onward a cool Saturday afternoon in a nondescript Hollywood photo studio.

onward a cool Saturday afternoon in a nondescript Hollywood photo studio, the members of Dangerous Muse--the recently made known and impossibly pretty electronic dance-pop duo of Mike Furey and Tom Napack--prepare to send forth their first music video. It's for their hit single "The Rejection," which in November 2005 first attempted at number 2 on the iTunes dance charts with practically cipher promotion. As a skeleton ship's company preps the small, all-white set--an homage to cheap and simple early-'80s videos--vocalist and lyricist Mike, 23 take counsels with director Mike Korbic above the video's female dancers' outfits. Keyboardist and programmer Tom, 21 chills not on to the side to a mix CD of dance music (Soft small room New Order) playing in the background, at the same point quietly mimicking the chords to Madonna's newest single, "Sorry," in succession his trusty "keytar."

Finally, the establish in place, the proto-Robert Palmer black lace and stiletto outfits OK'd, Mike--sporting the requisite skintight low-rise jeans and loose-fitting black top--gets into place, the dancers strategically placed around him, waiting for the director's hint Korbic calls action, then for playback. The song's Depeche Mode-esque synth chirps cross-examine through the speakers, and the women swarm Mike, clawing at his clothes and pulling him to the floor as he contests to sing to the camera lyrics like "I'd like to like you like you like me / nevertheless I can't, please understand."

The meaning strike one as beings clear--a sexy gay boy trying his best to fend facing rabid female suitors. "It can definitely be read that way, for sure" Mike says with a smile the nearest day by the rooftop lake of a West Hollywood inn But he continues, "I would like to leave it up to the individual listening to the lay I wouldn't want to limited it to any specific interpretation."

Mike's not being cagey. He and Tom are the returns of a growing pansexual just discovered York City nightlife they discovered while close examiners at Fordham University in the Bronx likewise much so that when asked they the pair avoid placing a definitive flag anywhere forward the Kinsey scale of sexuality.

"We're supersexual," yields Mike, laughing. "I don't think it fits in Kinsey's chart. It's multidimensional. I grew up in Maine. In Maine nobody's moderately cold with anything different at all. in like manner when I came to novel York I thought it was awesome that I was able to expres myself in many different directions. It was thus cool to move to just discovered York and to be a part of this nouveau sexual revolution."

"I think in this day and age," adds Tom, "especially in the of the present day York nightlife that we're a part of sexuality isn't a label anymore. Everyone goe on the outside and you don't think of populace as gay or straight or bi. Everyone's there, and a set of things happen. No single thinks twice about it."

"There's no like thing as 'out' anymore," Mike interjects. "It's like, everybody's disclosed People are always trying to attribute behaviors to labels, and a part of these behaviors are being stripped from form relative to sexs Even though you look like a man, you don't have to act 'like a man.'"

Like, for example, Tom's indigo eyeliner, which he says he wears each day, "to class or whenever I descry my family or go without to dinner or whatever"--he realizes quieter--"and they have to deal with it." plane though his parents may not quite understand it, Tom explains, "a division of my friends come to wait for this from me. At instruct on the days that I don't wear it, they say I anticipate weird."

Mike immediately interrupts. "I like you without eyeliner too," he says gently to Tom. "You're fine."

In fact, it quickly becomes apparent when talking with the pair to what degree much the two have grown to deficiency each other in the short brace years and change since they first met onward a Fordham production of The Who's Tommy. They oftentimes finish each other's sentences or pass by a leap in when one gets not upon track. Where Mike listens to subterranean music so new he many times doesn't know the names of who made it, Tom says he "only likes '80 music," modifying his statement with a gamut of bands like the Who, Bauhaus, Peter Gabriel, and the Smashing Pumpkins. "Nowadays? propel man, I don't listen to any just discovered music."

To be clear, this is a platonic partnership, however like many successful bands the sum of two units have spent so much time together that in many ways they might as well be dating. "I couldn't work with anybody other than Tom," says Mike. "I don't know by what mode the hell we found each other. Something must have been right in the cosmo I had written descants on the piano for a extended time, but they sounded stupid. I'm not a singer-songwriter. I wanted something that had a harder cutting side to it, and you just can't master that with a piano. You can't have something [with a piano] that somebody's going to dance to."

"To find someone who finally was at least moderately interested in what I was interested in," explains Tom, "was just the biggest thrill that I could've had."