Review, Southeast Performer, Oct. 2008:

Built around a haze of electric-soaked ambiance and theatrical vocal delivery, Atlanta, Ga.'s Tenth to the Moon's self-titled release is essentially post modern industrial music. It lumbers and thunders along like hip soldiers wearing sweat soaked plastic instead of leather, making much trouble in their wake.

Coarse analogies aside, Tenth to the Moon sounds like it should be played in the clubs in place of stale dance music; the music is erratic and maniacal in its delivery, furious dance beats and over-the-top vocals to match. The band's song construction gleefully defies conformity, eschewing typical craft for a fevered pitch, stress-inducing rhythms and absolute frenzy. The album whirls about like a disjointed and scatter-shot heated dream, complete with synthesizers and bombast. It whips you about, dominates the senses and places a foot in the middle of your sternum.

"Avoidance" is punk meets techno in overdrive, benefitted further with voice mail messages over thumping beats. "Kadaver Dogs" is exceptional for its use of saxophone. "Silence" is ambiance coupled with seductive spoken word lyrics. The wails on "Mantramanon" are lovely and nervewracking simultaneously (think PJ Harvey singing without all that bass). These added touches are merely thin layers to an already over-sized album of material.

Tenth to the Moon seems to be going for broke instead of a specific shade of music. The album is pushy and forceful, meant to put a listener in a position, whether one of distorted energy or an imaginary firing line. By the end one may grow tired of the effect and the wealth of ideas at work here. With Tenth to the Moon one may find the entryway to another realm altogether.

- Brian Tucker