"Each track on this album has mood, verve and fluid guitar work underpinning the discordant excitement of a band who have obviously decided that making sense is out and making angular noise is in. The Dead Betties are all things to all people; what they are not is formulaic, staid and boring." -Rock-Sound (UK)
"Brooklyn three-piece hardcore punk act Dead Betties is screaming and gouging their way to the top of the truly alternative music scene. The music, which is the point of rock bands, is highly emotional, aggressive and real. Bassist/singer Joshua Starr is the star of Dead Betties, a fantastic original voice of the future. His voice shatters glass and then melodically ties you to the chair. SUMMER OF 93 is a solid-as-hell disc worth your time and hard-earned cash." -Skratch Magazine
"..."Hit the bottle" seems to be a confession done by a drunk and sick of it all person, from that it seems the whole album is about useless screams and infinite deliriums but when I heard songs such as "Some kids", "Jimmy Jack crack" or "Tiara" I started realizing this an undoubtedly talented band and changing progressively my opinion about "Summer of '93". It's an album written in a wild key but its nostalgic and melancholic tunes came directly to my heart, which has been unavoidably stolen. Are you ready for this new rock n' roll sensation?" -All About Chaos
"...This is the record I unfairly hoped Some Girls' Heaven's Pregnant Teens would be, and I wish at least one of the popular post-grunge bands would have made. C'mon. If Godsmack had sounded like this, it would have changed the face of mainstream music. Instead we're left with, well, I don't even know because I don't pay attention that much. Probably emo. That's right. The Dead Betties are to blame for not coming along sooner. Emo is their fault. Just kidding. There were plenty of great post-Nirvana bands (T-Tauri for one) who got overlooked because they kept the aggression and dropped the pop. Here's hoping The Dead Betties, who can crank and write catchy songs, get noticed."-Aural Minority
"The Dead Betties blend the aggression of the British punk of of Seventies with a more modern sound, tight, angular and distorted. Joshua Starr's provocative lyrics ("don't you wanna fuck me? I am an American!") and vocal style - reminiscent of The Sex Pistols and Prodigy - are supported by a heavily distorted power trio sound. But it's not simply a punk attack: there's a tortured and romantic (in the true, most cruel sense of the word) flow of primal emotions in some of the Betties' songs, that place their music in the same territory of Edward Munch's "The Scream" (no, that's not a record...)." Paolo - Deli Magazine
"Action-packed, dynamic, bombastic hardcore without all that evil and hate that marked classic NYC/HC. Should be called "all the way live betties!" - Roctober
"The Dead Betties, down and dirty rock and roll sound ala AC-DC or the ROLLING STONES on meth. They had people dancing their drunken asses off with their sludgy 70's rock and their 5 minute musical explorations. The band was giving the appreciative crowd everything that they had to give. It was pretty nice to see. For some reason or another they reminded me of T REX, which I guess isn't a bad thing, right? Right. After awhile the room started spinning." - Onethirtyeight, Las Vegas NV
"The Dead Betties unleash explosive, hard-core…with a melodic edge" - San Francisco Bay Guardian .. "You just don't see many bands like Brooklyn's the Dead Betties around much any more. The group has the noise of early Sonic Youth and the artistic lyrics of Pavement."-the Record, Stockton, CA
"The Dead Betties, New York art core stars with the chops to match"-The Portland Mercury
"This is reminiscent of the late 70's NYC No Wave scene (chronicled by the famous Brian Eno produced compilation LP "No New York") and the handful of 80's bands (Sonic Youth, Pussy Galore) that followed that influence into broader pastures. While the sloppy guitars and hectic energy maintain an archaic vibe, the off time rhythms and paranoid nerd vocals make this an aptly intellectual listen. Quite often the taut anxiety of the vocal will stretch into this impassioned howl, as the backing band will crest along. This is one feature that links the band to 90's crooners like Thomas Yorke. However "alt" the sound or songs get, the sloppy and atypical arrangements steer this disc very clearly away from FM complacency. This is more for weather battered fans of the early 90's noise rush of bands like Babes In Toyland or Lubricated Goat than it is today's coffee house denizens. Overall, this sounds as though James Chance had been reinvented in 1991 with a deal on Sub Pop records and a studio apartment full of Homestead LPs. Spirited yet aloof, tangible yet experimental- this is where the smart kids get noisy."-Fat City Rockers