“[World Blanket] are a well-crafted pop band that bring to mind the delights of Elvis Costello and World Party…. There’s a lot of emotion packed in each of the 7 songs here, and this will be welcome to those who love singer/songwriter stuff without the fluff. As time goes on, music fans will be returning to this album to question the downfall of everything else, while music like that on 2012 will continue to hold up for generations to come.” – This Is Book’s Music

“Far more rollicking than you might expect for an album centered around violins and acoustic guitars, the Michael Pomranz fronted World Blanket have crafted a winner in the seven-track ‘2012.’ It’s an infectious platter that showcases Pomranz’s first-rate musicianship and songwriting abilities. ‘The Holiday Song (For No Holiday in Particular)’ is the best of a very good bunch, though World Blanket also envelope listeners in ‘The Greatest Trainwreck,’ ‘And Here We Are (Again Maybe),’ ‘Snooze Bar’ and 14-minute closer ‘2012 (Side B).’ Highly recommended. [4 stars out of 5]” – Pittsburgh Weekly

“Popular music (as opposed to classical music) has been around for eons. Well, in its modern incarnation since the 1950s in any case with the arrival of rock n’ roll. And I am pretty much satisfied with that concept. Sure, we can talk about some superficial difference between pop, rock, country, folk, soul and so on but what’s the point?

Seriously, all I am interested in is the music – in whatever form it may come in. I am more concerned with the mind, body, heart and soul that went into the creation of music than it’s the skin it happens to be wrapped in. It’s the same way I ‘judge’ people as well so why should something as important as music be treated any differently.

So why should the foregoing be relevant in a review of 2012, the third album of World Blanket? Sure I could have spent the last two paragraphs trying my level music journo best to define World Blanket’s music in terms of ‘genres’ but that really does not do justice to its (or any other artists’) creativity and ability, does it?

Sure, World Blanket is essential a ‘power trio’ in that it has a guitar, bass, drums aggregation (played by Mike Pomranz, Dean Moore and Jonathan Flax respectively). However, in addition, Katherine Fong also plays violins to provide a distinctive lush flavour to Pomranz’s pop tunes.

Clocking at over 43 minutes, 2012 is a rather long in duration for an album containing only 7 songs – with two tracks actually clocking in at 14 and 8 minutes accordingly without ever overstaying their welcomes. Channeling various aspects of influences that suggest the likes of The Beatles, The Velvet Underground, XTC, Edwyn Collins, Belle & Sebastian and many more.

Pomranz’s acoustic guitar meshes well with Fong’s violins and this combination provides much of the impetus for the songs’ distinctive sounds, in particular “The Greatest Trainwreck” and “And Here We Are (Again Maybe)” where the lush ambience counterpoints the driving percussive forces perfectly. Songs like “The Blues…” (which sounds exactly as you probably imagine it to be), the chamber pop referencing “… Snooze Bar” and the darkly quixotic “2012 (Side B)” offer a clear sight of World Blanket‘s lofty songwriting ambit.” – Power of Pop

“Instead of coming across like another generic twenty-first century pop artist, [World Blanket’s] songs are decidedly different…. We really dig Michael’s cool reserved vocal style…and we’re also wild about the strange lengthy experimental track that closes the album (’2012 (Side B)’). Inventive stuff with a warm underlying coolness… TOP PICK.” – babysue

“If everything on 2012 were as ingratiating as ‘The Holiday Song (For No Holiday in Particular),’ I’d be searching for a sign-up sheet for World Blanket Groupies, United. I tingle to the warm-honey sweetness of the violin that flies over a delicately plucked banjo, Mike Pomranz’s ingratiatingly scratchy vocals, and fat, rocking percussion. … As it happens, five of the other six tracks on World Blanket’s third album are relative degrees of ingratiating, too. … For me, the Brooklyn, New York-based cooperative, which cloaks itself in good-humored secrecy, is a happy revelation. … Do stick around for…“2012 (Side B),” which outros the album with quietly stimulating atmospherics. This is true Indie Pop/Rock/Whatever/Alt. Folk. HIGHLY recommended. – Dagger Zine

“The band is World Blanket, and although these are big city (Brooklyn, NYC) men, their music sounds like it may well have been wrought in more rural environs. Listen to, “And Here We Are (Again Maybe) and the Syd Barrett cover, “Let’s Split” and you can easily reconcile the fact that the bands geographic location is of little consequence at all. World Blanket’s latest LP album titled 2012 will drop everywhere worldwide on April 3rd. Totally good stuff. Like good sex, good liquor and good times. Peace.” – Mitten Mouth Music

“When not fronting World Blanket, Mike Pomranz writes for Comedy Central and blogs about beer. It’s funny, then, just how sober (in both senses of the word) he sounds on 2012, his Brooklyn-based band’s first album since 2008. With more electric guitar and less violin, these songs would hit like bar-rock anthems. Instead they push ahead with pensive energy, their downcast strings contrasting nicely with Pomranz’s lively strumming. Toward the end of “Time Was,” as violin and piano coalesce into dark clouds, Pomranz screams himself hoarse. Earlier in the same song he sings in a Bono-like falsetto about having “a lot to believe in.” While he probably means it, he’s far too smart for unbridled optimism.” – M Muisc & Musicians

“New music from @worldblanket, Philly scene alums (now based in NY) with their strongest album so far.” – XPN2

““The Holiday Song (For No Holiday in Particular)” plucks its way into your ears.” – TriState Indie



