Reviews of "The Cactus and the Dragon"

Folk World Europe - March 2012

Although there is a title cut finishing off this album, the title also gives a nice nod to the musical feeling established throughout the record. The cactus of the western plains is there, but there is also an exotic, worldly touch with the guitar sounds and deep in the mix accordions that gave me a bit of the Eastern feel of the dragon. The tempo directs things toward laconic folk rock. There is a nice mix of electric and acoustic guitar between the songs. The vocals are perhaps a bit too laid back at times, but they have a nice quality that keeps things a bit dreamier than the usual folk-rock album. The title cut closed this out in fine fashion with its Decembrists meet Spiritualized feeling. Mark Mulholland is an interesting artist and one worth keeping an eye on.
David Hintz

Drowned in Sound, UK - Feb 2012 - 8/10

I sat down to write this review of Mark Mulholland’s new album at around midday today; it is now 18:55. The problem I’m having with writing this preamble is that I’m about to start discussing a twenty-first century indie-folk singer, a description that will no doubt bring forth memories of the likes of Camera Obscura and Scottish contemporaries Belle & Sebastian: in other words, twee farts of nothing that should by rights have you running for the nearest rusty scalpel with which to remove your own ears. But then I’d quite like you to keep reading this, so please disperse said images from your mind and give this album a chance.

Mulholland’s second record The Cactus and the Dragon may have the same roots in American folk pop as his contemporaries, but that’s where the similarities end. This is going back to the darker side of folk; scratched and discordant vocals – some his, some guest – that echoes Waits and Dylan (albeit with perhaps slightly more polished edges), an acoustic guitar that sounds surprisingly ominous... songs that aren’t in the key of C! For an album recorded in Berlin by a Scottish troubadour who has spend as much time wandering Europe as Mulholland, The Cactus and the Dragon has a surprisingly pungent scent of Americana.

This may not have the same kind of wretched desperation of Rain Dogs or the doom and dread of I’m Your Man, but even at this album’s lightest moments there’s a definite sadness: ‘Haunted Feeling’ intertwines soft guitars and an accordion beautifully, but talks of “reaching out for things that are gone, and they won’t come back’, and at the other end of the scale the urgently psychedelic title track closes the album with a fraught confession that “’The bottles on the board stand like pawns in front of me”.

It’s clear from just one listen to the album that Mulholland has a range of influences and enjoys a huge number of styles; what’s impressive is his ability to draw on them and create a collection of music that is, whilst varied, undeniably his. His voice and style lay somewhere between Leonard Cohen and Mark Kozelek, although the lounge piano, drunken vocals, slide guitar and hi-hat-heavy jazz drums on highlight ‘Footsteps on the Stairs’ are perhaps closer to Wilco’s ‘Jesus Etc.’. There’s also a sense of the epic looking to burst through on a couple of tracks: ‘Floodgates’ and ‘World Spins Round’ with their searing guitar solos could easily have tipped over into self-indulgent Matt Bellamy-like wankery, but do well to rein themselves in at under four and three minutes respectively. The Cactus and the Dragon, with its shades of dark green and brown and reeking of stale coffee from a roadside diner, is a seriously impressive piece of work. Dan Lucas

Never Enough Notes, UK - Feb 2012 - 8/10

Mark Mulholland certainly gets around. The Glaswegian globetrotter seems to have roamed and played over much of the surface of the globe, currently making his home in Haiti. There’s a mainly country/folk flavour to the collection, exemplified by Middle Lane Driver, a wry slice of country and western with a dark twist at the end while the strings of ‘Sweet Taste’ and lounge jazz piano of ‘Footsteps On The Stairs’ show that Mulholland can be poignant or ironic, and straddle a genre or two in the process. Across the whole record lie his husky, deep Dylany vocals, with more of Nashville than his roots in his accent. He can never be accused of hanging around too long on one track or padding out the record with weaker material. There are some nice lead lines scattered throughout, as befits someone who plies his trade as an axeman for several bands.‘The Cactus and The Dragon’ doesn’t do much wrong and does plenty that’s right.

