for Dixon to create even more of a savage highlight or finale fireworks on a song like “Always With You” at the end or something…but overall, I’m not inclined to complain too much here.  I’m probably looking for a bit more volume & clarity that’s comparable to the first nine cuts on this record, but “Always With You” wasn’t so far off the mark that it could possibly turn me off – I still love it.

So when YOU are listening to this record Dixon – you’re ready to defend what I’m assuming are the many reasons as to why a song like “This City (Rock N Rap)” can coexist with “Irreplaceable” in the same experience, and can fully explain how one cut would complement the other in terms of the whole album homie?  I’m definitely interested in that debate…and I’d love to know more about how these songs tie together from your perspective, or if they in fact, even do.  Do I like “This City (Rock N Rap)?”  I mean, yeah, well enough I suppose.  Does it belong here on this record?  At this point, I feel like I don’t even know what the answer to that really even IS anymore…Dixon has thrown everything at this album to see what sticks and what works…the natural effect of that approach can be a vastly uneven experience, and that’s kind of what it really starts to feel like by the time you roll up on “This City (Rock N Rap)” in the lineup at track twelve on Trilogy.  The bars hit hard and the rap’s on-point…I got no issues there…in fact, all-around, the execution on “This City (Rock N Rap)” is pretty killer.  I think it’s about as smooth of a fit in relation to the majority of this record as “Rise And Grind” was earlier on, but maybe that’s just me.

There are moments throughout a musician’s career where ya just gotta let things go for the time being when they’re not completely workin’ out perhaps the way they should, or not quite in line with what else you’ve got goin’ on.  “Bleeding Colors” is a perfect example of what I mean.  Not a bad tune, it’s alright – in fact, it’s got great guitar tones in the mix, however muted they might actually be…but does it measure up to the standards set out from the very beginning of this album?  That’s a whole different question, and I suspect the answer will be no with most listeners, and really with Dixon himself too if he’s being objective.  In comparison to the majority of this lineup of songs, “Bleeding Colors” still sounds like it’s in its early demo stages…and while he’s still very early on in his career, Dixon knows this.  He’s got a hook in the chorus that would be impossible to throw away, and quite likely, that’s the hang-up – that’s the very reason why it IS included here on this album, because it IS a genuine highlight.  I think there are timing issues that creep in throughout the finale, I think the mix covered in a layer of thick dust, and I think there’s a whole lot of ideas well worth pursuing FURTHER in this song, but as it stands now, it’s just impossible for “Bleeding Colors” to measure up to the rest if I’m being honest with Dixon.  Just because it’s been made there brother, doesn’t always equate to a song being ready to go – and I still maintain, deep down, Dixon completely knows this already with the skillset he has goin’ for him.  I ain’t here to pump tires – I’m here to help artists & bands reach their maximum potential with whatever tiny insights I can provide…but I ain’t pulling punches either; once you show me what you’re capable of, I have to hold ya to that standard.  There are production values that have nearly vanished at points on this album in its latter half compared to where it all began…all easily adjustable, all easily fixable, all easy to be identified and heard with an objective listen…and the only reason it’s not 100% is due to rushing it.

I don’t know if I’m completely crazy or not here – but the main changes that occur between “The Day You Saved Me” and “The Night That Killed Me” revolve specifically around the time of day, yes?  Alright, alright…lyrically, there’s more to it than that – but I will say I’m not entirely sure if that’s gonna make enough of a difference for the listeners out there given that it essentially all follows the same pattern & design as the opening track.  In my opinion, it’s gonna take a couple spins for people to notice that they’re listening to two different tunes thematically…and I think there’s always a risk in including a song twice, which is basically what we’re still doing here with “The Night That Killed Me” at the end of Trilogy.  Some changes yes, but not enough for the average everyday listener to identify unless they’re paying extremely close attention…I don’t know that I can simply give this cut a pass based on liking it the first time around though, you feel me?  Like all records that include a song two times or more, the inherent threat is that we wear those fantastic tunes of yours out just as quickly because of the 2:1 ratio…and unless there’s a really specific reason as to why you’d want to potentially do that…I’m just not sure why folks keep on attempting to go this route without undeniable changes that could be heard by one & all.  Lyrically, yes…those changes exist everywhere on “The Night That Killed Me” from the opening version of this melody/song…but I cannot express just how precious little that seems to be the defining attribute in how people listen to music these days.  We’re long past the days of liner-notes, right on the borderline of credits becoming an altogether waste of time…to ask the folks out there to get down on the same song two times to really get into the differences it might offer ya lyrically, is another tall ask.

