The updated press page is here

ALTERNATIVE PRESS, December 2001: Review of The Wonderful World of Chemistry: "9 (out of 10)... This 6-song EP bodes well for overlord." Review by Todd Hutlock. Read here.

CMJ NEW MUSIC MONTHLY, September 2001: Review of The Wonderful World of Chemistry: "happy, peppy and burstin' with love". Um... Article by Stephanie Valera. Read here.
MAGNET MAGAZINE, July/August 2001: "The Wonderful World of Chemistry EP (Storm Tower) not only has the most accurate titular self-description since Stereolab's Space Age Bachelor Pad Music, its six songs spark the kind of tingly chemical reactions in the listener's brain normally reserved for head-ons with obscure Beach Boys and Kinks bootlegs, Joe Meek wall-of-sound productions and the stray Elephant 6-collective neo-psychedelic jam session." Article by Fred Mills. Read here.
Philadelphia WEEKLY

PHILADELPHIA WEEKLY (3/8/00):"That's My Jam: Longsleeves All Summer Long, Storm Tower Records. If there were a show on the WB that speculated what Joy Division would be like as well-to-do, cynical, funny and sweet American teenagers–and why isn’t there, I ask you?–overlord would have those roles cold. Having gone through a record five drummers in one year–and still playing shows to 40 people (if they’re lucky)–overlord have nevertheless issued a coup de grace, a testament to the downtroddenness of the human spirit. "Longsleeves" pogos along in the manner of the best early Factory singles or first Cure album. "Well, it’s a funny world we live in/ And by ‘funny,’ I mean not funny at all" taunts the opening line of this teenage call to arms, a sort of "Bela Legosi’s Dead" for all the kids who thought that song was a little too scary for its own good. Instead, "Longsleeves" carries on with the tempo of "Turning Japanese" and the fervent commentary of the Smiths’ "Panic." It takes guts to make music like this, and even more to live the tunes in the way that overlord does. I mean, how many times can you be asked, "Aren't you hot in that?" anyway?". Article by Joey Sweeney.
PHILADELPHIA WEEKLY (11/10/99): "...those willfully obscure West Philly early 80's revisionists...overlord is all darkness and death... dank, reverby and perfectly 1983... [like] Bauhaus and the Smiths." Note: The word 'overlord' appears four times in a single paragraph, one that's not even about us, which is just a little weird. Article by Joey Sweeney.
PHILADELPHIA WEEKLY (12/9/98): "Editor's Picks: overlord. This West Philly quartet's latest album, A Finishing Picture , plays fast and loose with its influences: early New Order, early Cure, early Smiths... overlord picks among these flowers well, and we'd like to take this time to mention that this is the most audaciously, sublimely unfashionable release we've heard this year. We applaud their courage, wit and determination. overlord celebrates the release of this petite gem tonight. Go. Wed., Dec. 9, 10 p.m. The Khyber, 56 S. Second St. 215.238.5888. Article by Joey Sweeney."
PHILADELPHIA WEEKLY (4/8/98): PHILLY MUSIC A TO Z: ...the band's first record... is a well-conceived, well executed and well-produced little gem that's not nearly as fatalistic as Pasles would have you believe. Whether it's the peppy Devo-esque paean to athiesm ("Am I Wrong?") to the Cure-ish bombast of "Esspy" to the Flock of Seagulls dreaminess of "Filler" to the Smiths jangle of "Why Can't I," it's still a pretty upbeat record." Full text here. Article by Jill MacDowell.
PHILADELPHIA WEEKLY (2/11/98): "Editor's Picks: A trio of young'uns out in West Philly... decided to scrap their homework in favor of a dark passion called rock music. They slapped a metal moniker on themselves and started producing some of the most infectious synth-goth-psych-pop we've heard in Philly in a while...Upstairs at Nicks." Article by Jill MacDowell.
PHILADELPHIA WEEKLY (12/10/97): "DISC LIST: THIS WEEK's RECORDS...**** (four stars of four) ...proud to say this awesome record comes straight outta West Philly... It's heavy, heavily infectious new wave that plays like the soundtrack to an action and fang packed episode of Buffy the Vampire Slayer; recommended if you like My Dad Is Dead or Ultra Vivid Scene...Exceptional." Article by Jill MacDowell.


