| Rating |
Summary |
|
| 3 by Rolling Stone |
More proof that Eighties synth-pop, rather than Eighties hardcore punk, is becoming the influence of choice for emo kids. The second album from this Athens, Georgia, quartet is packed with Cure-like s... |
Read more |
| n/a by www.drownedinsound.com |
The overall effect is intoxicating -- some sort of triangulated point in the middle of REM, New Order and Statistics. |
Read more |
| n/a by www.logo-magazine.com |
Their country-sagged beat-focused rock remains, which, coupled with some sumptuous keys and Andy LeMaster’s notoriously unnerving range, reveal Now It’s Overhead’s startling magnetism. |
Read more |
| n/a by www.stylusmagazine.com |
This is a rare example of music transcending lyrics in conveying the work’s meaning. |
Read more |
| n/a by www.adequacy.net |
Fall Back Open is a well-constructed modern pop record that displays some neat influences and also contributes a good deal of its own. |
Read more |
| n/a by Junkmedia |
Despite its slowcore pedigree, Fall Back manages to stand solidly on its own haunted ground, forging a yet-to-be-realized level of tender creativity. |
Read more |
| n/a by www.shakingthrough.net |
Fall Back Open builds its Brian Eno-esque architecture into a warm, vulnerable document of searching and fear of connection, resulting in a pleasantly engaging and subtly memorable offering. |
Read more |
| n/a by Pitchfork Media |
Fall Back Open is more reminiscent of the arid, slow-burning side of the debut ("With a Subtle Look" comes to mind) than its upbeat fare, a reverb-drenched cruise missile flying in relentless slow-motion, like Calla with a pulse and a cherubic blond singer who could have gone boy-band as easily as indie-land. |
Read more |