The music of Katy Mae is evocative in a fundamentally personal way, for it is music that defies easy definition. Their songs evoke places and sounds in a sensory, intimate way; like returning to a town last visited years ago, it is familiar yet different. Katy Mae's music has a rural sound, the sound of the countryside, the sound of 'up-state'. It is created by musicians who grew-up outside of the big cities, but with a deep love of an eclectic range of music; from the classic rock bands of the 70's, to Wilco, Buddy Holly, R.E.M, The Byrds and The Who. They are musicians with a true sense of place, but whose influences are broader than that place they are from.

What grips the listener is the raw honesty of this EP. It is live, visceral, basic and intimate; powerful and even sometimes brutal. The soaring, emotionally stained vocals of Philip Doucet have a deeply passionate appeal that meld with the powerful cord riffs and pounding rhythms of the band. Words and phases are almost subliminal, building a virtual landscape through sound.

Some early reviews are in:

http://www.playbackstl.com/content/view/8122/157/

http://www.soundcollectivezine.com/reviews/album/katy-mae-you-may-already-be-a-winner/

Milton, the New York-native singer-songwriter, is poised for a major breakthrough with the album he and his band recently recorded in Minneapolis with Bo Ramsey (Lucinda Williams, Iris Dement, Greg Brown) and engineer Tom Tucker (Prince, Lucinda Williams, Mavis Staples). The album, GRAND HOTEL, which he is celebrating the debut of at two nights at Joe's Pub in NYC (June 17, 18) ,  features all new material, including some of the songs that crowds have come to know and sing along to in sold-out shows in NYC.  The album also builds upon the momentum of airplay on key radio stations, such as WFUV in New York and KCRW in Los Angeles.

In a lead review of Milton’s eponymous last album for the Sunday New York Daily News, Jim Farber called Milton “Paradise Found.” While he has been compared to many of his heroes—Van Morrison, Warren Zevon, Nick Lowe, The Band—Milton has distinguished himself with his unique voice and a compelling mix of grit and grammar.  Milton has been aptly described as a writer’s writer; he’s extraordinarily capable of elegantly simple narratives about the complex wonders of life in the city and in the world.

Dreamy without being too melancholic, Higgins offer up a retro look at slightly trippy sounding ditties with a song like "Difference" that slides along without any huge hiccups. Somewhat Beatles-que, the duo of Kevin Fish and Brian Kantor weave pretty but distant harmonies in the background. Later on they one-up themselves with "Drop Off" that conjures up images of George Harrison. "Come Again" is driven by a crunchy guitar and an arrangement Matthew Sweet would be proud of. The biggest drawback is how it abruptly ends just 70 seconds into it, a riff meriting two and half or three minutes at the least. What is obvious though is how they have an ear for a hook judging by the gloriously ballsy "Come" that sounds like the Black Crowes doing Ed Sullivan. How well they do it without becoming a parody is another asset on the lengthy, Floydian, summer lullaby "Bees". Only on the languid "Town 2 Town" does Higgins seem to hit a retro-sounding rut before the coda revs things up again. Fans of Canadian Joel Plaskett would see Higgins as his American cousin.
- Jason MacNeil, Pop Matters