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press
"this new york upstater must be a studio rat. this is his fourth lp (two are with the band autumdivers) of making an acoustic guitar expand and shimmer into multicolor soundscape, to back and bolster his confident voice (which bears minor resemblance to radiohead's thom yorke). an expert picker (see the 10-minute soft monster title track) he is equally adept at banjo, keyboards, and violin; anything to create a neo-symphonic climate for his soft-croon to swan dive into. very, very, transporting" - big takeover
"a hybrid of atmospheric ambience and powerful acoustics" - billboard magazine
"what a way to start an album. an ambient build-up that seems to shake your nerves, creeping and crawling its way into your body and brain like a slithering snake. gregory paul, the frontman for new york’s stellar indie pop band autumdivers, whom i gave big props to when i reviewed their self-titled album, shows his skills as a solo artist. paintings of musical tapestries and pin-ups of melodic pop arm the album with a soundscape unlike any other, proving that we as humans have only begun to experience our musical potential. experimental pop-rock with psychedelic undertones that coast through melodies and harmonies like a speed boat, “awake from the flash” could potentially be the singer/songwriter album of the year. get this album now!" - j-sin [smother.net]
"autumdivers play with dichotomy the way barry bonds plays with a bat. on its eponymous sophomore release, the rochester, n.y., trio balances the experimentalism of radiohead with the accessibility of u2; the vaporous beauty of jeff buckley with the concrete pop power of coldplay and the shoegazing intensity of my bloody valentine with the aggressively ambient meandering of brian eno. the beauty of autumdivers’ presentation is the band’s ability to spike its sonic profile with elements of prog rock, reggae, dream pop and a half dozen other related genres, grafting it artfully onto its own signature sound, allowing the listener to briefly acknowledge the familiar reference points before folding them into their own singular sound. autumdivers fashion a lushly dense backdrop while projecting delicate musical shadow plays on its surface, thereby making smart and infinitely enjoyable indie prog, something not heard since the genre’s ‘7os heyday. and that’s an accomplishment worth noting.., and hearing." - brian baker [rockpile]
"stacked with soaring vocals and ethereal shoegazey melodies, the music on autumdivers’ debut could easily trick you into assuming they’re british—but count the rochester, new york three-piece as one of a few american bands channeling the lush britpop sound well enough to fool you. what sets the band apart from their british peers is frontman gregory paul’s acoustic guitar: in his hands, it gives the broad sonic landscape of autumdivers’ music an organic warmth." - cmj
"rochester new york’s autumdivers play an engaging, yet familiar brand of spacey mid-tempo guitar pop that is equal parts shoegaze and melodically-driven brit pop. this, the band’s second full-length release, is laden with dreamy guitar textures and hypnotic beats that, at times, recall the house bands that put manchester on the back in the late 8o’s/early 90’s. while many tracks like “turnaround” and “disappearing act” adopt a repetitive, melodic pattern with reverb-drenched guitar textures that evoke the early 80’s sound of the church and u2, the band is equally comfortable paying homage to contemporaries such as radiohead and coldplay on more experimental and emotive tracks like “get me out.” vocalist gregory paul’s smooth tenor blends well with the band’s languishing beats and spacey arrangements and drummer aaron boucher and bassist tony wensel provide a solid rhythmic backbone to the band’s beat-driven sound. while notable differences in sound quality and production are predominant early on in the album, the autumdivers show their musical chops in crafting a consistent album of lush, spacey pop music." - jeff shelton [amplifier]
"ladies and gentlemen: we are floating in space! or so we are lead to believe upon hearing the ambient jazz of the opening track, the aptly titled intro. this is a deception, of course. well, initially at least. we are soon awoken with a start before turnaround begins its’ gentle semi-acoustic plod with vocalist gregory paul giving an introspective and bitter warning on the hopelessness and fragility of life. introspection is a continuing lyrical thread throughout the album as, indeed, is the feeling that the singer is searching for something not quite within reach. as the album unravels it is evident that we are part of that search and passengers on a developing musical journey. amend introduces the use of delay and reverb soaked guitar. the acoustic feel returns for i still feel and the melancholic place to call your own. paul’s voice is reminiscent of chris martin at times, jeff buckley at others and delivers the songs with feeling, particularly on ‘disappearing act’, which reintroduces the edge style guitar effects. the soundtrack to a rainy day theme continues into walkaway and inasmuch. at this point the album takes an unexpected and timely diversion with the acid folk of dopamine lost in which mournful vocals are backed by acoustic guitar and a drummer seemingly locked out in the corridor and playing to a completely different tune. the track signifies the bands willingness to be more experimental on this their second full-length release and the remaining songs then see the band turn their gaze skywards, sounding less like coldplay and more like “a storm in heaven” era verve. this is never more in evidence than on ‘last’, which is a thing of real beauty, and final track and album highlight, star crossed, a meandering 17-minute epic that takes in freeform space rock and dub along the way. this track further demonstrates gregory paul’s chameleon like ability to adapt his voice to suit its’ musical surroundings, chanting the line ‘from the sound of a different song, we are here’ like a mantra in true richard ashcroft style. as the music slowly drifts away, marking our final ascent, we are left, once again, floating in space. a nice symmetry then to an album that is by turns both intimate and expansive, and which has a sound that you would not readily associate with a band from new york. if the later tracks, and star crossed in particular signal a statement of intent then autumdivers really can reach for the stars." - richard stokoe [losingtoday]
