When I Pretend to Fall / Reviews
“even more moving and powerful than its predecessor.”
Less airy and more condensed than the spacious The Worst You Can Do Is Harm, When I Pretend To Fall includes an even more elaborate cast of guest vocals. Roderick's friends all lend a helping hand to help ensure his sophomore avoids any and all slumps, and makes sure he delivers an album even more moving and powerful than its predecessor.
— In Music We Trust; Alex Steininger; April, 2003
“a drunk, a hobo and an alt-rock also-ran”
Frontman John Roderick has been a drunk, a hobo and an alt-rock also-ran with local darlings Western State Hurricanes. Now the 34-year-old multi-instrumentalist makes brainy, brooding, classically "indie" guitar music that coproducer Ken Stringfellow (formerly of the Posies, now a R.E.M. sideman) transmutes into something more lush and poppier, roomy enough for bitterseet bubblegum ("Stupid"), countrified strum-and-harmony ("Cinnamon") and textured, horn-y soul ("Scared Straight"). Best of all is "Prom Night at Hater High," which has the dramatic stomp of Mott the Hoople and a slurred vocal worthy of Warren Zevon.
— Blender
“truly a fine achievement”
Roderick writes strange pop songs without easy resolutions; the phrases go on beyond where they seem they should stop, the verse is sometimes blank when it seems it should rhyme, the hooks aren't always easy to hold onto, and the lyrics are often opaque rather than confessional or anecdotal....When I Pretend to Fall is truly a fine achievement, from a band from whom more great things should surely come. With or without another break for frontman John Roderick.
— PopMatters Music Review; Christine Di Bella, May 6, 2003
“one of the most satisfying songwriters in the indie-rock world”
[The] album and the band belong wholly to John Roderick, one of the most satisfying songwriters in the indie-rock world. On When I Pretend To Fall, as with his skeleton-baring predecessor (The Worst You Can Do Is Harm), Roderick finds a way to make both sides of the love song sound fresh again....But the album’s zenith comes early: “Scared Straight” is a slice of true indie-pop perfection. Your thinking cap will love it, but your dancing shoes will, too.
— Disc Domain; Adam McKibbin; April 18, 2003
“nostalgic Northwestern indie-rock charm”
Flavored with a nostalgic Northwestern indie-rock charm, the album features such diverse tracks as the eclectic and upbeat “Cinnamon,” the lean ballad “Blanket Hog” and the cleverly executed “Stupid.”...Distinctively marked by a hodgepodge of instrumental arrangements affixed to a rock band format, with mandolin, horns, organs, strings and even an accordion coming into play, this collection of songs is sewn together in patterns intricate enough to require a few extra spins before you catch all the ingredients.
—CMJ.com; Antonia Santangelo; May 19, 2003
“perfect purchase”
Happy, simple, 4/4 pop ditties are what you’ll find on this great disc....This is a perfect purchase for the Winter-into-Spring months.
— Pulse of the Twin Cities, Celeste Tabora; March 12, 2003
“obscure and highly personal”
I said this album was wonderful, and I meant it. This batch of songs shows two things: a much greater cohesiveness from track to track than the band's previous effort, and a newfound confidence in John Roderick that allows him to spread his wings a bit and really get comfortable. Roderick's storytelling lyrics are cried out in a voice that really makes you want to listen. He weaves tales that are both obscure and highly personal, but you are always able to relate and connect, and you are always waiting for more.
— Delusions of Adequacy; Eddie; May 12, 2003
“beautifully textured tracks”
John Roderick (i.e. The Long Winters) is one of America's most underrated songwriters and his latest CD, When I Pretend To Fall, is the proof. With the help of friends like Ken Stringfellow (Posies) and Peter Buck (R.E.M.), Roderick crafted 12 beautifully textured tracks worth every last minute of your time. Standouts: "Cinnamon," "New Girl" and "Prom Night at Hater High" for its Faces-like guitar flourishes.
— Harp Magazine
