| Musical Style: Melodic Rock/AOR | Produced By: |
| Record Label: Girder Music | Country Of Origin: USA |
| Year Released: 2024 | Artist Website: Frank Boxberger |
| Tracks: 12 | Rating: 75% |
| Running Time: 56:49 |
Perfect Vision is to look past the temporary material things of this world and to clearly focus on the eternal spiritual things of the world to come
- Frank Boxberger
Co-lead vocalist John Elefante, multi-instrumentalist and songwriter Frank Boxberger and AOR tinged melodic hard rock with progressive leanings all sound good on paper. Further factor a host of talented guest musicians to include lead guitarists Claudio Martin and Dustin Blatnik and drummer KJ Eason, and you’ve got the Girder Music October of 2024 Frank Boxberger debut solo album Perfect Vision.
The Elefante and Boxberger musical partnership dates to 2019, when upon composing the songs “City Of Grace” and “Edge Of Nowhere”, Boxberger asked himself ‘who would I pick if I had first choice of any vocalist in the world to sing these two songs’. Since Elefante was his favorite singer, the answer was obvious. Boxberger proceeded to reach out to Elefante, who responded with a simple request: ‘send me the songs’. The two soon started working together and wrote the song “Who Will Be Fine”, which along with “City Of Grace” and nine others appeared on Elefante’s April of 2022 (and 85% Angelic Warlord reviewed) fifth solo album This Amazing Grace.
Fast forward to summer of 2022 and Boxberger started work on his solo album, when Elefante reached out in turn and offered his services. Upshot is the twelve-song effort Perfect Vision in which half the songs are fronted by Elefante and remaining by Boxberger. Elefante stands out with his immaculate and pristine classic tenor vocal abilities- one cannot reinforce how well his voice has aged over the years. Boxberger sings in a lower register and does not bring the same range in comparison- there is no shame in such regard in that Elefante is one of the finer vocalists within the AOR genre. That said production issues concern in that Boxberger’s vocals end up placed somewhat forward in the mix while layered in so much processing as to be a distraction.
Consider in this capacity albums title track, a medieval influenced acoustic rocker in which rhythm guitar cuts in and out of the mix, and “Writing On The Wall”, also acoustic laced but reticent in pointing to the melancholic, each of which is solid musically but difficult to digest due to vocals sounding as if floating in water. I take equally to “Hidden Crimes” with its darker vestiges to see somber guitar and cello coalesce and “Once In A Lifetime” in terms of its marked keyboards allowing for a symphonic element, but again I find it a challenge to see beyond vocal production.
My thought is that artists vocals were mixed with so much processing to account for his vocal limitations, at least compared (unfairly I might add) to those of Elefante. One is inclined to suggest it might have been better if Elefante fronted each song instead, but that would potentially make Perfect Vision another John Elefante solo album. Besides, it IS a Frank Boxberger solo album; hence, it stands to reason that he sing on it, and if such is the case it makes better sense to allow the artist to stand on his own vocally (whether good or bad) without all the effects.
My favorite Boxberger fronted cut is opener “Eye To Eye”. Song embodies albums progressive side, home to a pair of short verses but is otherwise instrumental as classical bass and jazzy guitar intertwine over backend angelic keyboards. I detect a hint of Neal Morse.
He also shines on “Not A Victim”, a brazen hard rocker aligning with his lower register delivery. Rhythm guitar plays a prominent role, clenching front of the mix for the driving verse sections only to reverse course (even if slightly) for the ethereal vocal harmony driven refrain. The extended instrumental run closing the song highlights Martin’s bluesy lead guitar. Lyric snippet:
When you feel down and lonely
He will always come around
When you don’t see it coming
He will lift you up off the ground
When you don’t think it’s open
He will show you the golden gates
Just live if you have only today
Don’t see yourself as a victim
Just live for only just this day
The Elefante fronted tracks are on same level as his recent solo material. The as noted “Edge Of Nowhere”, for instance, is an exquisite four minutes of enriched AOR integral to a radio friendly melody, firm rhythm guitar and Boxberger’s supporting bass line. The extended closing lead guitar upholds the bluesy flavorings.
“Sunday Is Coming” articulates of the freely flowing with its underpinning groove and unyielding tempo. It mirrors commercial polish much as any track here, vocal melodies emanate and keyboards dance regally, but it also introduces a firmer standpoint, referencing the earthy rhythm guitar and prodigious low end. I sense a bit of Guardian on this one. Lyric snippet:
As we walk through life
Struggles will always come and go
The fear inside of us can rule the day
If we let it show
It’s time to open up
And let the Son into our life
Go out and tell the world
That Sunday will soon arrive
“Waiting” also trends AOR but with a heavier keyboard basis. The melodic embellishes are every bit entrenched, a commercial component binds with repeat listen, as does the instrumental focus, again a lengthy soloing run helps the song fade out. Elefante lends a soulful (and quite flattering) side to his delivery.
“Little Eyes” personified u p-tempo melodic rock, commercial with its condensed vocal harmonies and flourishing melody but bottom heavy in light of the unmistakable bass line to set the corpulent tone. Keyboards speak of the symphonic and lead guitar a Tony Palacios (Guardian) vibe. Lyric snippet:
Will you help us
End this suffering
Come join the war
To save their lives
Little prisoners
We can fight together
These little slaves
Deserve our battle cries
Six and half minute ‘Six Years From Now” also embodies albums progressive side. The distorted feedback driven opening seconds set the ominous tone, a darker if not somber ambience validates as song gradually exudes ahead as Elefante continuously repeats ‘don’t wait to meet Him when you get there, get to know Him now’. AOR influenced progressive bands such as Ariel and Time Horizon come to mind.
Closing cut “New City” opens its first minute and half instrumentally to stilly done acoustic guitar and classical keyboards. The contented perceptions maintain wafting ahead, as the blissful locale is awash in bountiful melody and eloquent remembrances to go in hand. Impression is poignant and haunting but indelible all the same. Lyric snippet:
Streets of gold
Is what they say
With the Son of Man
Leading the way
The City now
Awaits the souls in need
Whose mercy is paid
And grace received
Welcome now
All of you
Not all want in
Just a chosen few
Perfect Vision equates to a musically solid work in which each of its twelve tracks stand on there own and separate from the rest. Boxberger proves crucial in this capacity from manner in which his creative songwriting perfectly lends to the AOR meets melodic hard rock genres. I encourage artist in this capacity to maintain his musical partnership with John Elefante. However, any album the two record in the future should not be solo related but rather be released under the heading of a specific project instead. Perfect Vision would be the perfect moniker for the two to record under moving ahead. I look forward to hearing what the two produce in the future.
Review by Andrew Rockwell
Track Listing: “Eye To Eye” (4:03), “Edge Of Nowhere” (4:10), “Waiting” (5:00), “Perfect Vision” (4:04), “Writing On The Wall” (4:50), “Sunday Is Coming Soon” (5:14), “Six Years From Now” (6:36), “Hidden Crimes” (4:52), “Not A Victim” (4:21), “Once In A Lifetime” (3:38), “Little Eyes” (4:26), “New City” (5:24)
Musicians
John Elefante - Lead Vocals
Frank Boxberger - Keyboards, Bass, Guitars & Lead Vocals
Claudio Martin - Lead Guitar
Dustin Blatnik - Lead Guitar
KJ Eason - Drums
