Oklahoma-based Evagelicals' recent full-length, So Gone is a fertile, beautiful mess; part genuine freak-out, part precious pop and part revivalist kitchen-sink of sounds. Underneath all the clutter, however, lay a ton of great songs and an unwieldy arsenal of melodic ideas.

Quickly following the jolting opening soundscape "A Mouthful of Skeletons," "Another Day (And Yoor Still Knocked Out)" rolls out some rambling and spastic pop, evoking everything from fellow Sooners the Flaming Lips to the snarky damage of the Soft Boys. On that first proper track alone, So Gone employs crashing left turns, pig-calling yelps, layers of synthesized sounds and a beach cruiser full of pretty, harmonizing vocals. It's an exhausting, exhilarating start and sets the stage for the remaining eight songs. "Diving" assumes on a mellower, conventional indie pop gallop, part classic Slumberland-ish twee and part fuzzed-out sediment with handclaps a la Broken Social Scene. "Hello Jenn, I'm a Mess" brings out the pitch benders and stray shots of sound in force, however all the loud hubbub is in the service of a dour, dramatic melodic performance that's surprisingly pretty and emotive.

So Gone only really stumbles with the glitchy instrumental "Into the Woods", a stuttering sample-heavy piece that sounds a bit dated and is nowhere near as novel or satisfying as the rest of the album. That's likely OK though, as it's fair to say that So Gone makes no aspirations for taut pop perfection, preferring instead paint in broad, noisy strokes and let the gobs of beauty lie where they will. – Jon Rooney (2006, The Daily Copper)