"Eventually the crowd silenced as it was announced that a fire marshal would need to check if Mercury Lounge was beyond capacity. After all of the hullabaloo, Snowden rapidly made everyone forget about the extended wait, starting with a sped up version of “Bullets". For the second night in a row, a NYC crowd not known for dancing was again moving their feet and shaking their hips."
"Jeffares voice soars above the hauntingly icy bass lines and chilly
atmospherics. Bombs and death rays, corporate decay, and failed or failing
love are just some of the bleak themes the band explore, and their album's
title track might offer the best solution to the hopelessness of it all."
"The charm of Snowden's debut is its understated
authenticity: Underneath all the accoutrements, these are Jeffares's bedroom
songs, and it's not hard to extrapolate to their simpler days as anguished
acoustic ballads."
"The original Snowden taught Yossarian that man is matter-- kill
us and we're dead. It's OK for stylish post-punk to matter, too, and
Anti-Anti does so without forgetting to be fun."
"It's clear [Snowden] aren't willing to just turn on the cruise control
through [their] show; the performance is more like a constant pulse between
implosion and explosion with each member able to flail or pull back
seamlessly."
"Such tracks as 'Black Eyes' prove that Snowden can play uneasy funk as well as its peers, but the music is most interesting when the band goes its own way."
"Snowden's music sounds like Interpol's dark momentum getting tripped
up on the Arcade Fire's treacherous terrain - lacquered bolts of guitar
judder over off-kilter percussion, and anomic vocals blear through the
densely layered mix."
"On 'Anti-Anti' Snowden creates plenty more to admire than angry words. To find it, all you have to do is ignore the urge to dance long enough to sit down and listen."
"Anti-Anti is a cyclonic swirl of guitars approximating jet-engine drones, brackish cascades of water emanating from the bottom of a dank cave and shards of tuned barbed-wire."