Leicester Bangs, UK - Feb 2012 - 7/10

The nasal, Dylanesque vocal twang adopted for the opening track, "Why D'You Treat Me This Way", gives way to something less novel on "Haunted Feeling", which has a wonderful accordion and acoustic guitar accompaniment. At first I thought them just too laconic, but they’ve grown on me, particularly the latter. "Floodgates" has a fine psychedelic-type sound, and "This Time Of Night" is an instrumental with inspired strings supporting the acoustic guitar - all very dashing and quite beautiful. "Something New" has a sparkling electric guitar. "Firelight Fantasy" is back to a more Dylan-esque delivery, with a touch of Donovan - good tune, good number, although way too short. Then, right at the end, the title track raises the psychedelic flag. Suddenly, there’s a ‘wow’ factor. It’s off the scale compared to the rest of the album, a titanic track that could sit alongside anything done by any psych band, past or present. Out of ten, “The Cactus And The Dragon” scores a respectable seven.

Uncut, UK - Feb 2012 - 3/5

A ripe collection of restless tales-from-the-road, the default style on his second solo LP is classic American roots-rock, heard to best effect on the laconic « Why d'you treat me this way », an inspired homage to Dylan's « Things have changed ». But there are shredding psych guitars on « Floodgates » and the title track, jangle-pop on « Something New » and Jansch-like fingerpicking on « Another Falling Star » Nigel Williamson

Mudkiss, UK, Feb 2012

The Cactus and the Dragon is Glaswegian Mulholland’s second solo album, it is dark and brooding. His vocals echo a strong sense of nostalgic Americana, so strong that he could have been mistaken as American. There are many strong points to this album, for example ‘Haunted Feeling’ which is truly haunting, with accents of atmospheric accordion, and ‘This Time Of Night’, a gorgeous interlude containing beautiful violin. ‘Footsteps on the Stairs ‘is the stand out track though, it’s a jazzy number, it’s keys tingle your senses and vibrate extraordinarily in your ear drums. The Cactus and the Dragon is an interesting mixture of genres. Whatever influenced Mulholland was certainly something special, as his sound is developed and incredibly unique. - Lydia

Reviews of "The Devil On The Stairs" (2008)

Rock'n'Reel, UK (4/5)

Under-rated, yet rightly revered in certain bar-rooms
More than a passing acquaintance of Dave Kusworth and fallen frere Nikki Sudden on their itinerant trails through Europe’s sour marshlands and dingy dens of iniquity, Mulholland spins similarly hypnotic and forlorn tales of heartbreak and longing in the face of ephemeral female fancies and self-inflicted failures lucidly and loosely spun from the foul, frothy end of flagons of wine and whisky but with a far folkier and blues-laden furrow.
Largely solo on acoustic with accompanying smatterings of harmonica, woozy organ and fiddle, this is a plaintive collection of log cabin laments and park-bench plainsong that belies the itinerant minstreling that has apparently been Mulholland’s path. Heavy-lidded and sallow-eyed with a voice fraught with experience but weathered with the warmth of a certain wisdom, this is a great late-night reflective collection, incandescently candlelit and replete with swirling psych tinges of the early Roy Harper—though any hallucinatory effects seem more from alcoholic delirium than acid—or Robert Wyatt and desultory poetry of Townes Van Zandt. Sure, there are undeniable shades of Dylan, but however much so the inescapable spectral beauty unveiled on centrepieces such as the title track, Hands Of A Clock and aching Don’t Want To Hear You Laugh is akin to denying, for instance, Mike Scott or Steve Earle’s power to affect an audience just because they share an affinity to certain songwriters past. A deluxe edition includes an extra disc LIVE AT THE TWELVE BAR, a lone affair with a slew of different tracks to the album, helping make this a truly special purchase as well as being a perfect setting for his basement narrations of love’s nomadic roads.

« among the most inspiring musicians that I have ever had the pleasure to perform with” Nikki Sudden

« …vielfältiger und versierter Liedermacher…….ausdrucksstarken Songs und beeindruckende Stimme…..eigenständige und zugleich abwechslungsreichen Musikstil » Ost-Thüringer Zeitung

