"Das Debüt Album der Band um Chris Brokaw (ex-Codeine) und Thalia Zadek (ex-Live Skull) erschien damals auch bei uns auf Sub Pop. So begeistert waren wir von diesem Großstadt-Psycho-Blues. Thalia sang wie eine Janis Joplin auf schlechtem Speed und Chris spielte eine Gitarre, die nicht durch technische Finesse glänzte, sondern direkt aus dem Bauch Töne in Gefühle umsetzte. Mit zwei Bonustracks gegenüber dem (sowieso vergriffenen) Vinyl."
(Glitterhouse)
One couldn't throw a brick around rock critics and college rock types in 1992 without hitting somebody who would talk about how Come was the new incarnation of the blues, often loudly and at great length. As in other cases where good bands were overburdened by hype, this both set up the quartet with impossible-to-realize expectations (Come plays anything but straight blues purism or revival à la Alligator Records) and wrote out Zedek's own unique artistic skills from the equation. To be sure, the CD version includes both sides of the "Fast Piss Blues" single, the flip being the Rolling Stones' own "I Got the Blues." But it's the Stones and acts like Patti Smith and Black Sabbath, not to mention the confrontation of no wave and other punk-inspired acts, that provide more of a touchstone to what's going on than Robert Johnson. It's a uniquely sludgy, electric, and strong fusion of sounds and styles, combining extreme angst and commanding power. Zedek's often twangy singing is both harsh and cool, the sound of someone burnt out but not crushed, and her guitar work suggests something more of bruised majesty — consider the steady, despairing flow of "Brand New Vein" — than anything else. Her introduction to "Submerge" may be "Now we sing so softly," but her voice cuts through the dark chime of the music even while talking about sinking to the bottom as things fire up even more. With Brokaw contributing equally strong feedback blasts (and vocals on the searing "Sad Eyes") and a sometimes lumbering but still good enough rhythm section rounding things out, Come takes things directly to a listener on Eleven: Eleven with fine results. Other good numbers include the lengthy drive of "Off to One Side" and the concluding surge of "Orbit," confronting demons with a roar.
(by Ned Raggett, All Music Guide)
"...occasionally diffuse but more often bracing...achieves escape velocity with a concentrated blast of guitar power, tunecraft and sheer guts..." (Rolling Stone, 4/29/93)
"...the record lives up to the weight of rapidly accumulated expectations in urgent, raging fashion...Everything--music, mood and lyric--works in perfect, fractured unison to challenge and disturb...Dense, rare and rewarding..." (Q Magazine, 1/93)
"...simply one of the great debuts of the year..." (New Musical Express, 11/7/92)
"...a captivating blast of ennui and feedback...enthralling, like watching someone howl into a rainstorm..." (Entertainment Weekly, 2/19/93)
Plattentipp 
