Selected Press for Daniel Knox's Evryman For Himself:

"Knox has made such a good character out of himself that he hardly needs alternate personas...these are short stories told in ellipses, the images haunting and indefinite." 
-Dusted

"..haunting debut, which brings misanthropes and misfits to life with dry wit and offbeat details."
-Mother Jones Review (May/June 2011)

"He is a crooner, a commentator, and marvelous storyteller.....Knox is a special talent and a truly gifted singer/songwriter."
-The Deli

"Knox is deft in the language of misanthropy, a gleeful villain...a fascinating little gem of a record... a careful discourse on genre, intelligently wrought by a skillful artist."
-Windy City Rock

"..haunting and direct and painful and smells vaguely of poison.."
-Yvynyl

Selected Press for Soars:

"Soars, in their first half-hour on record, do beguiling things with sweetness, distortion and suspense."
-David Fricke, Rolling Stone

"Angelic, textured swells break melancholic drone. Lilting vocals rise above layers of noise."
-Alarm

"A gorgeously somber debut, Soars does more than impress... eight tracks of deliberative exploration that pushes past familiar and embarks on something further, something unpredictable, fresh, and new...a transcendent full-length from oscillating intro to end."
-The Deli Magazine

"They push along delicately, establishing moody elegance before ribbons of breathy words enter the mix. Like My Bloody Valentine, the balance of instrumentation and vocals are projected with paleness, but expertly considered, leaving your head floating in a dreamy wash of sadness, begging for inward reflections..."
-strangersinstereo.com

"Soars’ silky and slow burning self-titled album offers an ethereal half hour of aerodynamic, cathartic sounds. Dramatic, elegant dream pop sure to fire neurons in the Slowdive/Bark Psychosis/Talk Talk part of the brain, Soars’ eight tracks congeal into a meditative yet engaging and accessible mood exploration."
-The Decibal Tolls

"Soars lock their style into something their own... this PA-based group understands how to utilize sonic textures, as well as creating an album of depth."
-Audio Milk

"Soars have done a wonderful job of reimaging the dream-pop, post-punk mood with an industrialized, martial feel. This juxtaposition of styles is thoughtful, original, and most importantly, damn good."
-RadioInOpposition.com

"a dreamy bewitchment, mixing new-wave guitar repetitions, dark Gothic undertones, dub, and electronica... There aren’t many bands that sound like this, or can sound like this. Soars’ debut is one of the best records I’ve heard this year."
-their bated breath

"..brooding excellence, a methodical spiral burrowing into the psyche.."
-Sentimentalist

"The first single, "Throw Yourself Apart" delivers its promising title by referencing sounds of the Cocteau Twins, while traveling along barefoot on its own high grass landscape– and the rest of Soars’ debut unfolds onto itself forming layers of seemingly tufted sound."
-freewilliamsburg.com

"Music can often play on memory, personal experience, dreams, and emotion. Great music can make the listener feel something they never knew existed, filling a void that was never acknowledged. This is my experience with the dreamy outfit SOARS."
-welistenforyou.blogspot.com

"Across the record there's substantial nuance both in dynamics and style, including a throw-back Gothic gloom that we don't hear many of Soars' musical peers referencing these days."
-clicky clicky music blog

"...awash with waves of guitar that pull you about, as the vocals build wispy worlds that are alive for only minutes at a time, and can end as abruptly as they started."
-deadasdigital.com

Selected Press for Judson Claiborne's Time And Temperature:

"These are philosophical songs where the music itself captures the beauty and wonder as much as the lyrics."
-The Big Takeover

"This is the quality that made legends out of Otis Redding, Sam Cooke, and Johnny Cash, and it's what lacks most severely from manufactured corporate pop music."
-Johnny Leather

"stocked with precision and passion"
-Loud Loop Press

"Sauntering along in indie folk song format, Time and Temperature tosses in elements of bareboned neo-Baroque, alt-country, and Appalachian music. Through the vocal evocation of a weathered Jason Collett, Salveter spins yarns about waiting and wandering in pining romanticism."
-Zap Town

Selected Press for Mako Sica's Dual Horizon:

"spacious excursions that touch on post-rock, prog, and avant jazz..."
-All Music Guide

“Dual Horizon” is a sweeping psychedelic masterpiece."
-OMG vinyl

"40 minutes of epic psychedelic dirge...an exercise in sustained delirium."
-Time Out Chicago

"moody psych impressions"
-Impose

"Mako Sica maintains a strong balance of abilities — with a brooding combination of jangly guitars, reverberated vociferation, and instrumental dynamics."
-Alarm

"These guys look like Truckers"
-Neu Magazine

"Take the fluid movements of early Tortoise, add some of the occult fetishes from New Weird America bands, and you’re on the right track."
-The Decibal Tolls

