Trans Am's fifth album, Red Line (2000), boasts 21-tracks and features lush vocals, massive horns, tight electronic jams, guest musicians, acoustic guitar, soaring keyboards, in-your-face mixing, and occasional sitar resulting in the most widely varied and complete Trans Am album to date. It's a mammoth recording that documents the band's mastery of both rock and electronic compositions. Perhaps this came to pass as a result of the completion of the group's labor of love: National Recording Studio. Nestled in Washington, DC's downtown, it allowed for Trans Am to chase their wildest dreams and darkest nightmares like never before - the tracks that finally became Red Line.
Red Line differs extensively from previous Trans Am albums as it's the first of the band's releases to utilize "clean" vocals. Effected vocals exist on some tracks and the infamous vocoder has not totally disappeared, but for the first time Trans Am venture into the realm of "normal singing" and the venture is certainly successful. Tracks such as "Play in the Summer," "Slow Response" and "I'm Coming Down" show a side of the band that few knew existed at the time. Nathan Means (bass, vocals), Philip Manley (guitar) and Sebastian Thomson (drums) decided that the time was right and Red Line should feature talents that were previously kept under wraps.