Volume-wise/production…here’s what I’m tellin’ ya Dixon – we’ve gone from the end of “Gave It Away” back at track eight, and it’s not until we reach track fifteen with the cover of “Without Me” that the original levels come back to the record…that’s somewhat of a distance to travel there my brother.  I don’t quite know what to make of “Without Me” if I’m bein’ real with ya…it’s…very over the top.  Oddly enough, that’s kind of its main selling point and the reason as to why I think I’m actually digging it – I mean…it’s a JAGGED cut that can’t help but stand out for its gnarly vocals roaring up in the chorus – but as bizarre of a take on this mega-hit as this might be, it really DOES stand out.  Like raw nuclear energy, Dixon Rose goes all-in on “Without Me” and ends up with a supremely savage cover that makes an impact, and a range of differences between the original & this version that everyone can certainly hear.  Unlike the previous covers I’ve found on this record, Halsey’s “Without Me” ended up being quite the riotous cut, where the personality was so wild & unfiltered…I dunno…maybe it’s just me, but there’s something really addictive about how no holds barred this version becomes.  It’s right at the very top & pinnacle of what the vocals are capable of short of coughing up a full lung in the process…but at the end of the day, it’s still on the mark tone-wise, the melody & hooks come through, and the switch between the dynamics of the mellow verses and amped-up chorus all worked brilliantly on “Without Me.”  No joke – it sounds like this dude is gonna need to suck on a full oxygen tank afterwards to completely recover…but it also seems like the extreme effort is all worth it in the end – “Without Me” stands out for how rad, badass, and unique it becomes in the context of this lineup.

While that’s where the end of the tracks I’ve got finishes – the album does continue on into what’s actually a really faithful cover of Roxette’s “Must Have Been Love” – maybe too faithful at the end of the day, depending on who ya are, how old you are, and whether you still feel like this song bounces around the halls of your mind every second day like it still does mine and has ever since it came out.  I’ve got no real qualms here…it’s the closest you’re gonna hear any of the covers come to the originals that inspired them…but yeah…that’s kind of the advantage & disadvantage here.  It’s always gonna be a good song – and I love the highlight vocals towards the end of this song in the final chorus run-throughs…I don’t know that it does a ton of stuff all that differently, but there’s enough of an update on it to justify it too.  At the end of the day, I think “Must Have Been Love” is just one of those songs out there that never really gets too old, and is generally always well received by the majority of listeners out there; all Rose & his crew of talents had to do really, was hold their own and it’d have a great shot of being welcomed back by the people however it came out…and I felt like that’s exactly what you’ll find happened here.

“Dance” and “Dance Sequel” make time to switch up the direction entirely once more, laying out a couple of Electro-instrumental grooves…because…of course?  I mean…all Dixon has done throughout this whole record is teach us time & time again to expect the unexpected, so why NOT just go the mellow House EDM route here towards the finish line, right?  “Dance” isn’t particularly involved or really all that desperate to get your attention…it’s just kind of a slick digital rhythm that almost doesn’t even seem to know we’re listening, just happy to be doin’ its thing.  “Dance Sequel” is a better cut – that’s not an opinion, it’s just the facts Jack.  The thicker vibes are way more addictive, the groove & beat are more pronounced, and as a result everything about “Dance Sequel” stands out for all the right reasons and becomes that much more enticing to listen to.  Neither of’em really belong here in this lineup of songs, and Dixon knows that…but I think by this point in the record, we’ve long abandoned typical cohesion of any kind.  The cohesion IS the diversity – as to whether or not that’ll work for ya, is gonna be up to you.

I’ll tell ya what REALLY worked for me though – and that’s “Dirty Synth” right at the very end of Trilogy.  Heck, this might even be one of the record’s finest tunes when it comes right down to it – I know there’s not a single thing about it I’d ever remotely want to change.  The colorful depth in this whole vibe is extraordinary, unique, and completely awesome to listen to from start to finish; the very moment you plunge on into its meaty low-end sound at the very beginning, we remain completely hooked for all the sparkle, shine, and enigmatic Electro versatility added in from there forward…everything hits a huge homerun on “Dirty Synth” and definitely leaves you feelin’ like a full-on Electro-based record by Dixon Rose might be a really damn good idea at some point in the future.  Ain’t no doubt this guy’s got plenty of options after all you’ve heard along the way through Trilogy…he’s certainly not short on ideas, skills, or the pure want/desire to make music – he’s got plenty of all that…and I’d bet on him puttin’ it to use big time over these next years to come as he evolves & establishes his name in the scene, permanently.

Listen to more music by Dixon Rose at Spotify here:  https://open.spotify.com/artist/6h6qr0UNfKfYUf61z3XMjB

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