'...infectious and tongue-twistingly pretty...there are already enough gems on 'Yours Asleep' to throw any of our loyal readers off the Hip-ometer scale if they don't skip work, drive to Chapel Hill, knock on Dreis' door and beg to hear his songs right then and there.' --- Splendid E-zine Tad Dreis's 2001 debut matches breezy folk-rock with lush, Beach Boys-esque vocal harmonies, lonesome bossa nova, folk, and electro touches on ten perfect pop songs. An introspective, melodic, and sometimes quirky folk-pop style has emerged in the songs of Tad Dreis. While playing guitar for San Antonio high school punks the Darryls, Dreis began writing non-distorted music for his own enjoyment. By the time he reached the open mics of North Carolina, his backlog of originals rivaled his repertoire of obscure R.E.M., Jack Logan and Big Star songs. Preceding his debut release, Tad made forays into jazz, folk and classical guitar, as well as earning a degree from UNC Chapel Hill. These eclectic influences inform his Beatle-esque tunes, which range lyrically from tales of vampire adultery, bug zapper envy and suggestive restroom signs to more conventional themes of love and loneliness. Tad appears courtesy of Hedgepig. *** MORE REVIEWS *** ''Helpful Diagrams,' off 'Yours Asleep' has such a playful melody and sweet harmonies that they almost make you forget that you're listening to a song of lust inspired by restroom sign diagrams. This mischievous approach to songwriting is what sets Dreis apart from so many of the acoustic guitar folkies I've been hearing lately.' --- Indie-Music.com 'It's nice to hear a young musician who understands record making and the craft of songwriting- hummable melodies and interesting wordplay.' --- Virginia Pilot Coast Magazine ''The Traveling Red-Velvet Curtain' is easily the best song about vampire adultery ever.' --- Record Exchange Music Monitor '...what Leonard Cohen would sound like if he lightened up a little bit.' --- The Spectator '...wanders between the confessional and surreal...' --- Dead Weight Interzine (New Zealand) *** ARTICLES *** 'Yours Asleep' has a peaceful, easy feel and proves once again that pop music can be pretty. [Dreis] shows he's capable of quiet, reflective ballads as 'Hair in the Tide' and the title track demonstrate... Or he can go to the Randy Newman school of the offbeat for 'Bug on the 4th of July...' R.E.M.'s influence shines through on 'Bittersweet with Lime,' built on beds of acoustic and electric guitars and multi-tracked vocals (all provided by Dreis) that give it a moody, thoughtful texture. It's nice to hear a young musician who understands record making and the craft of songwriting- hummable melodies and interesting wordplay. --- Virginia Pilot Coast Magazine 11/23/01 Music reviewers are quite possibly the biggest abusers of hyphens, relentlessly joining two or more words in search of the perfect compound adjective. But, you know, sometimes it's necessary. Take Chapel Hill singer/songwriter/guitarist Tad Dreis and his debut 'Yours Asleep.' Dreis likes to strum an acoustic guitar and his arrangements lean toward the stripped-down. However, his songs are also hooky and punchy, so folk-pop just fits too well not to use. Yours Asleep has earned a couple of Crowded House comparisons, and Dreis is a big fan of the prolific and quirky Jack Logan; to get a handle on Dreis, start somewhere between those two, although he has some ground to cover to reach the heights of either of those. (Most artists do.) This I will say: 'The Traveling Red-Velvet Curtain' is easily the best song about vampire adultery ever. --- Record Exchange Music Monitor, March 2002 Chapel Hill's Tad Dreis must write all the time. I picture him carrying around a journal stuffed with diagrams from the restroom doors, witty retorts thought up way too late and attempts at a short story that later turned into 'The Traveling Red-Velvet Curtain,' a song about two lovers breaking up over the affections of a vampire.These songs have the unpredictable flow and spontaneity of a breathless conversation, and they feel that intimate. 'Snow on the Ground' shows his more rock 'n roll side: kinda '60s, kinda melancholy and at times, kinda cheesy. ('She wore a dress like a sock on a hot dog. I watched her with relish.') If you can get past lines like that, you'll appreciate that nothing seems to pass this guy unnoticed. Dreis is what Leonard Cohen would sound like if he had lightened up a little bit. --- The Spectator 'Discology'