"Another grabber. Near hardcore, but not quite. Something in the lyrics: right away, in 'Racial Survival,' the band reveals itself as sophisticated. I like the choice of images, though I could not explain how I know I'm getting their message. Best kind of art, that. The guitar breaks even have something to say. It's one of the few times I've heard instrumentation that's inside the song, rather than just stuck on the surface. The next song, 'Lunchtime 1984,' confirms the initial judgment. A group for the 80's. With gems like this, who needs Black Flag."

-- The Fortnightly College Radio Report, 6/15/86

 

"...Hot on the heels of Camper Van Beethoven is Barnacle Choir, a group less experienced but no less interesting. Their first recording pits high-energy thrash guitar against facile songwriting and yes, even melody. Although it's an uneven compilation, 85 BC clearly shows the Choir treading the ground between the ultra-intense (J.F.A., the Minutemen) and the arty (R.E.M., Let's Active). Lead singer/lyricist Gary Gray's vocal style is one part bad boy, two parts banshee; the lyrics aren't shouted so much as wailed, with an agonistic air that bears little relation to volume. As a writer, Gray is capable of producing terse, evocative imagery as well as media darlings like Suzanne Vega or T-Bone Burnett... When they're not oversimplistic, Gray's lyrics are one of Barnacle Choir's greatest strengths. Another strength is guitarist/bassist Anatol Sucher's driving leads and chord progressions, usually providing a strong foundation for Gray's verbal flight. Although most often evocative of the Doors by way of R.E.M., Sucher's not above generating angry noise (as on the haunting 'Tracts,' which sounds like nothing less than a ceremony of suburban exorcism). Other tracks that successfully play the Choir's primary talents off each other are the strangely charming 'Fish Shit Song,' the rhymeless rap of 'Sales Pitch' and the anthem-like 'Teenage Alcoholic.'..."

-- City On A Hill (UCSC campus newspaper), 3/13/86

 

"Oddball pop that skates along tunefully drawing concisely from some twangy 60's pop, but still going for it by turning on those fuzz boxes to crank in a more punky vein occasionally. This is a pretty harsh commentary on suburbia, they say, with some of it kind of off key, but other parts hitting home about that prime portion of American life. The drumming once in a while is disjointed and maybe a little practice is needed in that department. But this is a truly unique way to approach socially conscious lyrics. With some of the music, you would expect mostly thoughtless 'Baby, I love you, I'll always be true!' type lyrics, but this band must have said 'We'll have none of that!' Lyric sheet is somehow crammed onto the cassette leaflet in an easily readable manner. Most cut the mustard, some didn't, but I think I'd recommend a listen on your part.'

-- Sporadic Droolings #5, 1986