Send "Dia Frampton " Ringtones to your Cell 
| Sputnikmusic |
 Dia Frampton has an extended story on her blog that covers her entire life. It’s a long, rambling piece that lacks spacing between paragraphs and was definitely written in a stream of consciousness manner. It doesn’t matter, though, because she lays everything out superbly and the various emotions are imparted with ease. The most interesting part (as it relates to this album) is how she even got to this point in the first place. She explains, with her heart on her sleeve, how their major label debut didn’t sell very well and how they were eventually dropped. She talks about being down, but not out – about how they used the last bit of band savings to record an EP… all they could afford. Of course an EP wasn’t enough of a creative outlet, but they were officially broke – still down, but still not out. This lead to their fourth album, Cocoon, being recorded in their mother’s living room and kitchen. Unfortunately, the music side was finished but the business of promotion and touring simply proved too overwhelming. The band finally gave up – they were down and out getting real jobs. That’s where the television show The Voice came in. It was simply a last ditch effort to try to promote the band and their best album, Cocoon. Obviously, it turned into much more than they could have imagined. She ended up coming in second place overall, and her singles from the show were the best selling of all the contestants. Dia was suddenly the center of attention and the recipient of a brand new major label deal – a deal which was only for her. The name on the contract made little difference though, because Dia still included her old band whenever possible and the result is Red – an album that has allowed Dia the ability to explore the glossier side of dance pop while still managing to sneak in the occasional nod to her indie roots. The great thing about Red is that Dia had a hand in writing every song, and it’s that personal stamp that allows the album to appeal to longtime fans despite its musical direction. Of course, it might initially be a little difficult for some to accept Dia singing over a slick dance-pop track such as “Don’t Kick the Chair” or “Good Boy”, but any issues should be short-lived. Red is most certainly dominated by upbeat tracks full of sleek melodies and syrupy-sweet choruses, but they’re also one-hundred percent Dia Frampton. To that end, it doesn’t really matter that “Don’t Kick the Chair” has a hip-hop interlude courtesy of Kid Cudi or that “I Will” features country star Blake Shelton, because they all feature the same soul that made Meg and Dia albums so appealing. The initial shock of these dance tracks is also lessened by the fact that Dia was able to sneak a few indie-ish tracks onto the album, as well....full text |
| Honolulupulse |
| It’s rare for singing-competition shows like “American Idol” to turn contestants into actual idols. Sure, there’s all the in-the-moment hype, lavish praise from judges, screaming adoration from fans, vows that “you haven’t heard the last of me” from contestants as they’re booted. But all too often, you’ve heard the last of them. Vocalists aren’t making the shift from TV-show stars to real-world stars for several reasons — the fame is too fleeting, the field is too crowded, it’s a tough business even for those with an advantage and, worst of all, no one seems to know how to package these people. Dia Frampton’s “Red” gets it right. Earlier this year, Frampton was first runner-up on NBC’s “The Voice” — a less-popular, more-complicated show than “American Idol.” The 24-year-old waif from Utah already has experience fronting a band with her sister and she has a fine-tuned persona — quirky, sweet and charismatic with a lilting voice and a knack for unusual phrasing. Unlike releases from other singing-show competitors, “Red” doesn’t force Frampton into a generic hodgepodge of mainstream-targeted styles. Instead, it’s mostly tailored to her offbeat voice and unusual perspectives. Frampton merges into the thrusting rhythms and echoing energy of the inviting “Don’t Kick the Chair” to deliver an upbeat, antisuicide message, and “Isabella” is an up-tempo, semi-acoustic folk/country ditty that sounds fluffy, though it’s a support song for an abused neighbor. Elsewhere, the singer bemoans her attraction to conflicted people on “The Broken Ones,” endears herself in the rollicking electro-dance of “Billy the Kid” and sounds both charming and downcast on “Daniel,” singing “Why’d you let me walk away? I would have stayed.”...full text |
| Pcm-music |
| Most of the world’s first glimpse of Dia Frampton came through NBC’s new hit singing competition, The Voice, but there are some people who knew Dia through her time with Meg & Dia. Dia was in a band with her sister and others but on her solo debut album, Red, it’s now her time to shine and show her musical chops even more then she did on The Voice. Red is a musical masterpiece which weaves back and forth all over the landscape of popular music. The album begins with “Don’t Kick The Chair” which is an upbeat tempoed number about the pressures of life and not succumbing to despair. It also features a collaboration with Kid Cudi who is without a doubt one of the hotter mainstream rappers right now. The other collaboration of the album is with her coach from The Voice, Blake Shelton. “I Will” is a great country themed track making use of Dia’s abilities as a piano player. It touches on having someone there for you when you’re feeling low no matter what. The first single from the album is “The Broken Ones,” is a mellow pop number about the tendencies of loving those who are broken and who may not have had enough love in their life. The song is a beautiful heart-rending ballad especially when Dia sings “I can’t help it, I love the broken ones.” Dia is at her finest on this record when she’s singing her heartfelt lyrics whether it’s in mellow tracks like “The Broken Ones” or “Daniel” or more upbeat numbers like “Don’t Kick The Chair” and “Isabella.” There are two tracks on the album I’m not as big of a fan of mostly because I believe they are character driven and don’t speak as deeply to me. “Billy The Kid” and “Bullseye” are still catchy pop in all of its sweet goodness but I’m not as big of a fan as the other tracks on the album....full text |
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