Selected Press for Dragon Turtle's Almanac:

"Our highest possible recommendation"
-omg vinyl

"Un espace sonore unique, hautement conceptuel avec peu de prétention et passionnément construit que je ne cesse de savourer."
-e-pop(FR)

"Highly conceptual with little pretension...Not an album to miss out on"
-The Decibel Tolls

"A wonderful debut record"
-thetapeisnotsticky.com

"Songs with depth and complexity...new discoveries and experiences with each listen"
-blogcritics.org

"Equal parts David Byrne, David Grisman, Akron/Family, and Rusted Root, Dragon Turtle indeed integrates the aforementioned descriptors and does so in a complex, challenging way."
-Cleveland Bachelor

"Almost chilling, but frankly, one of the more unique and interesting twists on Psychedelic-Folk-something in a long time"
-quietcolor.com

"Almanac is a winding road of layered complexities and atrophied strings."
-Impose

"..the true beauty of the album is its daring and defiant tendency to be unpredictably innovative. It is simply one big burst of creativity."
-Obsure Sound

"Over its nine tracks, the album moves from these studied calm states to a near early-Mercury Rev feral fever pitch."
-The Line of Best Fit (UK)

Selected Press for Dragon Turtle/ Goodnight Stars Goodnight Air's Split 12":

"A wondrously evocative composition"
-Blurt

Selected Press for Lewis & Clarke's Light Time EP:

"Lewis & Clarke blew up their pastoral folk sound into long, torn-open and moody soundscapes on 2007's Blasts of Holy Birth, and they have taken that brooding tangled beauty down even darker roads....Light Time shows once again that Lewis & Clarke's quiet sound is an affecting one."
-Prefix

"Lewis & Clarke doesn’t play songs as much as unfurl them, slowly letting ribbons of sound billow and cascade. The power, though, is palpable, made even stronger through delicateness, a paradox that is at play not only in the music on Light Time but also in its metaphors for life, loss and renewal.
-PopMatters

Hypnotic mountain folk, setting reedy vocals against spare and elegant guitars, gradually swooning into a near seven-minute piece full of strings and woodsy imagery...songs for getting lost into"
-Stereogum

"A reminder that the heart, above all else, is a muscle."
-Donnybrook Writing Academy

"With lyrics that pluck at the heartstrings, and guitar that can be most simply put as solemnly subtle, there's a sense of heaviness that seems to be barely escaping itself...These are songs that embrace their own hopeful anguish, and satisfy our need to feel."
-freewilliamsburg.com

"These songs do more than tell stories: they create moods and inspire thought...what sets Lewis & Clarke apart is their ability to flawlessley execute changes in dynamics, adding a new dimension to the narratives of their songs."
-Emmie

"(Light Time) doesn’t just have three noir naturalistic Rogai-penned tracks to worship and adore — he and his crew cover the Leonard Cohen masterpiece “Chelsea Hotel # 2.”
-Philadelphia City Paper

"Haunting, hushed vocals and introspective songs elegantly couched in understated arrangements"
-The Morning Call

Selected Press for Soltero's You're No Dream:

"A dark and stunningly subtle record"
-Treble

"His arrangements are some of the most compelling yet, daubing the diaries of his peregrinations with unusual instrumentation and gauzy production."
-Boston Phoenix

"Awash in lo-fi charm, riddled with the beats of a broken hand drum, and cradling Howard's even-keeled vocals (think Dave Berman of the Silver Jews) You're No Dream comes together as a collection of ragtag nursery rhymes, reminding us ever so gently that the world kind of sucks sometimes."
-L Magazine

"Howard overlays his innocent, haunting melodies with vivid visual snippets and wraith-like vocals that veer imperceptibly from hope to deflates weariness. It is this weirdly lucid sense that characterizes the record, which, with its wistful ukelele and stark, almost tribal percussion, seems to exist entirely within the phantom space between sleep and wakefulness."
-Philadelphia City Paper

"Bursting with intimacy and mystery"
-Boston Globe

"With none of the rock trappings of his previous, equally excellent Hell Train, You're No Dream actually does carry some of the atmosphere associated with dreams: a strangeness both pretty and mysterious. The mood is richly defined and vague, crystal-clear and open."
-Pop Matters

"Howard infuses his songs with vivid visual snippets and narratives...a hollow, stripped-down aesthetic and finely tuned articulation....Howard makes the most of this deadpan delivery, achieving a sublime creepiness reminiscent of Velvet Underground ballads"
-The Weslyan Argus

Selected Press for The Black Swans Change!

