Kevin Max has always seemed deviant of the dcTalk formula, and a solo album has been on the front of his mind for quite some time. Thankfully, the most creative and outspoken member of the band gets the chance to release his individual debut, without having to worry about what Tait and Toby think. And unlike his other two collaborators, Max doesn't conform to the typical contemporary Christian market niche, and could care less about getting legions of kids at youth camps to joyously sing and clap to his music.
From my half-dozen spins of the disc, I'd say the wait was worth it, although it's impossible not to notice Max's yearning to be the next Bono. Like Bono, he has an amazing vocal range and the ability to wail octaves above the average; but then again, there is only one U2 front man, whose aura can never be duplicated.
Despite the attempt at crooning Bono throughout most of the disc, Kmax does allow other influences to shine through, while also whipping up his own batch of sounds on a handful of tracks. One obvious influence is the Beatles on "Shaping Space," a track that builds around horn blowing from the Sgt. Pepper era. "Dead End Moon" seems Sting-like in its delivery and diverse line of percussion instruments (think "Desert Rose"). Then there is a bit of leaning on dcTalk, during songs like "On and On," and "I Don't Belong," which could very possibly be leftovers from the Supernatural sessions.
But there are several moments when Max is able to deliver sheer power and mystique that would never fit the safe and sound mold of dcTalk. "Existence" is an early example on the disc, with a subdued but haunting keyboard beginning, followed by the insertion of a flute and Max's signature moans. The opening sequence of a simulated string section, followed by a jangly acoustic guitar, and sudden transition to a piercing electric sound, gives "Alycen and the Secret Circle" the award for the most unpredictable track on the record. Then there's the psychedelic poetry reading, "I Went Over the Edge of the World," which is equally intricate and bizarre, and destined to go over many people's heads. But kudos to Kmax overall for stepping out of his band's comfort zone and digging deep inside his head and heart to explore some uncharted waters and ideas.
Other coverage for this album
ReAL Magazine 2001Reviewed by Josh L!Anyone familiar with the work of Kevin Max knows that he always seems to have a flashy trick up his sleeve. Be it a new book of poetry (Unfinished Work, coming this fall from Thomas Nelson publishing), a pithy saying at a concert, or an unmistakable vocal line during a solo, Kevin keeps his audience guessing. For some reason I thought his first solo album, Stereotype Be, would prove an exception…The Phantom Tollbooth 2001Reviewed by Chris MacIntoshThe release of this project from Kevin Max is the second of a trio of solo albums expected from the members of dc talk due out before the end of the year. I have been waiting for a solo project from this guy since he recorded the song "Lonely Moon" on the Mark Heard tribute album a number of years ago. dc talk is good at what they do, but I always wondered if these guys could cut it on their own.…The Phantom Tollbooth 2001Reviewed by Steve StockmanKevin Max is DC Talk's weird and zany egomaniac who walks the very thin ledge between artistic eccentric and idiot, so his solo album was inevitably to be the most intriguing of the three. The danger may have been that the artistic freedom that he seemed to yearn for more than the other two would leave him looking stupid. Well not so. This is better than the sum of DC Talk's parts in its…Similar sounding releases
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