Adam Miner makes music for neurotics, for thoughtful daydreamers and people for whom living in the modern world has left as immobile as Kafka's bug. He is the archetypical "reclusive multi-instrumentalist": more comfortable in the shell of his recording studio than exposed on stage. Much like fellow studio hermits Brian Wilson and Elliott Smith, he has a love for the intricate arrangement and makes frequent use of his soft multi-octave voice in the many layers of harmony found on his third record "Dangerous Eyes." The songs, which are simultaneously ambitious in scope and introspective in character, were produced by Adam and four-time Juno winner Jeff Wolpert. His latest offering is a record saturated with moody longing and acerbic wit. He will half-jokingly drop references to Kurt Vonnegut Jr., Faust or Nietzsche in his songs because he wants you to know that he's looking to come off smart. He celebrates the un-cool and evades anything hip, making music that avoids the overtly macho, and side-steps the pitfalls made by heavily postured modern rock artists. His approach is anathema to the breezy, relaxed vibe of the Ben Harper's and Jack Johnson's of the world. Adam Miner is not about to chill out. Dangerous Eyes is the kind of record Coldplay may have wanted to make, and could have made, were they capable of penning a decent lyric, the kind that fulfills the promise that so many saccharin and vapid singer/songwriters like James Blunt have fallen short of.