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Dark At The End Of The Tunnel
Oingo Boingo
Dark At The End Of The Tunnel
Genres: Alternative Rock, Pop, Rock
  •  Track Listings (11) - Disc #1


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CD Details

All Artists: Oingo Boingo
Title: Dark At The End Of The Tunnel
Members Wishing: 0
Total Copies: 0
Label: Mca Special Products
Original Release Date: 1/1/1990
Re-Release Date: 6/16/1998
Album Type: Original recording reissued
Genres: Alternative Rock, Pop, Rock
Styles: New Wave & Post-Punk, Dance Pop
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 076732636527, 076732636510, 076732636541

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CD Reviews

Approaching a different yet, workable direction
M. Tefer | MN, United States | 12/30/2003
(4 out of 5 stars)

"By 1990, Oingo Boingo had made a gradual transition from the semi-humorous Boi-ngo in 1987, to the extremely dark and often uneasy mind of genius composer/lead vocal Danny Elfman. This culminated into "Dark at the End of the Tunnel". However, Elfman didn't know how to separate his musical worlds. And this was a very interesting thing."Dark at the End of the Tunnel" is a slow self-aware transitional album full of atmosphere and good lyrics. Oingo's lyrics are not as important now as they used to be. But "Dead Man's Party," alreaady covered that ground. Here, we first will find a seemingly cold and angry album, yet with multiple listens, "Dark at the End of the Tunnel" could be considered a great album which contains a large handful of classic songs. That's not to say every song is perfect, but it doesn't really have to be. A prime example is what one could consider one of the finest and most haunting songs ever written / composed is "Skin". It was a song originally meant for the "NIGHTBREED" soundtrack (1990) ((but appeared only in country version) which is no coincidence that Elfman composed all the music for). Skin is a song literally about undead demons ripping their faces off. Nightbreed was directed by Clive Barker (Hellraiser) who no doubtedly admired Elfman's work on Beetlejuice and Batman only a few years prior."Flesh N' Blood" sounds similar to "We Close Our Eyes" and was featured on the "Ghostbusters 2" soundtrack (1989). Even thought the second ghostbusters soundtrack didn't match the first film's soundtrack (or the first film, for that matter). Seems to have that reluctancy-based soul defiance to it. Upon loosely recalling the Grim Reaper-phobic theme in DMP's "no one lives forever", Elfman sings "I'm not gonna give up the ghost no!""When the Lights Go Out" has a hint of Depeche Mode / Devo / Nine Inch Nails style industrial synth buried by several droned, yet loud-sounding guitars which sort of stretch-rock back and forth inbetween the stuttering words projected by Elfman."Right to Know" is an incredible example of Danny's composition / juxtaposition styles all tied together on a course of obvious melodies. Also contains a catchy, yet jumpy xylophone."Out of Control" sounds more like a lullaby and anti-suicide anthem than anything I've heard from OB. An honest outlook on life balanced out by some positives."Try to Believe" sounds like something Depeche Mode would attempt to replicate (and that works too) with their song "Condemnation" in 1993."
Very Impressive - Just Pretend It's Not Oingo Boingo
WyoHick | Big O'l Wyoming | 09/09/2004
(5 out of 5 stars)

"If you are a hard-core Oingo Boingo fan - you may very well hate this album. A friend of mine gave me my copy two weeks after it was released because he just couldn't stand it. As I later learned, before Dark at the End of the Tunnel ("Tunnel"), OB's work was often raw, energetic and not over-produced. Tunnel is a marked change.

I had never listened to OB before I purchased Tunnel. Consequently, I didn't have any preconceived notions. What I found was an extremely complex album that is as musically solid as any I had (or have) ever heard. It contains songs with "edge" as well as some of the best balads I have ever heard. Most of all, I love the layering. Many of the songs are filled with intricate back rythms and riffs which make the sound extremely "full." You can tell that this album was produced during the rein of the synthesizer (albeit at the end of that time period). But, Tunnel does a supurb job of utilizing the fullness that a synthesizer can provide without over-doing it.

Uncharacteristically, Tunnel really puts Danny Elfman's voice at the forefront. His vocals are a true highlight of the album.

Buy this album. Then, sit back and listen to it like it is a completely unknown band. I'm confident you will be very impressed!"
Danny Elfman finally grows up.
M. Tefer | 12/13/1998
(5 out of 5 stars)

"In what is easily the best studio album that Oingo Boingo ever produced, Danny Elfman has shown a sophisticated side. Obviously, all of the movie soundtrack music has changed him, for the better. One, evidently, can only live on party music for so long. Dark at the End of the Tunnel is mature, brilliant masterpiece."