Post by Anacrusis on Mar 12, 2022 23:54:30 GMT
Daniel Brummel
Years Active: 1999 - Present
Associated Acts: Ozma, Sanglorians, Weezer
Recorded Range: D2 - E♭5
Voice Type: Virgo
{Bio and Voice Summary}
LONG LIVE ‘90s WEEZER! LOOOONG LIIIIIVE NINETIES WEEEEEZERRRRRRR!!!!
No. Daniel Brummel is not in Weezer.
But his band Ozma is, or at least began as, the disciples of that pristine, spectacular sound; the eternal apex of all music by any conceivable definition; the divine intervention that we mortals have chosen to refer to as early Weezer. Oh, praise be unto Rivers, his almighty Wheeze, and his two blessed, beautiful books: the Old Testament and the New Testament, better known respectively as The Blue Album and Pinkerton! Aaaaaahhhh! AAAAAAAAAAAAHHHHHHHH!!!
Yes. Ozma, the synth-infused power pop band from Pasadena, CA, started out pretty much as a Weezer clone, right down to the crunchy dual guitars, the whiny proto-emo belting, the quirky falsetto octave harmonies, the dorky lyrics about unrequited love and unorganized summer hobbies, the shameless recycling of the circle-of-fourths as a chord progression (yeah, circle of fifths, but the roots of these chords all specifically travel in the order of fourths, which is a staple of melodramatic emo-adjacent music)…at first, the only thing Ozma had that Weezer didn’t was their own dedicated keyboard player, Star Wick. But seeing as Ozma were the messengers of a divine sound whose originator (Weezer) had tragically disavowed by the time Ozma released their 2000 studio debut Rock and Roll Part Three, lack of originality should not just be forgiven on their part, but also appreciated. Going into the early 2000s, while a forever-awkward and self-conscious Rivers Cuomo (the guy from Weezer) descended into Muppets-induced madness, Ozma stood tall as the survivors of the flood, at least until Tally Hall could come along and carry that torch through the late 2000s.
Still, Ozma kept that torch burning through darkness, and the special flare they chose to give it was one of theatricalism: of ballads, extended instrumentals, recurring album motifs, increasingly honest and introspective lyrics, and a sprinkle of anachronistic influences (cabaret, Russian folk, hip hop samples, video game themes, etc.) over their crunch-guitar power-pop template.
Regarding vocals, Ozma bassist and co-singer Daniel Brummel offers a smoother, more tender counterpart to bandmate Ryen Slegr, almost like the McCartney to his Lennon. Although, both Brummel and Slegr are exceedingly bright baritones who wield nasal SoCal accents and a special admiration for the tenor range. They sometimes even sound identical, at least on earlier albums. For fun, you might want to look up the Ozma classic “Domino Effect” and try to figure out who sings what section without watching the music video. It stumped me for ages…
But I digress. Misplaced Bible and Beatles analogies aside, Brummel and Slegr are good singers, Ozma is a good band, and I probably still suck at notewatching.
LONG LIVE ‘90s WEEZER! LOOOONG LIIIIIVE NINETIES WEEEEEZERRRRRRR!!!!
No. Daniel Brummel is not in Weezer.
But his band Ozma is, or at least began as, the disciples of that pristine, spectacular sound; the eternal apex of all music by any conceivable definition; the divine intervention that we mortals have chosen to refer to as early Weezer. Oh, praise be unto Rivers, his almighty Wheeze, and his two blessed, beautiful books: the Old Testament and the New Testament, better known respectively as The Blue Album and Pinkerton! Aaaaaahhhh! AAAAAAAAAAAAHHHHHHHH!!!
Yes. Ozma, the synth-infused power pop band from Pasadena, CA, started out pretty much as a Weezer clone, right down to the crunchy dual guitars, the whiny proto-emo belting, the quirky falsetto octave harmonies, the dorky lyrics about unrequited love and unorganized summer hobbies, the shameless recycling of the circle-of-fourths as a chord progression (yeah, circle of fifths, but the roots of these chords all specifically travel in the order of fourths, which is a staple of melodramatic emo-adjacent music)…at first, the only thing Ozma had that Weezer didn’t was their own dedicated keyboard player, Star Wick. But seeing as Ozma were the messengers of a divine sound whose originator (Weezer) had tragically disavowed by the time Ozma released their 2000 studio debut Rock and Roll Part Three, lack of originality should not just be forgiven on their part, but also appreciated. Going into the early 2000s, while a forever-awkward and self-conscious Rivers Cuomo (the guy from Weezer) descended into Muppets-induced madness, Ozma stood tall as the survivors of the flood, at least until Tally Hall could come along and carry that torch through the late 2000s.
