When a solo artist attempts to write, perform, arrange, produce, engineer, and mix and master a debut album, the work often is less than professional and lacks cohesiveness. And, it usually sounds as if it were done with somebody’s basement equipment. There are just too many roles involved and too little perspective for a single person to do without help. Dairenn Lombard’s debut release, Eye of the Storm, however, is a grand exception. Playing keyboards and guitar and handling all of the vocals, including backups, Lombard has created a pop/rock collection of original songs, recorded as Starfire, that are well produced and arranged, without being overindulgent. Lombard has added just enough embellishment to enhance the songs. He doesn’t dip into keyboard effects or synthesizer work too often, selecting drum tracks that actually work or a brief sax solo that is just a couple of measures long.
The first five songs on the album are pop ballads done with keyboards, letting his strong vocals and lyrics come through. It is reminiscent of Elton John and Billy Joel, selling a love song via piano. The last four selections feature Lombard’s guitar with his keyboards. These are more rockers, but they still have a very pop feel. The guitar work is good, but it isn’t the main focus of these songs. It acts as an anchor for the rock anthem effect he is going for.
Though Lombard is a skilled musician, it is his lyrics and vocals that carry this album. The nine songs in Eye of the Storm were written over a decade ago, but still have a contemporary feel. Lombard does, however, tip his retro hat to the 80s. Eight of the songs are about finding that one true love and deal with all of the obstacles that interfere with being together. Lombard’s vocals are strong, especially his backup harmonies. Sometimes those are hard to synch up, but his are spot on and add depth to the work.
The last song and title cut, “Eye of the Storm,” is a grand instrumental that showcases Lombard’s non-vocal skills. He pulls out all of his bells and whistles on keyboards, but only introduces the guitar midway, adding a lovely spice to the mix. It is an arresting melody that will stay with the listener long after the album is done. It is the finest track on the album and could easily be licensed for movies or television.
Review by Janie Franz
