James Dye has spent the last several years working in bands but has recently decided to split off for a solo project. Under the name of “I Still Dream” he has released The Ghost, a collection of songs that “consist of hardcore, pop and electronica influences with a faith-based perspective.” I couldn’t have summed it up better myself. The Ghost begins with “Skyscraper,” an upbeat song of contrasts. Light synth strings and bright pop vocal harmonies that are intentionally and heavily auto-corrected battle against big drums and the kind of growling nu-metal vocals I’ve heard referred to as “The Cookie Monster Voice.” The tension gives way in the bridge as Dye sings “Why do we fight what’s meant to be?” before a heavier passage full of machine-gunned drum beats leads the song to an end. “You Are My Star” is a nod to New Order with its layered synthesizers backed by piano and drums. The vocals are more consistent in this radio-friendly song – that is, until that cookie-lovin’ fiend returns near the end of the tune. A different mix of this song – a sans monster version – appears as a bonus track, and the relaxed pace, distinct piano and pitter-patter of drums helps to reveal the gorgeous melody that is the basis of this song. A near-fugue of synth horns brings “Shadow Dance” to life before more heavily effected vocals and real guitars add their sparkle. In just four minutes Dye is able to move the listener through an impressive array of moods, dramatically building the song to a satisfying finish. The shouted industrial synth sound of “The Beauty and the Ghost” reminds me of a late 80s Christian band named “Mortal,” who innovated against all odds. At times female vocals enter, and the music becomes less urgent and more ethereal, playing the part of The Beauty to nice effect. The rich, full synth tone in the introduction of “Breakup Song” will bring mid-80s Van Halen to mind before dropping away completely to a piano-based pulsing dance beat that leads to a pleasant interplay between Dye and Jana Goelz. “At Dawn” is a somber piano instrumental that packs a wallop into a mere two minutes. Then there’s the techno duet, “Oceans Away,” which pounds a final ear-worm melody into your head before the album ends with a final gruff-voiced reminder of songs past. The many layers of synthesizer leave no doubt that Dye isn’t using a Casitone, but even if he were it’s obvious that the man knows his way around the keyboard. For The Ghost he teamed with the gurus of Digitracks for top-notch results – everything from the smallest drum beat to the most heartfelt vocal is crystal clear. (Jason Hoffman WhatzUp Magazine)