"gregory paul doesn't squint his eyes, bite his lip and rip off extended, self-indulgent solos to get his point across. employing pulsating rhythms, unusual time signatures and ethereal lyrics, the autumdivers establish an otherworldly atmosphere that is a mind-massaging sensory trip. this night at pianos it was fitting that projected film bathed the band in flickering light as it provided a backdrop to their free flowing set. like that interplay of shadows and colors, this music dances artfully through transitions of power and serenity. vocalist/guitarist paul is joined by drummer aaron boucher and bassist tony wensel to form a combo that is equal parts power trio and a troika of aural mystic guides." - neon nyc
"... over to the bug jar for the autumdivers' multi-media CD release extravaganza. the band was great and the packed room, enthusiastic. their dynamics work in an ever-building continuum of atmospheric tension and release --- they continuously draw you in, even when you feel you're as far as you can go. what a great original band" - frank de blase [city newspaper]
"the atmospheric qualities of the autumdivers’ self-titled album recalls the tragically hip’s day for night. with the right blend of guitar wash, electronics, and symphonic hymn-like waves, though, the autumdivers sound lobbied to be in the quintessential english rock pack (despite being from rochester, ny). led by gregory paul, with aaron boucher on drums and tony wensel on bass, the group acts like a jazz combo, blending and bending melodies, punctuating each other’s contributions with their own additions. a track like “amend” moves forward down a straightaway, but then “disappearing act” reels and spirals. “walkaway” could be just another coldplay-attempt if it weren’t for aaron boucher’s drums—tight sounding snare, the right amount of syncopated fills, and toms on the break. that drum sound captured on the album really brings the jazz combo feel forward, especially on “turnaround.” finally, the whole jamming, vamping feel find fertile ground on the album closer, “star crossed.” there’s boucher again, setting a rhythm and pattern on the sleepy beginning, but that same pattern becomes ever more punctuated as the song crescendos, peaks, drops, and allows paul and wensel to pick and choose among the sonic fruits. 54*40 closed their album, fight for love<, with an extended track, “journey,” that remains one of my favorite long-playing songs, but autumdivers really sends you off on your way with “star crossed” to live and fight another day, to dream big dreams, and to feel your heart beat out the rich rhythm of life." - benjamin squires [music spectrum]
"autumdivers has a distinct shoegazer feel throughout, with nuances of reggae. think coldplay with some green day-style acoustics interspersed. the album is a solid accomplishment. the music is fresh, without a hint of the "woe is me" syndrome that so many bands have come down with... whether you're a teenager looking forward to college or an adult looking back on it, you're likely to enjoy the autumdivers' music because it's a reprieve from whiny prose and a push in the direction of a positive mental outlook." - genevieve houck [the pitt news]
"the autumdivers present dreamy, mesmerizing pop without the self-consciousness of the shoegazer style of music. the music's deceptively simple, a perfect traveling soundtrack to a lazy day." - irene trudel [wfmu radio 91.1 fm]
"an alternative-rock soundscape that drifts from hazy guitar pop bands such as red house painters to the kind of ethereal eastern tinkling that george harrison used to hear in his dreams" - jeff spevak [democrat and chronicle]
"clearly new york's autumdivers are going places. a growing reputation on the live circuit and compilation appearances alongside elbow certainly suggest a bright future. their second album, meanwhile, is assured and confident; forged on a past in shoegazing influences but gregory paul and co. have refined their sound to embrace epic rock influences such as doves. in the beginning the offerings are excellent; 'turnaround' and 'i still feel' are melancholic yet feel good and 'amend' is achingly brilliant, all three tracks held aloft by some fine chiming guitar work" - leonard's lair
"think galaxie 500 with more juice; think british '90s pop with a shade less shoegazing" - fran fried [new haven register]
"this cd far surpasses past outings, with songs that go beyond beautiful soundscapes to become catchy symphonies of melody as well. tracks like "i still feel" is especially ripe for radio with happy hooks played with energetic abandon and sung in heavenly fashion by gregory paul (often bringing to mind the luscious vocal work of the late, great jeff buckley). the autumdivers swing their sound from delicate to powerful on the turn of a dime, always with a knowing wink to the british school of rock" - michelle picardo [freetime magazine]