"There's something disquieting at the bottom of the Black Swans' songs, something half-shaped and half-seen, like a body in a lake. The surface of the music is usually calm and familiar, but something disturbing appears briefly in the crest of each wave of violin or guitar....Change! sounds luminously cinematic, like Pinetop Seven or the soundtrack work of Nick Cave and Warren Ellis.... they're not simply dark, but cleverly dreadful, as if the Black Swans are smuggling something sinister inside the lyrics and chords."
-Pitchfork

"The Swans blend the mysterious and plainspoken to create a sort of uncheery Appalachian chamber music. At
its best, Change! Evokes the melancholy story of a man adrift."
-Spin

"The songs are as conflicted and lovely as only people’s graspings for each other are and, if in this sense only, perfect...Let us then abjure the finality of superlatives and lose ourselves in the pangs and aches of aspiration: the falling of leaves and the shedding of skin."
-Stylus

"Change! is achingly beautiful in every way, wounded but resilient... Listening to Change! is a humbling experience.."
-Donewaiting.com

"The Black Swans have a compelling formula – with the violins and the whispered poetry – but what's really noteworthy about them is their willingness to mess with it."
-Dusted

"The beauty of Change! lies mainly in its ability to make folk, a genre that's been around nearly as long as the acoustic guitar, sound entirely modern while still conveying the simple themes of heartbreak, anxiety, and desire."
-Delusions of Adequacy

"This is an illness uncelebrated but lived through, DeCicca’s resigned vocal style an eerie commentary and perhaps (theatrical or literal) embodiment of its impact."
-paperthinwalls.com

"Slow marching and spacious...Change! is a rare find in today's single-serving music culture."
-Cleveland Free Times

"Darkened Americana, all quavery strings and gruffed voice, thorny words."
-Stereogum

"A literal and metaphorical bundle of warmth laying in wait for those who need the embrace...leavened by honestly hopeful lyrical pockets and the dexterous, melancholy string sweep"
-Jambase

"12 chillingly atmospheric tracks."
- The Onion A/V Club

"Appalachian and Gothic in feel and tone, this is a record charged with a profound vulnerability and a grave admiration for that vulnerability...The Black Swans deftly merge glistening guitars, morose violins, and understated brushed drums together to create a poised and subtle soundtrack to the intense lyrics...Indeed, Change! is a welcome change."
-Amplifier

"Somber, reverent and about to break. It will take you somewhere dark, beautiful and true. The prettiest nightmare this year."
-Magnaphone

Selected Press for Lewis & Clarke Live on WPRB:

"Live on WPRB" is impressive in it's ability to capture many of the wonderful things about live performance... It's recorded excellently, mastered beautifully....It feels like the calm after a great storm that has torn down everyone's walls and united everybody in their loss."
- Sound Waves Magazine

There's something oceanic and spiritual about Lewis & Clarke. Perhaps the feeling's summoned at the start of this 12" when you hear babies murmuring before the first notes begin, and then you notice the title of the last song, "Blasts Of Holy Birth". The fact that the four songs here were recorded live brings yet another dimension to the gentle clarity and potent emotion intrinsic to their kind of folk music. Open, compelling and pure.
- Sentimentalist

"This live set of expansive, intricate folk is fleshed out by a variety of textures...every note is wound up with import, like the quiet minutes of the day when your mind has the chance to cut through the mundane and focus on sometimes difficult realities."
-Pop Matters

Swirling, textured, a bit atmospheric and extremely melodic, this split 7" showcases two halves of a separate, but connected, musical entity. Both tracks solicit a meloncholic, emotional reaction. Dragon Turtle's foray "Light the Lamps" is subtly more abstract in character than Strand of Oaks' "45 today". The shamanistic lyric rhythm repetition lulls you into closing your eyes and dreaming of fantastic places deep in your subconscious.
- Sentimentalist

"A gifted newcomer"
- Magnet

"Performed to the hilt, with sincerity and authenticity...with maturity and enough perspective and respect for the song to never overplay... a mournful slow-burning sound that fills the air. It's a sound that will never tire, never go out of fashion, and hopefully will be delivered in a long-playing format sometime soon."
- Delusions of Adequacy

"Everything about this rural Pennsylvania trio’s debut speaks of an attention to detail and nuance...Honest and direct, yet striking a perfect balance with lyric ambiguity, Rogai appears to be a major young talent-in-the-making. With a new full-length, Bare Bones and Branches, available (albeit only in Belgium) by the time you read this, L & C’s star is in ascent."
- Stereo Type

"Bands don't fill their songs with steel guitar to evoke clown parties, sequined suits or days at the pool...deep, thundering dreams so preferable to the waking life that we're left in confused but earnest apathy...He turns the dust of common words into moving laments, and lassoes a new sort of metaphysical slacker."
- Splendid

"Nice stuff, sort of subdued, but smart and introspective - a bit spooky, too. Lou Rogai has an easy, comfortable way with the mic, and he's a pretty interesting songwriter. 'I can see your breath write apologies across the glass,' he sings in 'Bright Light.' A definite mood record."
- Shredding Paper