« Musik eines glücklichen Reisenden
Greiz – « Happy on my way »-Glücklich auf meinem Weg- sang Mark Mulholland in seinem ersten Lied. Eine gewisse Lebenszufriedenheit, die zu spüren und zugleich Biografie ist. Denn der gebürtige Glasgower lebte unter anderem in England, Frankreich, Irland und seit 1996 in Berlin. Viele Jahre arbeitete er als Strassenmusiker und spielte in verschiedenen Bands. Am Freitagabend musizierte er im Greizer Peanuts.
Sein erste Konzert in der Region, wie er erzählte. Auch deshalb Grund genug, genauer hinzuhören. Ein Mischung aus Folk, Blues, Country, Jazz und Rock hiess es in der Ankündigung. Und die hielt, was sie versprach. Allen voran steht das solide, abwechlungsreich und stimmungsvolle Gitarrenspiel Mulhollands. Gekonnt wechselt er von rhythmischen Songs zu melodischen, spielt das eine Mal kräftig, um im nächsten Titel nur ganz zart und sanft die Saiten zu zupfen. Ebenso unterschiedlich ist das musikalische Repertoirer, das der Liedermacher beherrscht.
Sicher, der überweigende Teil der Titel muss der Singer-/Songwriter-Abteilung zugeschrieben werden. Aber gleichermassen klingen bluesige und Keltische Weisen an. Und der jazzige Anteil beschränkt sich nicht nur auf zwei, drei Akkorde, die den Anspruch aufrecht erhalten sollen, sondern Mulholland greift tatsächlich Jazz-Titel auf.
Die meisten der vorgestellten Songs hat er selbst geschrieben. Sie zeugen von einem eigenständigen Stil und erzählen Alltagsgeschichten vonLiebe, Leid und Sehnsucht. Doch auch einige Coverversionen von Bob-Dylan- oder The-Byrds-Songs reihen sich in sein Programm. Titel, die Mulholland nicht einfach kopiert. Er schenkt ihnen eine neue, eigene Ausstrahlung. Nicht zuletzt durch seine Stimme, die hier und da an den grossen BoB Dylan erinnert.
Fakt ist: Seine Stimme setzt er nicht minder vielfältig ein wie sein Gitarrenspiel, einmal relativ hoch, klar und durchdringend, dann wieder rauchig. Und auch sie verleiht den Titeln Ausdruck und Emotionalität – wie naturlich ebenfalls auf seinen CD-Produktionen zu hören ist. Vor zwei Jahren ist die letzte, „On The Road That Brought Me Here“erschienen, die neue kommt Ende März heraus, „Devil On The Stairs“ (Teufel auf den Stufen) lautet ihr Titel. Eine musicalische Bereichung im CD-Ständer stellen die Tonträger auf jeden Fall dar, wie auch das Konzert in angenehmer Erinnerung bleiben wird, wenngleich es von den Peanuts-Gästen mehr Aufmerksamkeit verdient hätte.“
Karsten Schaarschmidt, Vogtlands Anzeiger

„…songs such as „drowning“ are well familiar to anyone familiar with MM‘s frequent live shows, but this version has a touch of the Black Crowes about it, and sounds great.“
Nikki Sudden, CD review in Bucketfull of Brains magazine

„locker, lässig, leicht…….frischen, unverkrämpten Spielweise…“ Concert review Ost-Thüringer Zeitung

with two dollar bash:

Songlines December 2007

The blue, blue grass of Scotland and Berlin

This is good ol' time American music. There is blues, folk, country and chugging R'n'B in here. The auras of Canned Heat, Woody Guthrie, Neil Young and Springsteen waft on the breeze. And ... there is an echo of the Rolling Stones down-home bluesy vibe in here. ..Two Dollar Bash consists of three Glaswegians and a Parisian (who does, tantalisingly, sing a great, uptempo blues number - "Roulez, Roulez" - in French, midway through the album) based in Berlin...

This is classic, big skies and bar rooms American music, and that is no bad thing. There are evocative songs here with harmonies, mandolin, banjo, guitar and particularly good harmonica playing from Matt de Harp.

Jazzwise September 2007

"What with their downhome laments, impressive three and four part harmonies and exemplary banjo pickin', Two Dollar Bash could be lifted straight out of the Appalachians. Turns out they're a – wait for it-Berlin-based acoustic/folk/country band, originally from Scotland and France, having evolved out of Prague collective The Oul' Bogwarriors. No yee-hahs, then (well, except for a few near yodels on the toe-tapping, harp-heavy „Old Mail Train“), just great original songs, fine musicianship and a wealth of influences ranging from North American folk blues and country with Celtic and European styles. Ex-buskers all, the four wield their different combinations of guitar, drums, mandolin, banjo and the rest to beguiling effect. Stand-outs include the see-y'all later track „Taking a Taxi“, the poignant ballad „Rosalyn“, the chugging „Ticket to Vilnius“. Intelligent lyrics tell of loss and longing, love and friendship, and always, of packing bags and moving on. The world is a musician's oyster, after all." Jane Cornwell

