victoria canning photography
'West London via anywhere via Paul Dixon...are you listening?'
Words by Victoria J.
AS IF emerging from a locked room, Paul Dixon enthusiastically jumps into the scene with fervent naivety. From all angles he looks set to be a high contender for title, 'next big thing' hailed only by those paid to do so.
Stepping forward and presenting to us, songs that bring about childhood memories of colouring outside the lines and a voice that monotonously breaks and quivers in excitement and anticipation at every verse, without question, Paul Dixon could be described as the mature mans Jack Penate.
From tracks such as 'Never Ending', depicting a young man stepping out into the real world and finding his place within it, to the tale of 'Harriet', a song with a slap guitar beat that wouldn't seem out of place on a Noah and the Whale set.
'Mad Town' tries to cite influences from decade definers, The Specials and earlier Ska scenesters whilst 'Are you Listening' is comprised of energetic Maccabee style guitar rifts and yet more uncomfortably offbeat lyrics.
There is an eager echo in this young stars voice that strives to mimic the definitive style of classic, Elliot Smith and similarly Josh Rouse, whilst implementing a modern twist that references the likes of many an English indie band of todays generation. However, it concludes in a tangle of ideas and wash of words that award little or no interest to the listener. From what is on offer, it seems Paul Dixon is more concerned with the sounds and styles of others, as opposed to developing his own.
The songs are less than lack lustre and provide no fresh insight into music, the fundamental floor in each being the over zealous syllable annunciation and try hard cockney-esque accent reminiscent of Jamie T.
Unfortunately, Dixon's production on each track is lazy and awkward with no discerning hook to grab attention or secure a simple second listen through. A keen lyrical composition may pass his lips once in every other song but, as far as depth and intent of meaning within his words, I find it impossible to relate to any song. Truly there is distinct feel about these singles that sound forced and commercialized and not too dissimilar from the many aspiring 'alternative' musicians fighting for a place at the top of the music chart and royalties listing.
Despite seeing success in the early stages, with airplay of single 'Geometrical Lines' on XFM and MTV2 and having toured with such artists, Florence and the Machine and Example, Paul Dixon has yet to sign to a record label. At the present Dixon is said to be currently writing new material to see himself through to the new year.
A debuting album from this singer is a must for those who enjoy a more superficial sounding record, an album that is incredibly obvious and doesn't dare push the boundaries of music.
Although admittedly a good singer, unfortunately his vocals consist of nothing we haven't heard before and there doesn't appear to be much to his songs to warrant them being put on repeat or played for a better purpose than a simple time filler.
Paul Dixon has a voice, one that, through freedom of his own expression, could see recognition for his own contemporary style, but at the moment is one that is too influenced by money and success. His music feels compromised and therefore boring beyond belief.
www.myspace.com/iampauldixon
photo by Richard Ward
www.richardwardphotography.co.uk
AS IF emerging from a locked room, Paul Dixon enthusiastically jumps into the scene with fervent naivety. From all angles he looks set to be a high contender for title, 'next big thing' hailed only by those paid to do so.
Stepping forward and presenting to us, songs that bring about childhood memories of colouring outside the lines and a voice that monotonously breaks and quivers in excitement and anticipation at every verse, without question, Paul Dixon could be described as the mature mans Jack Penate.
From tracks such as 'Never Ending', depicting a young man stepping out into the real world and finding his place within it, to the tale of 'Harriet', a song with a slap guitar beat that wouldn't seem out of place on a Noah and the Whale set.
'Mad Town' tries to cite influences from decade definers, The Specials and earlier Ska scenesters whilst 'Are you Listening' is comprised of energetic Maccabee style guitar rifts and yet more uncomfortably offbeat lyrics.
There is an eager echo in this young stars voice that strives to mimic the definitive style of classic, Elliot Smith and similarly Josh Rouse, whilst implementing a modern twist that references the likes of many an English indie band of todays generation. However, it concludes in a tangle of ideas and wash of words that award little or no interest to the listener. From what is on offer, it seems Paul Dixon is more concerned with the sounds and styles of others, as opposed to developing his own.
The songs are less than lack lustre and provide no fresh insight into music, the fundamental floor in each being the over zealous syllable annunciation and try hard cockney-esque accent reminiscent of Jamie T.
Unfortunately, Dixon's production on each track is lazy and awkward with no discerning hook to grab attention or secure a simple second listen through. A keen lyrical composition may pass his lips once in every other song but, as far as depth and intent of meaning within his words, I find it impossible to relate to any song. Truly there is distinct feel about these singles that sound forced and commercialized and not too dissimilar from the many aspiring 'alternative' musicians fighting for a place at the top of the music chart and royalties listing.
Despite seeing success in the early stages, with airplay of single 'Geometrical Lines' on XFM and MTV2 and having toured with such artists, Florence and the Machine and Example, Paul Dixon has yet to sign to a record label. At the present Dixon is said to be currently writing new material to see himself through to the new year.
A debuting album from this singer is a must for those who enjoy a more superficial sounding record, an album that is incredibly obvious and doesn't dare push the boundaries of music.
Although admittedly a good singer, unfortunately his vocals consist of nothing we haven't heard before and there doesn't appear to be much to his songs to warrant them being put on repeat or played for a better purpose than a simple time filler.
Paul Dixon has a voice, one that, through freedom of his own expression, could see recognition for his own contemporary style, but at the moment is one that is too influenced by money and success. His music feels compromised and therefore boring beyond belief.
www.myspace.com/iampauldixon
photo by Richard Ward
www.richardwardphotography.co.uk
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