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Artist: Frisbee
Label: reapandsow / frisbeemusic (Indie)
Time: 13 tracks / 44:02
Real guitars – acoustic and otherwise – join with analog synthesizers, pianos, strings, bass and drums to provide a warm, classic-pop sound on Aaron Frisbee’s introspective opus, ReDISCOVERY. Over the course of these thirteen tracks we get a look into Aaron Frisbee’s world and find that it’s not so different from our own, filled with beauty, love, disappointment and dreams.
Much of the album is about self-discovery, but Frisbee manages to avoid the ‘poor me – I’m such a sensitive artist’ syndrome by crafting his songs in a style where melody and structure catch the ear before the lyric does. In truth, the project has a reasonable balance of songs that are observances of life in general and of love and loss as well. Simple, well-written songs like, “Little One,” shows Frisbee as a sensitive but not maudlin songwriter, capable of creating memorable compositions that are haunting, sound somehow familiar, and yet unexpected. Many tracks, such as “Little One,” are almost a one-man show, with Frisbee playing everything except percussion and providing effective back-up and lead vocals. 
The artist’s initial sound, on “Getting’ it Down,” reminded me a bit of Squeeze front man Glen Tilbrook in a softer setting. Frisbee creates a rich but simple pop sound based on strong melodies over interesting chord changes. A multi-instrumentalist and very capable pop singer, Frisbee’s vocal delivery is not particularly strong, but is intense and emotional. Aided on some tracks by Elad Fish on drums (and Sean Johnson playing drums on “All My Life”), Frisbee occasionally evokes a John Lennon-like touch on some passages, although he’s closer to George Harrison, vocally (interestingly, “All I Want,” starts out as if it could go into Harrison’s “All Things Must Pass,” although the title suggests Lennon’s “Dig a Pony”). 
As sometimes happens, it’s the last track on ReDISCOVERY that reveals a looser, more aggressive sound from Frisbee – something that was missing on the balance of the otherwise fine project, except for a nicely energetic moment on the bridge of “The True.” On “I Want U Back,” Frisbee goes into a soul / blues mode that has what feels like the beginning of a nice groove that might potentially break into a good little jam, had it not ended too soon. Naturally, the limitations of doing so much of the music yourself makes spontaneity a problem. More ‘live-in-studio’ playing could have created a more visceral setting to the lyrics and given the ‘pop’ a bit more edge.
Although the thirteen tracks are good songs, they don’t quite stick with you; no particular song is running through my head, or strikes me as particularly radio-ready, but it’s obvious that Frisbee has potential. Refreshing Beatle harmonies float through this project and there are many interesting chord changes, such as the major to minor shift in “All My Life.” Aaron Frisbee can write songs in the classic pop mode that are both introspective and catchy, with inventive melodies and surprising changes. If he continues in this direction, with the added benefit of a strong band and a few hooks, this could be a Frisbee that will soar. 
By Bert Saraco  
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