Still, Ozma kept that torch burning through darkness, and the special flare they chose to give it was one of theatricalism: of ballads, extended instrumentals, recurring album motifs, increasingly honest and introspective lyrics, and a sprinkle of anachronistic influences (cabaret, Russian folk, hip hop samples, video game themes, etc.) over their crunch-guitar power-pop template.
Regarding vocals, Ozma bassist and co-singer Daniel Brummel offers a smoother, more tender counterpart to bandmate Ryen Slegr, almost like the McCartney to his Lennon. Although, both Brummel and Slegr are exceedingly bright baritones who wield nasal SoCal accents and a special admiration for the tenor range. They sometimes even sound identical, at least on earlier albums. For fun, you might want to look up the Ozma classic “Domino Effect” and try to figure out who sings what section without watching the music video. It stumped me for ages…
But I digress. Misplaced Bible and Beatles analogies aside, Brummel and Slegr are good singers, Ozma is a good band, and I probably still suck at notewatching.
Significant High Notes:
E♭5 ("Just Tell Me When" 1999 demo)
C♯5 ("Continental Drift", "Curve in the Old 1-9", "Gameover", "Iceland", "Natalie Portman", "You Know the Story")
C5 ("Bad Dogs", "Come Home Andrea", "If My Amp Had Wheels", "Light Years Will Burn", "Natalie Portman", "São Paulo", "Say It Ain’t So" live 1999)
B4 ("Devotion", "In Search of 1988", "Maybe in an Alternate Dimension", "My Subconscious", "Restart", "Seventh Avenue", "You Know the Story")
B♭4 ("Bad Dogs", "Baseball", "Continental Drift", "Domino Effect", "Incarnation Blues", "Los Angeles", "Motorology 3:39", "Rocks", "Shooting Stars", "Spending Time", "Straight Flush", "Tree Snake Son", "Underneath My Tree", "The Ups and Downs" live Pomona, "Wake Up")
A4 ("Heartstrong", "In Bruges", "Liberty Bell", "Lost", "Love Is Like a Line", "No One Needs to Know", "The Only Way Out Is In", "Seventh Avenue", "Straight Flush", "View of the Sea", "Your Name")
G♯4 ("Battlescars", "Continental Drift", "Eponine", "Flight of the Bootymaster", "Gameover", "Girlfriend You’re the One", "Health and Happiness", "Landing of Yuri Gagarin", "Liberty Bell", "Light Years Will Burn", "Los Angeles", "Maybe in an Alternate Dimension", "Motorology 3:39", "Mourning Song", "Natalie Portman")
G4 ("Bad Dogs", "Baseball", "Come Back to What You Are", "Devotion", "Down to Affection", "Eponine", "Heartache vs. Heartbreak", "Ice Queen", "Just Tell Me When" 1999 demo, "Love Is Like a Line", "Love Is the Speed of Light", "Miriam", "Mr. Brown", "Natalie Portman", "Of Sound Mind", "The Only Way Out Is In", "Seventh Avenue", "Sunday Morning", "You’ve Got to Hide Your Love Away")
F♯4 ("Apple Trees", "Banks of the Ohio", "The Business of Getting Down", "Curve in the Old 1-9", "Denise" Demo, "Down to Affection", "I Wonder", "If I Only Had a Heart", "Incarnation Blues", "Los Angeles", "Lunchbreak (Cobras Theme)" live Birmingham, AL, "Mourning Song", "My Subconscious", "No One Needs to Know", "Rain of the Golden Gorilla", "Underneath My Tree", "The Ups and Downs", "Wake Up")
F4 ("Come Home Andrea", "Devotion", "Domino Effect", "Everybody Likes a Pretty Girl", "Flight of the Bootymaster", "If My Amp Had Wheels", "In Bruges", "In Search of 1988", "Landing of Yuri Gagarin", "Lost", "Motorology 3:39", "Natalie Portman", "Rain of the Golden Gorilla", "Tree Snake Son", "Underneath My Tree", "Utsukushii Shibuya")
Significant Low Notes:
E♭3 ("Bad Dogs", "Flight of Yuri Gagarin", "If My Amp Had Wheels", "In Search of 1988", "Natalie Portman", "São Paulo", "Tree Snake Son", "Underneath My Tree", "Utsukushii Shibuya", "You Know the Story")
D3 ("Banks of the Ohio", "Come Back to What You Are", "Everybody Likes a Pretty Girl", "Health and Happiness", "Heartache vs. Heartbreak", "Ice Queen", "Just Tell Me When" 1999 demo, "Wake Up", "You’ve Got to Hide Your Love Away")
