• "The band plays crunchy, jagged and rough-edged rootsy rock, alternately recalling Buffalo Springfield/Neil Young, Will Oldham, Wilco, and early R.E.M. ... while Comerford sings with a distinguishing, Jeff-Tweedy-like twang. Despite the despondent lyrical content and occasional raucousness, the album also has a down-home, heartfelt quality that makes an impact." --Mark Suppanz, Big Takeover #64

• "Comerford and his current bandmates place their faith in the kind of rock-solid attack that relies on an intimate and innate rapport between band members ... Considering how often Kaspar Hauser’s lineup has changed over the years, the accomplishment is all the more impressive. The twin guitars burn and surge, moving precisely within the lean grooves." --Peter Margasak, Post No Bills/Chicago Reader

• "Despite the life-altering events that spurned it, 'The Sons,' recorded over the course of a year in a basement studio in Logan Square, remains joyously unvarnished. Songs such as "Mark of Cain" and "Macbeth II (In the Morning)" are loaded with ragged blues riffs and drummer Steve Kiraly's loose-limbed kit-work." --Andy Downing, Chicago Tribune

• "'The Sons' is a testament to the concept of long-players — records you listen to from end to end, soaking in each and every note, coda and phrase." --Matthew R. Perrine, Duluth Budgeteer News

• "Comerford ... sings in a nasal tenor that reminds me of Bill Callahan (the artist formerly known as Smog), ripping through shambling, melodic rock tunes with a bored swagger. There’s a definite shot of the Rolling Stones here ... but Kaspar Hauser doesn’t seem particularly concerned with using classic rock ‘n’ roll riffery; the guitars sputter and clamber more than they groove ... ultimately Comerford’s writing and the way he comfortably wears the skin of these warmly familiar songs is what puts the band over. Even when the songs seem like they’re about to fall apart, his singing threads them back together." -Peter Margasak, Post No Bills/Chicago Reader

• "Their latest, the self-issued Quixotic/Taxidermy, is quite nice -- a loose homage to the Stones grafted to workaday Midwestern indie rock ... Fans of Jeff Tweedy's pre-Wilco works would do well to check them out." -Jessica Hopper, This Week in Live Music/Chicago Tribune

• "When I saw the words Kasper Hauser ... I immediately thought of Werner Herzog and decided to give it a go. And it was surprisingly good. I recommend checking it out if you dig on some Rolling Stones or Kinks tunes." -Michael, 15 Minutes to Live

• " ... Comerford lends his warm crooning to guitar-driven rockers such as 'King Pop,' 'Glass Case Full Of Dead, Stuffed Birds,' and 'Without A Word,' at times evoking Sebadoh, Lou Reed, and even The Meat Puppets." -Jason Scales, Illinois Entertainer

• "While Kaspar Hauser frontman Thomas Comerford may teach for at his day job, the influences his teachers have had on his music is immediately apparent. Professors like Petty and Dylan inspire a mix of harmonicas set against melodic folk, while jangly guitars run alongside pianos. But rather than wallowing in his influences, Comerford and the Kaspar Hauser group take only what they need and apply them to their already-realized sound ... As far as Chicago-based folk-pop goes, there's no reason Kaspar Hauser shouldn't be synonymous with the scene." - Jaime de'Medici, "Around Hear," Illinois Entertainer

"Clearly in debt to Neil Young, Lou Reed and Pavement, with an agreeably creaky voice reminiscent of J. Mascis, singer/songwriter Tom Comerford serves up an engaging mix of acoustic and electric indie rock on his debut LP ... Comerford's approach is understated, at times almost sleepy, but his smart songs and jittery guitar held my interest throughout." --Jim Santo, Demo Universe

"Experimental filmmaker and musician Tom Comerford has appropriated the name [Kaspar Hauser] for his latest band, and it's a folky, rocky, CBGBesque pastiche of Wilco, They Might Be Giants, The Kinks, Lou Reed, and Neil Young; the first four from a vocal standpoint and the latter for his sense of a wobbly, catholic aesthetic. Out-of-tune guitars, fanciful, evocative lyrics, and a heartfelt vocal delivery make this an interesting album — an album that takes you back to a time when music could be intentionally coarse and loose. Sparse, this album is the equivalent of the black-walled bar — complete with stinky bathrooms — where you could see an artist working out his vision on the stage from week to week." --Dave Weil, "Life in the Dark Room," Kindamuzik

"Spooky spare lo fi sensitive creep music that's easy to be enchanted by." --Roctober

"Comerford backs his Lou Reed-meets-J Mascis warble with folk-inflected, lo-fi rock." --Charlotte Robinson, "Around Hear," Illinois Entertainer

"Probably too-oft overlooked, the wonderfully decent Kaspar Hauser play lo-fidelity pop music with tasteful instances of experimentation, achieving an overall musical complexity that's both singular and encouraging." -Empty Bottle

"Comerford sounds sort of like a happy Lou Reed doing lo fi indie rock. Good Songs!" -Rob Christensen, "Under the Radar," Tape Op