'From it's opening seconds-ineffable barbarian yawp amid carefully planned mayhem that somehow manages to come across as gloriously zany and winningly gratuitous, opening salvo "Fluorescent" is far more than mere alterna-fodder. And the winning trend continues on "Victoria," which is an eerie assemblage of broken tropes: a melodically memorable vocal line is slurred and crooned over meat and potatoes drums and strangely telegraphic guitar and surging and lapping bass. (Equally fine is the careering declamatory over blurting guitar featured on the outstanding title track.) The liquescent and chillingly melodic "White Wall" is worthy of, though in no way similar to, some of the softer excursions of XTC, and the stop-and-start dynamic of "One Drop" is alternately frantic and ecstatic. If any band has heeded the admonition to make it new, it's this one: note how "Come On" has a classic hooky riff that the band warps through some kind of hard rock funnel, where it emerges from the other end as some kind of mirror image folk-murk, then back again it goes through the power chord mixmaster. Then, before you know it, the whole album is...over. That's it. Not all the songs reach the heights, but even the less than top-flight tracks, like "Blues in D," and the mostly astonishing "Slow" are inventively textured and arranged. There is artistry awfully close to brilliance fit to burst all through this inconsistent, but, at it's best, remarkable album. Highly recommended.' Francis DiMenno - The Noise 'Reverse officially melted my face last month - I'm still trying to get all my features re-situated and it's been like 3 weeks. This power trio cuts loose with some hard rock that fans of all genres can get into - something about jaw-dropping solos, heart-pounding basslines and drum psychosis tends to attract fans to their music.' Bryan - Playground Boston.