PHILADELPHIA CITY PAPER (4/12/01):"CD Reviews: The Wonderful World of Chemistry (Storm Tower Records) It takes balls to write a track and name it "The 70th Love Song," an obvious nod to Stephin Merritt’s 1999 Magnetic Fields three-disc holy grail 69 Love Songs. Yet there it is, the final track on this six-song EP from Overlord (who can be reached at The oddly named band (they’re really not a metal band, a point they hammer home repeatedly) pulls off the trick, however, with an appropriately sappy pop homage and nifty lyrics about boys, love and science ("Some boys’ lips are made for smiles/ Some boys’ lips are made for sutures"). Not only is it an impressive feat of songwriting mimicry, but a bit of a clue to what makes George Pasles’ band tick. Prior releases like 1998’s A Finishing Picture and ’99’s two-song Transparent Tunes could be classified as uneven: full of thoughtful stylistic influences from late ’80s/ early ’90s British mope-pop but without a unifying aesthetic. While The Wonderful World of Chemistry is a bit here-and-there, too, Pasles’ musical vision is becoming sharper. The Craig Wedren-esque falsetto of album opener "Atonal" makes for an interesting leap to the AM radio jangle of "Populist Anthem" which in turn leads to the Bats-influenced lo-fi indie pop of "Meet the Situation Artist." A scientific theme saturates the proceedings. It’s plenty to convince you that there’s a cold, crooked smile on the faces of these dour poppers as they toil away in their lab." Article by Brian Howard.
PHILADELPHIA CITY PAPER (5/13/99) Show preview/interview. Full text here. Article by Neil Gladstone.
PHILADELPHIA CITY PAPER: (4/15/99)"WEB OF SOUND: The same thinking that inspired this mopey '80s-style band to brand themselves with a hair metal name must also be responsible for their strange Web page. The design has a refreshing schizophrenic nature. The main page is adorned with odd black-and-white photos of men with doll's heads, couples in gas masks and people holding giant pants. The lettering blinks and/or scrolls across the screen. The effect is disorienting, but mild in comparison to the inane madness that lies below the surface. With a click of the mouse one is thrust into seemingly irrelevant storehouses of data such as an extensive list of Batman paraphernalia, the semi-fictional Web site of the bizarre small Pennsylvania town Chapelsnap and a memorial to the video-game inspired cartoon "Pole Position" (complete with character filmography and sound clips). And these are just a few of the brilliantly demented treasure-troves to be explored." Article by Brett Burton.
PHILADELPHIA CITY PAPER (4/8/99): "HearHere: A Finishing Picture's mix of minor-melodic vocals, driving guitar riffs and tom-tom heavy drum licks recalls what was great about early '80s mope rock. Remember when music could be peppy, pensive and mournful at the same time? The brooding, synthesizer-driven ballads display an affection for the Magnetic Fields. Ah, if only John Hughes were making teen angst flicks these days…"Article by Neil Gladstone.

MTV On-line

Video Clips "Delayed Past Thinking" (4/8/98): "If you can imagine the sound of a hundred forks falling down a hill, and then go further and envision the jangle to not only be pleasant, but to be catchy, then you've successfully built Underlord in your head. Throw in a little Nosferatu and some candle wax, and you'll find "Delayed Past Thinking" to be a pleasant and original dream."

"This overlord is a lone man (plus his drummer) with a gift for creating dreamy, lovely pop that runneth over with love for the Beatles, Robert Pollard and early R.E.M. Sure, sometimes the sound quality is piss-poor, but these are joyous, intelligent, stick-to-your-fingers melodies and progressions, and a few dodgy recordings don't diminish that fact. And it's Lo-Fi in that brilliant Alien Lanes way, so who can really complain? This artist has an active mind and a restless creative spirit, exemplified by the diverse nature of his songs and the different moods he explores. Sometimes jangly rhythm guitars lead the fray, accented by cool synth chords and minimal drumming. In other songs, wonderfully dirty bass takes over, and pretty pop is replaced with a manic, propulsive energy that's almost Crazy Rhythms-esque. Vocals are universally lovely and the lyrics consistently adroit. Not bad for a kid with a four-track." Article by Will Lerner

Snapshot circa 1999 by philly2nite.