"Lewis & Clarke makes no pretentious statements, harbor no ulterior motives and doesn't browbeat at all....The songs come on with a whisper and have the impact of a bomb."
- Aiding and Abetting

Selected Press for Lewis & Clarke Bare Bones and Branches:

"Lewis & Clarke has carved out its own niche thanks to the lush arrangements of its debut, 2005's "Bare Bones and Branches."
- Billboard

"Bare Bones and Branches is moody and careful, resigned and gorgeous. It’s pop at half speed, or it’s country noir, it’s new folk, or maybe we’re calling it slo-core, I’m not sure, but it’s going to drown us in a sort of delicate, well-read, mellow flood. I think it’s a good way to go."
-Alarm Press

"This is the sound of the leaves falling, the sight of rolling hills revealed through a lattice-work of barren branches, the scent of woodsmoke, moss on the northern side of a nearly-naked tree...a sincerely brilliant piece of work...something unique, equal parts alt-country and chamber folk, sophisticated yet rustic."
-Crown Dozen

"A heartfelt, atmospheric album packed with distinct tracks blends guitar finger-picking, soft reverb, organ, piano, and lap steel with bittersweet vocal harmonies."
- Punk Planet

"A whisper of an album, lovely without being precious, moody without being beleaguering. The band's only full-time member, Rogai is sheepish and articulate. He's a mild lyrical eccentric-"The sky is mint green jealousy" -and he knows how not to crowd a song."
- No Depression

"Bare Bones and Branches is a pure music experience that whispers half-remembered truths to the soul, as Rogai easily soars above so-called "acid folk"/"freak folk" conventions by exhibiting amazing clarity and a sense of spaciousness in his songs... striking in its authenticity and ability to convey empathy and even inspiration. It is gentle and wild, an abundant feast of simple fare that nourishes the heart."
- The Morning Call

"Rogai always finds a quiet place for solace, capturing the smallness of everyday despair with a laid-back balance of precision, warmth and regret."
- Alternative Press

"Its a shining example of the fact that there is much uncharted territory to explore in this field of music, often-decried of all sounding the same. “Bare Bones and Branches” is a blast of fresh air, just like Gastr Del Soul was when I first heard them, just like Richard Buckner was, hell, like Grateful Dead was when I dropped my pre-existing resistance and listened to American Beauty for the first time with open ears"
- Outside Left

"Old tricks are made new again with the delicate touch of Lou Rogai's imagination."
- Tiny Mix Tapes

"Lou Rogai, who records under the name Lewis & Clarke, artfully mixes his multi-layered vocal tracks with finger-picked acoustic guitar, Hammond organ, Rhodes piano, and lap steel."
- Acoustic Guitar World

"Soft guitars and infectious melodies drew me into a trance when this album was playing. It's pure, charming, heartfelt acoustic folk that is soothing from beginning to end."
- Impact Press

"Lewis & Clarke, or Lou Rogai to be more exact, treads the territory of Papa M and Iron & Wine very well, and to be on par with such talent should be a hint to the quality found on this album....It’s a well-trod genre, but with acts like Lewis & Clarke still surprising us with such simple, melodic insights, maybe we should all just make room for one more."
- Exclaim

"(Bare Bones and Branches) is time-friendly, interpretively communicative and complete. It's the little black dress of music when the Stones flash a few too many sequins. It's the violet '69 Jaguar convertible in the wheat field: honest, cute, and terribly desirable."
-Lumino

"(Bare Bones and Branches) shines an intelligent revelatory light into the heart of life and love."
-Detroit Metro Times

"This group is spot-on...meandering melodies on a spool of reflective vocal lines, and sometimes unorthodox song structures... like an up-tempo visit to Scarborough Fair."
- Rockpile

"The best songs on Bare Bones and Branches recall the Stones of Dead Flowers....Or maybe the fagged-out Pavement of Wowee Zowee."
- Indieworkshop.com

"With the first leg of their voyage complete, the band has already penciled in a worthy addition to the folk music map. The songs are stretched to their fullest extents, occasionally meandering through long instrumentals as if to make sure nothing was missed along the way. Expeditions are always subject to wrong turns and missteps, but Bare Bones And Branches rarely strays. After their round trip, Lewis and Clark, explorers, returned home exhausted. For Lewis & Clarke, musicians, it sounds like they’re just getting started."
- Coke Machine Glow

"Bare Bones and Branches features full-band accompaniment, it feels very much like the statement of an individual, bearing a plaintive intimacy most often associated with the lone troubadour....Bare Bones and Branches is also highly melodic, richly arranged, and extremely compact - an artistic statement nearly as impressive as it is cohesive."
- Delusions of Adequacy