Exclaim Magazine
Hailing from the fertile musical grounds of Boston, MA, Eulcid's debut full-length surpasses all the potential that their Crane EP demonstrated while growing in leaps and bounds as musicians and as songwriters. The Wind Blew All the Fires Out is a simply superb album comprised of jagged riffs that swirl, scrape and scratch; discordant leads that weave their way in and out of the melodic/screamed vocals, which crack and falter with the perfect amount of emotion; and inspired musicianship that walks the line between understated and complex. While comparisons to the Washington, DC's '90s indie rock/post punk movement are not without justification, and plays a large influence in their sound, Eulcid is by no means derivative, building upon that foundation and surpassing it. Tracks such as "Single Sender," "Reaction Impulse Theory" and "Perfect" are as much indie-based noise rock as they are journeys through divergent sonic soundscapes that seem to flow together (as all the tracks do throughout the album) all the while building upon swirling guitars that break into post punk fury and discordant excess, yet retain an underlying thread of melody throughout. Eulcid's greatest strength, however, may be their ability to explore divergent tangents within the context of any given song, be it harsh, restrained or even progressive, without ever losing their way. Regardless, The Wind Blew All The Fires Out is a breathtaking album, both sonically and visually, which deserves to be recognised as greater than the sum of its parts.

Hangin' Like A Hex
It's a shame that I don't think many people will understand, or take part in, what's going on here because this band is so talented and wonderful. Their music is loose and all over the place. It harkens to everything from UOA, to Groundwork, to Embrace and Fugazi. The whole thing is spastic and uncontrolled rock hardcore that can't find a really hook, or an unshifting melody, and apparently doesn't want them. But if you listen real close you can hear all those things going on, just in small random spurts. This band seems to put so much time and effort into presenting its message and art, which is highly political in nature, but hidden (somewhat) in metaphors and personal experience. I really do hope that more people catch onto what these guys are doing, or at least understand, because it's a worthy idea.

HeartAttack
This could be one of the best things that Second Nature Recordings has released, at least in the past year. Eulcid play brilliant technically rocking hardcore with sung vocals that are unique and of their own sound. Although the vocals are quite influenced and hybridized by the likes of Nation of Ulysses, Monorchid, and other DC faves that brought in the higher end sound to the hardcore world. The rock played is also of unique stature with clever timing and fucked up sounding transitions that make this album even more fucked up, in a beautiful and penetrating way. I really really like this record. In the same way that Drive Like Jehu drove me around in circles, Eulcid does the same with high energy and motion. Awesome!

Initial Records
Why does Boston have all the great bands these days? Eulcid are no exception to the current spell of awesome rock exploding from that great city. Imagine DC indie rock like Hoover mixed with San Diego styled hardcore like Angel Hair, throw in some odd time signatures and the slightest pinch of metalyou've got one of the most impassioned and powerful releases of 2000. Genre-defying and unbelievable

Status
The Wind Blew All The Fires Out
I would hazard to guess that a person's intital reaction to Eulcid to be one of a quick wince followed by a full-on sprint away from the speakers. Their disjointed mix of odd-timing, off-kilter guitar plugs and Buzzcocks meets The Fall vocal rambling is not one that immediately draws you in with sugar coated pop melodies. For me, I think I made a mad dash to the volume control when I first slapped this in. But as the album went on, and I became accustomed to Eulcid's rather unorthodox melodies, I found myself increasingly intrigued. About track 6, I threw caution into the wind, cranked the sumbitch up and found myself being thrown into a tizzy over Eulcid's musical combination of past and present. Having always been a fan of English post-punk like Gang Of Four and Wire, I found Eulcid touching on the same sensibilities that those great bands had. It is almost a dangerous approach to song writing, where the disjointed nature of the songs can either work brilliantly, or sound like utterly fucked-up psych-punk gone wrong. Thankfully, Eulcid achieves success on most levels. The rhythmic pounding of To The Death Of Intellectualism, with tom-tom and bass fueled aggro-rhythms serving as a fantastic backdrop for odd-timed vocal banter. I could see Eulcid as the end all to a scenario in which Magazine reformed under the influence of Gang of Four, and modern mathematical punk and emo. A few listens more, and I am hooked. This is a truly different bird that what's flying about these days. The Wind Blew All The Fires Out becomes uniquely intriguing after a few spins. Oh, and not to self - this sounds fucked up on low volume. Crank for full effect. Hot damn, this rocks my sorry ass. Score this puppy.