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With experimental leanings and nostalgic temptations, Eight Two's debut album, "You're Too Wonderful," is a painting in music. Creating thoughtful dance music infused with pulsing bass lines and his own ambient vocals, Eight Two takes the same principals of composition he applied with the brush into the studio. After years of painting in black and white, he breaks into color with layers of electro-folk melody and harmony. Although he doesn't emulate anyone, there are particular artists mentioned when people hear Eight Two, including David Bowie, Passion Pit, Modest Mouse and Julian Casablancas.

The CD features artwork by Eight Two, a 16-panel foldout with concealed stickers and a case made of recycled materials.

Born in England, Misha Bittleston moved to the U.S. to pursue a career as a visual artist. He became a painter, praised for his immaginative abstract works, and during this time he experienced auditory hallucinations that became the catalyst for his music. Eight Two began recording in the summer of 2008.
Influences: The Beatles, Ray Charles, Prince, Freddie Mercury, Sting, David Byrne.

Collaborators: David Muller - Drums (Yoko Ono, FischerSpooner)
Dave Ahl - Keyboards (Zozo Afrobeat, Vieux Farka Toure)
Toshi Yano - Synth (The Fiery Furnaces, Franz Ferdinand)
Jeremy Kay - Bass (Ambulance LTD, Ben Kweller)

10 seconds into this EP by Eight Two and I am instantly in New York. Bright, arty electropop, perfect for skating round Central Park, with headphones on. 20 seconds later the words confirm it. New York boy sees/meets/loses/wonders about New York girl in a catchy, quirky and intriguing way, with building computerised harmonies and jangly guitars. The musical and visual theme continues, evoking kids on corners, in and out of coffee-shops and wandering through dark cityscapes in search of themselves and love. A check of the website and all becomes clear. The lead singer, artist Misha Bittleston moved to New York from UK via California, to make this music in response to auditory hallucinations. Luckily the result is not as scary as it could be with a good mix of light and shade. Can't Think Right and Don't Feel Sorry For Lovers (which coincidentally includes a famous Scritti Politti lyric as I happen to be driving past the writer Green Gartside's home), navigating us away from Misha's odd landscapes toward more familiar pop territory. Following this course, Eight Two could easily find themselves with a hit or two on New York College radio at least and probably much further afield. —Gary Robins (BRfm)

"Underground" lyrics are deceptively simple, but pack tons of sublime meaning. The soft, but very real, daily alienation of mass urban transportation gets artfully smushed up to an ultra vulnerable-personal lament of one mystery lover missing another mystery lover. Strangely beautiful is the refrain "why can't I love you more", which, elliptically and simultaneously speaks to totality of the city. People are described as actively saying and doing nothing (and looking away), which, of course, is a major urban mass undertaking! Humorous. The song's ambience is artistically achieved through diverse factors, not forced fed as genre expectation. The guitar rhythms are tinkly and nicely meshed, leaving space making ample space, giving an impression of quiet space in the noisy city. This transpo-ambient ballad is in great contrast - and thus a great companion to other major urban movement songs such as Berlin's "metro" and Gary Newman's "cars". A very promising first cut for Eight Two. —Rodrigo Toscano (American Poet)

Subtly intricate arrangements. Real steady beats and cool bass lines set up nice for the ballady lyrics and melodies. Good stuff. —Jason Chu (The Examiner)

Really love the sound... The whole thing seems like a more dreamy TV on the Radio. —Hannah Pyper (Grooveshark)