"what stands out most about this band are the vocals. their super smooth soaring vocals are light years beyond most everyone. add the fact that these guys are superior songwriters...and you have a band that just may be your new underground favorite. the band's self-titled album is neither cute nor predictable. the music has a compelling flowing quality that makes it good for listening or driving...or just droning away in the background. cool intermingling guitars ring and chime while the rhythm section's insistent drive keeps things right on track. there is something about this music that draws the listener back for repeated spins. sort of like a subdued u2 without an asshole for a lead singer. well conceived and well produced. impressive." - LMNOP
"from the ethereal opening soundscape that introduces their just released album, autumdivers add layer upon layer of lush, atmospheric sounds that are brought to a climax with the 17-minute finale of “star crossed.” that self-contained, multi-faceted opus reminds one of an early pink floyd vinyl where you could just crash and groove to an entire side without interruption, or without expenditure of anything more stressful than rolling another fat one. but preceding that are such decidedly modern delights as the spatial flight of “amend,” the up-tempo, acoustic rhythms of “i still feel” and the haunting and memorable riff of “inasmuch.” that one is a highlight here and also when we saw them at a recent cbgb’s lounge show." - neon nyc
"in this release, rich both in atmosphere and emotional crafting, disarming in naked simplicity and soaring in the organic thresholds of the greatest indiepop (like that of the best prose, alchemic personal ruminations translating unto universal experience) with hallmark strength and residual atmospherics honed to the basic elements, paul epitomizes the quality/art vs. quantity/commodity time less duality that music this good should have to beat its brains out in order to be heard is the raison d’etre of freeform radio" - mitch lemay [kfjc radio]
"in the increasingly stressed and distressed corners of modern rock, understated beauty and poise doesn't get much play. thankfully, rochester's autumdivers advance such musical notions with clarity and grace. their adept songwriting often comes wrapped in a lovely sonic gauze --- just the right amount of disorientation to keep things from hitting the ground" - chad oliveiri [city newspaper]
"my favorite track, “i still feel,” feels like it could be a radio-rock anthem, but the jangly guitar and catchy hooks, coupled with the brit-rock feel, make this one a standout. autumdivers is quite different and much more of a full-band project. the lush layering in production is quite nice, and the focus on acoustic and electric guitar is also a very good approach. still, paul’s voice and guitars are the focus, and a better and more enigmatic frontman you’re unlikely to find." - jeff marsh [delusions of adequacy]
"an oaken and dark acoustic blend... slower on the front end. hints of buckly in there and a warming "pop" throughout" - craig gilbert [new haven advocate]
"this disc spans shoegazer, brit-pop, and an experimental, edgy sound that comes together nicely. the shoegazer enthusiast will have trouble lifting his head from his toes on this one, but the more common listener will still enjoy the disc for it's interesting production and clever experimental sound." - fresh new tunes
"the newest record from autumdivers is chock full of heady guitars and amazingly tight rhythms, harking back to the days when britpop was first making the transition to the shoegaze wall-of-sound. after a rather lengthy intro, the record kicks into high gear with some killer drumming provided by aaron bucher, and then gregory paul's jangly guitars chime in. once paul begins singing, i am immediately transported back to the first time i ever had the chance to hear the autumns. his voice is eminently clear and full of emotion. "turnaround" is the most shoegazey of these songs, and it stands well on its own, because you cannot fuck with a song that goes like this: "you turn around, then you're gonna face yourself/ you turn around, then you're gonna hear this sound/ you turn around, then you're gonna fuckin' feel this sound…", which is followed of course by some very my bloody valentine sounding guitar bits. think loveless. the record takes a more dreampop/indie turn at that point, developing into a collection of songs that are pseudo-pop gems. tony wensel holds down the bottom end with his simple, effective bass playing while paul turns to more edge inspired guitar riffing on songs like "disappearing act". acoustic guitars are not to be forgotten, and form the basis for songs like the moody and downbeat "place to call your own". "i still feel" may be the standout hit-maker on this record. with a distinctly late 90's britpop infused strokes-smooth neo-garage sound, this song elevates my mind and heart to a place that few songs seem able these days. it makes me feel like i'm floating on a cloud. "sisyphus" is a droning, delay heavy track that would be prefect for just about any activity, as its rhythm propels it steadily on, but the overall mood is quite relaxing. the band nicely wraps up their eponymous album in high shoegaze style with a seventeen minute stop and go noisy masterpiece called "star crossed". it doesn't get a whole lot better than this in the shoegaze/ dreampop/ drugrock/ artrock/ etc. category." - embo blake [hybridmagazine.com]
Awakenings: Filmmaker Katie Adamides and Musician Gregory Paul find common ground - December 2005
What's Up Magazine interview and article on the Autumdivers - September 2004
The Buffalo News; Gusto - January 9, 2004 interview with Gregory Paul