Sächsische Zeitung, November 2007

Americanischer Sound mit Europaischer Seele - die Band Two Dollar Bash spielt genau das morgen Abend ab 21 Uhr in der „Alten Bäckerei“ am Grosshennersdorfer Sportplatz. Die vier Musiker von Two Dollar Bash stammen ursprunglich aus Schottland und Frankreich und vereinen in Ihren Songs Einflüsse aus dem nordamerikanische Folk, Blues und Country, aber auch Keltischer und europäischer Stilrichtungen. Unplugged und bis zu vier Stimmen fasst Two Dollar Bash der intuitiven und expressiven Spielfreude freien Lauf. Ihr Handwerk haben die Bandmidglieder bei längeren Aufenthalt in Dublin, Prag und Grenoble in verschiedenen Folk-, Punk-, Rock- und Swingbands erlernt. Die Erfolge der Band können sich sehen lassen. Im September 2005 gewann Two Dollar Bash den „Rising Legend Award“ des 30. Old Time Country & Traditional Music Festival in Missouri Valley (USA). 2006 wurden sie als eine von vier Bands weltweit für ein Showcase zur “International Country Night” auf der Popkomm in Berlin ausgewählt. 2007 begann mit Auftritten in Irland, Belgien und Deutschland, gefolgt von einer ausgedehnten Tour durch die USA und Kanada auf den renommierten Musikfestivals South by Southwest in Austin (Texas) und der Canadian Music Week in Toronto.

Rootstime magazine, Belgium, September 2007

De heren van Two Dollar Bash spelen al sinds 15 jaar samen in verschillende combinaties. Heden ten dage verblijft de bende in Berlijn terwijl er toch geen enkele Duitser te bekennen valt in de groep. Hun landen van oorsprong zijn Schotland (3 leden uit Glasgow) en Frankrijk (één bandlid uit Parijs). Dit notoire gezelschap bestaat uit Tony Rose (gitaar, zang), Matt de Harp (mandoline, harp, gitaar, zang), Mark Mulholland (banjo, mandola, gitaar, zang) en Joe Armstrong (gitaar, bas, zang). Zoals je ziet: allemaal gitaristen en zangers en zo treden ze ook meestal op (zie foto), mooi naast elkaar zittend met elk een gitaar (of banjo) en een microfoon. Hun repertoire omvat een hele resem muziekstijlen zoals country, blues, folk, bluegrass, swing en rock’n’roll. In september 2005 wonnen ze de “Rising Legend”-award op het Country and Traditional Music Festival in Missoury Valley, Iowa. Vorig jaar deelden ze de affiche nog met namen als Patti Smith, Snow Patrol en Antony and the Johnsons op een groot popfestival in Engeland. De heren zijn uitstekende muzikanten die beïnvloed werden door de Noordamerikaanse folk, blues en countrymuziek maar die toch een eigenheid meegeven aan de originele nummers die ze op hun twee albums “Two Dollar Bash” en “On The Road” voor de toehoorders etaleren. Op het debuutalbum “Two Dollar Bash” van vorig jaar zit de cowboysound vervat in “Old Mail Train” en “The Devil And The Angel” en de ballads “Taking A Taxi”, “One Day I’ll Be Gone”, “Rosalyn” en “Ticket To Vilnus” vertellen over reizen, over de liefde en over vriendschap. Twee coversongs op dit album : “White Freight Liner Blues” van Townes Van Zandt en “Mountain Song” van Louisiana-singer-songwriter Jimmy Bozeman. Ook de nieuwe CD “On The Road” gaat op de ingeslagen weg voort. 13 songs waarvan 11 eigenhandig geschreven zijn en “Whisky” van Russ Miller gecoverd wordt. “I Am A Pilgrim” is een traditional in dit countrygenre die voortreffelijk gebracht wordt in een Springsteeniaanse Nebraskaversie door Two Dollar Bash. Mijn favoriete songs op dit album zijn “Put Your Hand In Mine” en “Wayward One”, beiden geschreven door Mark Mulholland en de New Orleans-cajunversie van “Roulez-Roulez” met mondharmonica en wasbord, geschreven door Matt de Harp, die ook verantwoordelijkheid heeft voor het mooie “So Blue” en het al even mooie “Time To Go” (met heerlijke banjoriffs). Two Dollar Bash is een gezellige bende die rustig en ongestoord verder bouwt aan een muzikale carrière die spoedig wel eens zou kunnen worden verder gezet in Amerika, het thuisland voor dit muziekgenre.
(valsam)

