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"Like most of Scott Miller's ideas, dubbing this group the Loud Family is at once ingenious and obscure. On the one hand, it's a hip allusion to the mid-Seventies PBS series An American Family; on the other, it's a clever way to describe the sound and feel of the band. Either way, it's a great hook—smart, funny and instantly memorable. All of which, appropriately enough, are qualities shared by Miller's songs... at times, the results sound like Thomas Pynchon writing for Big Star."
—Rolling Stone on Plants and Birds and Rocks and Things
"Back in 1993, a lot of critics (me included) reacted to Plants and Birds and Rocks and Things, the debut of the Loud Family, as if it was the second coming of the Beatles' White Album. And with good reason: in terms of sheer musical inventiveness, it nearly was. Now, faced with the Louds' sophomore effort, The Tape of Only Linda, two more things can be said without fear of contradiction: (1) these guys have the best album titles in the business, and (2) pound for pound they're the smartest, most imaginative rock band in America, the closest we Yanks have ever come to a homegrown version of XTC."
"Miller has settled down, eschewing the hit-and-miss experimentation that led to uneven albums and instead zeroing in on a sound that's rich yet pristine in its jangly, hook-filled crush. Producer Mitch Easter turns up the volume with a Spector-ish melange of sonic shadings, harmonies, and big, big guitars. There's something familiar in the sound—that loving ode to Big Star. Happy, reconstituted Beatle melodies romp around, underscored by synthesizers and the straight-ahead energy of power pop. Miller's lyrics hide in the luscious folds of the music, jumping out to surprise you from time to time."
—Option on The Tape of Only Linda
"It's Miller's immaculately chiseled songs that are the real attraction. He could fill a triple album with just the shavings of his brilliance."
—St. Louis Riverfront Times on The Tape of Only Linda
"Damn near a masterpiece of beautiful pop."
—Alternative Press on Interbabe Concern
"Some of the most beautiful pop songs ever written."
—East Bay Express (Oakland, CA) on Interbabe Concern
"In the liner notes, the band boasts, 'Everything on this album is on purpose,' a wink that anything this brilliant couldn't come by accident."
—CMJ New Music Report on Interbabe Concern
"With his first band, Game Theory, and now with Loud Family, Scott Miller has brilliantly merged Beatles-worthy pop melodies with odd meters, tape effects and so on. Loud Family's dazzling new record, Interbabe Concern, merits a spot in the trophy case for its heady, charming, and totally rocking pop chamber works."
"A seamless collection of breath-held tunes, a symphonic rush of joy that's quirky and immensely contagious, like XTC cuddling up with Jellyfish."
—Q on Days for Days
"It's dangerous to use a phrase like 'album of the year' for a May release, but even in what's shaping up to be an excellent year for pop, Days For Days stands out. This is endlessly fascinating music."
"Melodically masterful, structurally dense and lyrically arcane... Capable of stretching the pop form to accommodate all of his subtlety, anger, humor or surrealism, Miller may be better than ever. Did I mention he was a genius?"
—Time Out New York on Attractive Nuisance
"Proves that the previous two brilliant albums—Interbabe Concern and Days For Days—were no flukes. This is an equally striking collection of the kind of genuine pop-rock craftsmanship that is all too rare in the increasingly stylist-oriented free-for-all of the current industry. You think Belle and Sebastian write intricate, hook-laden pop symphonies? Listen to the grandeur of Miller crooning 'Blackness, Blackness.' This is his specialty: the plaintive ballad, with a little whining thrown in. He's better at it than Eric Carmen ever was."
—The Stranger (Seattle, WA) on Attractive Nuisance
"If you're looking for power pop with brains, hooks, and enough wordplay to entice a whole Scrabble tournament, What If It Works? is a great place to find it."