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Personnel: Tim Wheeler (vocals).
Oppenheimer: Tim Wheeler.
CMJ (p.7) - "Keeping the basslines fuzzy and the computerized effects echo-laden makes this sound, at once, intimate and otherworldly." Oppenheimer Review
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Purchase Oppenheimer CD To buy, Click on price to add to cart | American Analog Set Promise Of Love CD (2003)
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American Analog Set's fifth studio offering, PROMISE OF LOVE, shows remarkable range and ambition. Of course, even recording the album was no small feat, considering the band's bi-regional status, as singer-songwriter Andrew Kenny relocated to Brooklyn, leaving the rest of the band behind in Austin. On moody, contemplative numbers such as "You Own Me," American Analog Set ...
| | Rock Kills Kid Are you Nervous? CD (2006)
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With brash guitar riffs swirling over the tattoos ...
| | Presets Beams CD (2005) Enhanced CD
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The Presets' first full-length record differs slightly from their more happy-go-lucky Aussie dance compatriots, mostly for aesthetic reasons. The detached nature of Beams is more about subtle darkness and underlying sinister intentions, as evidenced on the slow-building opener, "Steamworks" -- which begins with the bassline from "Billie Jean" and moves into much more explosive sonic territory (and a rave horn for good measure). Beams represents a uneasy yet unforgettable combination of '80s gaudy pop flair and dark, propulsive rave beats, all with an unsubtle sense of humor. Borrowing nothing from their timid Blow Up EP (most of the songs from that release have been since adapted in live shows to sound more similar to Beams), the Presets have an impulsive, almost primitive charm to their dance music. With heavy bass throughout, keyboardist/vocalist Julian Hamilton experiments with heavy distortion and vocal alterations. On the wild electro-pop treat "Down Down Down," the group keeps to the song's namesake and effortlessly weaves in and out of looped tambourine percussion and dirty synth beats. The middle section is surprisingly experimental given the concise pop of "Are You the One?," "Down Down Down," ...
| | Hot Chip Warning CDs (2006)
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Nearly 20 years on from the infamous 'Disco Demolition Night' at Chicago's Comiskey Park--a rally that forever etched the phrase "disco sucks" into the American consciousness--an unexpected alliance has been struck between the indie-pop world and the more synthetic, mechanized strains ...
| | Futureheads News And Tributes CD (2006)
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Recorded in the English countryside with producer Ben Hillier (Doves, Elbow), the Futureheads' sophomore album, NEW AND TRIBUTES, finds the Sunderland-based quartet building on their crisp, punchy self-titled debut. On this outing, the group offers up its trademark euphoric four-part vocal harmonies, while tempering fierce guitar lines and hard-hitting ...
| | Tapes 'n Tapes Loon CD (2006)
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With their debut album, THE LOON, Minneapolis quartet Tapes n' Tapes took the indie music world by storm, riding a wave of critical acclaim and enthusiastic word-of-mouth from obscurity to the semi-obscurity that is indie stardom. The album is a collage of fractured, melodic bits ...
| | Joe Pass At The Montreux Jazz Festival 1975 CD (1975)
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| | Golden Gate Quartet Rock My Soul & Other Gospel Favorites CDs (2001)
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| | Dave Matthews Some Devil CD (2003)
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$14.05
"Gravedigger" won the 2004 Grammy Award for Best Male Rock Vocal Performance.
The Dave Matthews Band gained its reputation as a collective effort, so much so that Matthews's first official solo album might have been expected to signal a drastic change in direction. Ultimately, Matthews found a way to have his cake and eat it too on SOME DEVIL. While the distinctive contributions of his noted band members are absent here, he nevertheless goes for a not-dissimilar singer-songwriter-meets-worldbeat-pop vibe. Though Leroi Moore's sax and Boyd Tinsley's violin don't color the arrangements, SOME DEVIL offers a rhythm section--Daniel Lanois/Emmylou Harris cohorts Tony Hall and Brady Blade--that's adept at mixing rock, funk, jazz, and New Orleans R&B with Matthews's cerebral compositions, much as they did with Harris on WRECKING BALL. Jam-band peer Trey Anastasio of Phish joins longtime Matthews sideman Tim Reynolds on guitar, contributing tasteful and concise playing.
While many of the tunes bear a strongly propulsive element, not least on account of Matthews's trademark percussive guitar style, ...
| | Jimmy Eat World Futures CDs (2004) Import
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This UK tour edition includes two bonus tracks, and a bonus CD of demos.
After firmly establishing itself in the hearts and minds of rock fans through numerous EPs and two albums of angst-fueled power-pop, Jimmy Eat World scored a big hit single with "The Middle," from the excellent BLEED AMERICAN (re-christened JIMMY EAT WORLD in the wake of 9/11). The mainstream had finally caught up with Jimmy Eat World.
FUTURES, the ensemble's first album following its breakthrough, doesn't stray from the formula that has worked so well for the Arizona band. Jim Adkins's vocals are quietly insistent, and at times fiery, conveying reflective, intelligent lyrics that complement intricate melodies. Like its immediate predecessor, FUTURES opens with a politically minded title track ("I hope for better in November"), but, in general, the songs mostly revolve around love and longing. "Work" and "Pain" are filled with heart-on-the-sleeve emotions, and Jimmy Eat World makes these tunes work with undeniable sincerity. With many sharp, catchy songs on display, FUTURES is another outstanding record from Jimmy Eat World.
The massive success of Jimmy Eat World's 2001 Bleed American propelled the band into the mass-culture spotlight, with the hit single "The Middle" seemingly popping up in every third movie released and the group turning in an energized performance on Saturday Night Live. Many, many groups followed in their wake, crafting a similar blend of melodic, anguished punk-pop and leaving Jimmy Eat World in the position of crafting a follow-up that set them apart from their acolytes. Futures gets around this dilemma in two ways. First, with the help of producer Gil Norton, the band polishes its sound until it shines like a slick '70s arena rock record. The guitars are stacked like thick diamonds, the vocals are way out front and buttressed by sweet harmonies in the choruses, the drums sound large, and the mix is loaded with sweetening from acoustic guitars, keyboards, and female vocals. In the process, they sacrificed the immediacy of the previous record, but they gained an epic and weighty feel. Secondly, the lyrics are much darker and more mature, including themes that revolve around politics, drugs, and despair. The piano-and-feedback ballad "Drugs or Me" and the bittersweet love song "Night Drive" are the products of age and experience the band lacked until now. The best song on the record, the very Disintegration-era Cure-sounding "23," sounds like ...
| | Turkey: Whirling Dervishes CD (2007)
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| | Automusik: The Hound Dog Remix CD (2007)
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