“World Blanket boomed like a big-riff rock beast, despite acoustic guitar and violin dressing.” – SPIN

“World Blanket does Thin Lizzy proud on this cover of “Got To Give It Up.” The instrumentation feels sparse on this reworking, giving it a particularly poignant tone.” – MAGNET Magazine

“Tracks I’ll put the spotlight on today include…World Blanket.” – Faronheit

“‘This Old West’ is a vulgar, ass-kicking, horn-augmented slab of deep-fried It’s the summer — what more could you ask for?” – Critical Mass

“‘This Old West’ caught my attention. While a Rolling Stones comparison is apparent, there’s that familiar kraut chug injected as well, and the above-average length of the track slips on by without notice amid the gripping instrumentals and snarling sentiment. Their second album, Elevator, is one I highly recommend grabbing!” – A Future in Noise

“Having once written a song called “Syd Barrett’s Soul,” Michael Pomranz seems like the perfect choice to complete a Syd Barrett demo, though he prefers to think of it as a collaboration with Barrett’s spirit. The original “Let’s Split” demo, which surfaced in 1988, almost 20 years after it was recorded, was a sliver of a song that seemed continually on the verge of evaporating into thin air. Here, Pomranz uses Barrett’s spoken-word bits at the beginning and end, but fleshes out the in-between with guitars, drums, strings and a soaring violin solo. What emerges is so convincing, you’ll hope Pomranz extends his collaboration to the numerous other song slivers that Barrett left behind.” – Toronto Star

“The Pressing Issues EP is part Bob Dylan, part New York Trashy rock n roll sounds like a more modernized Rolling Stones. RATING: 4 ½ of 5″ – Y-Rock on XPN

“How do you get drunk listening to hard acoustic music? Dig Syd Barrett-ish singer/guitarist Mike Pomranz and violinist Jon Dunn’s aggro-acoustic World Blanket.” – Philadelphia City Paper

“Let me be blunt. I (absolutely) love 70’s Irish rockers Thin Lizzy. … So imagine my shock and dismay to wake this morning and find that a modern band had braved one of Phil Lynott’s most personal songs, the chillingly prescient Got To Give It Up.  Blaspehmy.  Except a funny thing happened on my way to damning Brooklyn-based Mike Pomranz and his ill-conceived idea to hell. His cover works. Brilliantly. Where Thin Lizzy’s reading of the tune was as a swaggering rocker, World Blanket gives the song the Tonight’s The Night treatment, emphasizing the protagonist’s weakness in the face of crippling addiction. Both are harrowing, but for different reasons, and I guess I can love both versions.” – My Old Kentucky Blog

“Weirdly blending the tiptoed lilt of folk and the ragged whine of indie rock, Philly’s the World Blanket top off that iffy equation with a very prominent violin, making their 2006 album aMaybe a somewhat disorienting journey. Gaining steam with shorter songs in the beginning, things build to a memorable crescendo with the three-part heart-on-sleeve ‘Till We Die.’ Catch them and see how nicely frayed emotions can fit with flighty instrumentation.” – Philadelphia Weekly

“Michael Pomranz, who records with a rotating cast as World Blanket, based his upcoming record 2012 on the writings of psychedelic drug guru Terence McKenna. It comes as no surprise, then, that the man is a Syd Barrett fan. (Fun fact: he’s also the Tosh.0 writer who first discovered Rebecca Black’s “Friday” – but try not to hold that against him).

Pomranz wrote a song years ago calls “Syd Barrett’s Soul” and now he pays more direct homage with a trippy cover of “Let’s Split.” Barrett himself never finished the song – the only recording has him stop in the middle, shuffle some papers, and then continue – so Pomranz took the template and fleshed it out with violin, acoustic strumming, and, just when you’re settling into a Burrito Brothers swoon, shrieking guitar.

Pomranz calls the song “one of the purest examples of capturing an artist’s decent into madness on tape” and notes that he’s not trying to “finish” anything, but rather collaborate with Syd’s ghost. In a lengthy introduction, he offers unusually rich insight into how the song came to him, so we’ve included the whole introduction below the stream.” – Cover Me Songs

“The story of Thin Lizzy is one of achievement, despair and heartache. So much of their music influenced and impacted the musical world. Rarely do you ever come across such a masterfully done cover that ends up being more of a heartfelt ode than a recreation. Phil Lynott himself would have tears in his eyes hearing his words like this. This was just far too moving to not share.  Beautifully done, powerful, inspiring and sensationally moving, here is World Blanket’s version of “Got to Give it Up.””- Nanobot Rock Reviews

“Mellow indie pop.” – Philadelphia Daily News

“For melodic rock shows, think World Blanket.” – Official Visitor Site for Greater Philadelphia

“Make no mistake, this is a band that loves to break convention. World Blanket is already causing a unique ruckus; and one that’s more than worth checking out.” – The Compendium

“World Blanket is a multi-faceted rock band. Not only does violin provide melodies but the band incorporates ingenious rhythms that get away from the typical rock and indie sound.” [grade: B] – Plug In Music

“Warm, violin-driven Americana keeps the listener consistently on their toes, never knowing what to expect next.” – foxy digitalis

“A unique sounding brand of indie rock. Well-played and original.” – Pucknation

“This is one solid album.” [3 out of 4 stars] – The Compendium

“A slowcore record with a twist.” [3 out of 5 stars] – Origivation