C♯3 ("The Business of Getting Down", "Curve in the Old 1-9", "Girlfriend You’re the One", "Incarnation Blues", "Light Years Will Burn", "Mourning Song", "O Death", "Rain of the Golden Gorilla", "Restart", "Rocks", "Spending Time", "Turtleneck Coverup", "Underneath My Tree", "Wake Up")
C3 ("Bad Dogs", "Barbara Allen", "Come Home Andrea", "Devotion", "Eponine", "Health and Happiness", "Heartache vs. Heartbreak", "Last Dance", "Light Years Will Burn", "Love Is Like a Line", "Sunday Morning", "Tree Snake Son")
B2 ("Blindman’s Song", "Continental Drift", "I Wonder", "Ice Queen", "Liberty Bell", "Maybe in an Alternate Dimension", "Mystery of the Cathedrals", "O Death")
B♭2 ("Denise" Demo, "Heartstrong", "Landing of Yuri Gagarin", "Los Angeles", "Mr. Brown", "Straight Flush")
A2 ("Blindman’s Song", "Heartstrong", "I Wonder", "Ice Queen", "Of Sound Mind", "Red Door", "São Paulo", "View of the Sea")
G♯2 ("Come Home Andrea", "Continental Drift", "Denise" Borderline B-side, "Girlfriend You’re the One", "O Death", "Restart")
G2 ("My Subconscious", "Sunday Morning")
F♯2 ("Clearer", "I Wonder", "Landing of Yuri Gagarin", "Language of the Birds", "Wake Up")
E2 ("View of the Sea")
E♭2 ("Language of the Birds")
D2 ("Banks of the Ohio")
{Questionable Notes}
G♯5 ("Come Home Andrea" [2, 5] There’s a voice crack on this anyway)
F5 ("Come Home Andrea" [2])
B♭4 ("Spending Time" [2])
F♯2 ("Straight Flush" [1])
..................................................
1. Brief jumps into high or low range (eg. Yelps, trills, anacrusis, etc.).
2. Notes whose singer is unclear.
3. Non-melodic (ie. Spoken or off-key) notes that also lack a clear pitch.
4. Possibly pitch-shifted notes.
5. Notes that do not fit the labels above but whose quality is still unrepresentative of the singer's usual work (eg. excessively distorted screams or sustained, but non-projected vocal fry).
G♯5 ("Come Home Andrea" [2, 5] There’s a voice crack on this anyway)
F5 ("Come Home Andrea" [2])
B♭4 ("Spending Time" [2])
F♯2 ("Straight Flush" [1])
..................................................
1. Brief jumps into high or low range (eg. Yelps, trills, anacrusis, etc.).
2. Notes whose singer is unclear.
3. Non-melodic (ie. Spoken or off-key) notes that also lack a clear pitch.
4. Possibly pitch-shifted notes.
5. Notes that do not fit the labels above but whose quality is still unrepresentative of the singer's usual work (eg. excessively distorted screams or sustained, but non-projected vocal fry).
{Range Timeline}
With Ozma:
Songs of Inaudible Trucks and Cars (1999): B♭2 - G♯4 - E♭5
Rock and Roll Part Three (2000): C3 - B♭4 - C♯5
The Doubble Donkey Disc (2001): F♯2 - B♭4 - C♯5
Spending Time on the Borderline (2003): F♯2 - C5 - C♯5
Pasadena (2007): F♯2 - B♭4
Boomtown (2014): G♯2 - F4 - B♭4
With Sanglorians:
Initiation (2013): A2 - A4 - B4
Odalisque (2020): F♯2 - A4
Solo work:
Speak Easy (2005): D2 - G♯4 - C5
With Ozma:
Songs of Inaudible Trucks and Cars (1999): B♭2 - G♯4 - E♭5
Rock and Roll Part Three (2000): C3 - B♭4 - C♯5
The Doubble Donkey Disc (2001): F♯2 - B♭4 - C♯5
Spending Time on the Borderline (2003): F♯2 - C5 - C♯5
Pasadena (2007): F♯2 - B♭4
Boomtown (2014): G♯2 - F4 - B♭4
With Sanglorians:
Initiation (2013): A2 - A4 - B4
Odalisque (2020): F♯2 - A4
Solo work:
Speak Easy (2005): D2 - G♯4 - C5
..................................................
• Blue: Falsetto, head voice, and/or whistle register (projected mixed voice is kept in black).
• Bold: Some of the singer's arguably most impressive notes within a given register. Click on a bolded song title to hear audio of that note.
• Italics: Non-melodic notes (ie. Spoken or off-key).
• Underlines: Notes that are buried in the song's mix or which blend together with the other voice(s) in a harmony.