www.dorfdisco.de November 2007

Es gibt sie noch, diejenigen, deren Welt schon morgens schlecht und unverändert gegen einen ist, gleich was man dagegen unternimmt. Diese, im amerikanischen als "Country" bekannte Sichtweise der Dinge ist auch die von Two Dollar Bash. Kein Lied in dem nicht von irgendeinem Trübsal oder Unglück die Rede ist, kein Zustand, der nicht von heilloser Leere und deren unvermeintlichen Abrutschen in Alkoholismus zeugt. Und wenn man schon unter einem Wolken verhangenen Himmel auf die Sonne wartet, dann tut man dies als gestandener Mann, dem nicht viel anhaben kann, keine unglückliche Liebe und auch kein tragisches Schicksal. Denn anhänglich sein, oder gar jemanden auf die Nerven fallen, das ist das Letzte was der dieser Haltung innewohnenden Ehrenkodex vorschreibt. Und so leben und spielen Two Dollar Bash abseits jeder Beachtung durch die Medien ihren Country und Folk vor ein paar Berliner Gleichgesinnten in den gleichen dunkelgrauen Stoffmänteln und klobigen Schuhen, deren Welt längst vom Fortschritt aufgefressen wurde. Was bleibt ist diese traurig schöne Mundharmonika, das durchgehende schwirren der Westerngitarre, das ab-und-zu anziehende Banjo und das nur selten, und wenn dann zart zu vernehmende Schlagzeug neben den ehrlichen, vom vielen Zigaretten, Bier und Whisky geschmirgelten Stimmen von Tony Rose, Mark Mulholland, Matt de Harp und Joe Armstrong. Gott hab sie selig will man sagen, wäre diese schon zweite CD in einem Jahr nicht so herausragend gut, dass sie damit bis nach Nord Amerika touren, auf das South by Southwest Festival eingeladen werden, während ihnen in Berlin gerade mal ein Gig vor 10 Freunden im English Bookstore Friedrichshain bleibt.

Twangfest, Nürnberg, festival announcement July 2007

"Was für ein Gedicht! „Two Dollar Bash“ sind eine schottisch/französische Band aus Berlin und spielen Old-Time Country mit akustischen Instrumenten. Stellt euch einfach vor, „Dillard & Clark“ machen eine Session mit den „Byrds“ zu Zeiten von „The Sweetheart of the Rodeo“ mit Gram Parsons. Dann rührt und schüttelt es zusammen, und heraus kommen die unglaublich fantastischen „Two Dollar Bash“. Was für ein toller Flow! Sie sind es!"

Properganda Magazine, UK
June/July 2007
Introducing album "Two Dollar Bash"

Fresh from their riotous and rapturously received appearances at this year's South By South West festival (Austin) and Canadian Music Week (Toronto), this three parts Scottish to one part French quartet are ready and raring to continue their plan to take the roots/Americana world by storm.

Their blend of folk, country and blues combined gorgeous three and four part harmonies has won them critical acclaim as well as several prestigious awards. The band's constant touring has honed their craft and the songs featured on this album are ample proof that their time in the transit van has been justifiably spent. The giggin doesn't show any sign of letting up just yet and the band will be in the UK for some summer festivals, including the Wychwood festival.

There are many highlights but cuts like the Johnny Cash imbued 'The Devil And The Angel', opener 'Waiting For The Sunshine', 'Old Mail Train' and the oft covered, Townes Van Zandt penned 'White Freight Liner Blues' burn brightest.

Folker!
May/June 2007
About album “On the Road“

"Kommen drei Schotten und ein Franzose nach Berlin – was machen sie? Träumen von Amerika, natürlich! Jedenfalls was die Mischung betrifft, die nun auch auf ihrem Zweitling wieder zu hören ist: Country, Cajun, Folk. Dazu schon von der Herangehensweise ein ordentlicher Schuss Rock ’n’ Roll, wenn auch strikt unplugged. Das aber ganz volle Kraft voraus!"

