"Although Godspeed's music incorporates improvisation, it certainly isn't jazz; although it relies largely on rock's instruments and vocabulary, it's not rock, either. It's the first music I've heard in a long time to make me feel that new, vernacular musical languages are slowly working themselves out." – The New York Times
"Godspeed's music evokes America's vastness and variation, while remaining critical of the way the state swings its wealth and weight against the individualism it purports to protect. In 28 minutes spread over two tracks, Godspeed…create instrumental passages that reinstate a sense of awe before its geographical immensity... Their contrast of beauty and hatred is heartbreaking." – The Wire
"Haunting and precise, this is an impressive, horrifying work of musicianship and catharsis." – Broken Pencil
"[I]mpossibly beautiful music for plain impossible times." – NME
"The band's unified thrashing is particularly breathtaking, and its atmospheric theatrics often take on a much-larger-than-life sonic identity... Dramatic, focused and exuding a most innate physicality, the band is a living soundtrack just searching for the proper film on which to bestow its havoc." – Magnet
Our second vinyl-only release from Godspeed contains two long songs, and sets the bar for the sprawling compositions that would characterise the group in the years to follow. Side A is cut at 45rpm and features “Moya”, a broiling cascade of upward scales that repeatedly explodes beyond its own threshold. “BBF3” on Side B clocks in at 18 minutes, and was the band’s most lyrical, multi-movement music to date — more elaborated melodic figures wind around an angry spoken-word field recording (infamously culminating in the recital of the speaker’s poem — verses lifted straight from Iron Maiden). Both songs were recorded with Dale Morningstar at the old Gas Station studio in Toronto.