Lolo Wood, music journalist
About album "Two Dollar Bash", May 2007

"The sounds of downbeat country-influenced Americana are now such a part of the average musically-savvy listener’s vocabulary that it’s easy to forget how refreshing it was 10 years ago to hear bands admitting to being influenced by Hank Williams, Woody Guthrie and even Gram Parsons. And it’s too easy to bypass another band with banjo, mandolin and harmonica in their ingredients when they’re now such common currency by every bandwagon-jumper taking a stab at “authenticity”. But Two Dollar Bash have a licence to give out a button-badge reading “We’ve Been Doing This Since Before It Was Trendy” with every copy of their eponymous album.

Organically sprouted from an early 90s Prague-based acoustic band with the wonderfully evocative moniker The Oul Bogwarriors, Two Dollar Bash are three Scots and a Frenchman who intuitively pick up on the nuances of American country, folk and rock that can trace a direct lineage back to the folk music of their own countries. They have a natural instinct for simple, haunting melodies, with narratives revolving around road trips, ailing relationships and the eternal internal battle of good and evil. The Devil and the Angel is a beguilingly old-fashioned up-beat lament about one man’s fight to be good in the face of temptation in the shape of whisky and women that would not be out of place on an early Johnny Cash record.

Although they have earned those button-badges by immersing themselves in the music and imagery of rural America, their own urban roots and the individual members’ foray into wistful indie and dirty rock’n’roll occasionally cheekily pop their heads over the parapet. Mark Mulholland’s inventory of “a packet of biscuits, an old tin of beans, a sackful of memories and a handful of dreams” sounds more like the contents of Belle & Sebastian’s tour bus than the cargo of a wagon-train, while the exuberance put into their take on Townes van Zandt’s White Freight Liner Blues reveals a band who could just as seamlessly knock out a Stones or Stooges tune with the same aplomb.

Mulholland’s fragile, Dylan-tinged vocals sit comfortably next to Tony Rose’s deeper, more authoritative tones, but both pin down the emotional intensity that this kind of music thrives on. Just because it’s been done before doesn’t mean it shouldn’t be done again, and again, if you really mean it".

B y Lolo Wood

Torontoist
Mar 2007
Review from Canadian Music Week (8th of March 2007)

"Next up at Rancho Relaxo came Two Dollar Bash. Comprised of three guys from Glasgow and one from Paris who are all currently living in Berlin, it was a bit intriguing that their sound is self-described as folky americana. With harmonicas, guitars, and mandolins at hand, their songs were of an ever-changing style. First they had a classic country western sound, and then they morphed to old time rock and roll sung in French, before settling
on a sound that seemed strangely like that of Holly McNarland. Despite the spontanaety, or perhaps because of it, this entertaining set invoked images of eating in a rusty spoon diner while on a road trip to nowhere".

AMERICANA-UK.COM
Jan 2007
"Scrunge Grass rules and Bush gets lambasted!
I Am A Pilgrim’ is a traditional song that’s given a Springsteen like ‘Nebraska’ feel, who in turn must have given it his own spin. The opener ‘Sacrifice’ shows off Matt de Harp’s skills on the harmonica. He’s aptly named. The title track and ‘Whiskey’ have interchangeable guitar breaks and are pretty much the same. ‘Abstinence Blues’ displays some fine picking whilst encouraging people to do other things and not consume alcohol. A good idea for us all this time of year.
However the stand out track is ‘So Blue’ which unfortunately includes the f word, so alas I can’t
play it on my radio programme. ‘Long Time Coming’ is also another stand out, with some mighty fine banjo picking coupled with insightful lyrics. ‘Roulez Roulez’ as you’d expect, brings the Cajun feel to the album and is up there with the better ones. Two of the three best songs have been written by de Harp".

Date review added: Tuesday, January 02, 2007
Reviewer: Phil Edwards

« This group… is pretty folky in their approach to music, but it’s the same kind of original folk creativity that Bob Dylan had when he started.(…)Some really strong acoustic guitar. Lots of energy in their work, and some very poignant words in their lyrics. Come see us two dollar bash, we have a stage with your name on it. » Bob Everhart, in « Tradition », newspaper of the National Traditional Country Music Association, USA

with Impure Thoughts:

“What music is really meant to be about”
Noel Maurice, Pirate Radio Berlin

« Impure Thoughts have the gift for the kind of gorgeous harmonies that will have you crowing along after just one listen … they rock »
XL Music Magazine, Dublin

« These guys fucking rock »
J.Mascis, Dinosaur Junior

« Mark Mulholland plays stinging lead guitar in a syncopated and staggered rhythm that has no comparison in contemporary rock’n’roll »
Claude Cahn