“Songs fit for a gathering of multiple players on a grand stage, each member huddled at one open microphone- an album for lazily respecting summer days and much warmer nights…harmonious vocals and a rather impressive jackpot of [possibly vintage] music making devices - if Brent's selling, I just invested. A+” Slightly Confusing to a Stranger

"Gorton possesses that rare talent for making the quirky and unpredictable sound so damn infectious, as on the syncopated opener, “Hit The Station,” which starts, stops, and changes musical directions half a dozen times, each one more candy-coated delicious than the last. The similarly wonderful, disjointed pop of Anton Barbeau and the Elephant 6 collective (particularly Neutral Milk Hotel, Olivia Tremor Control, Of Montreal, and Apples in Stereo) may be the most apparent signposts, but I was also reminded of some of the early work of Marc Bolan and Tyranosaurus Rex (not T. Rex), particularly with the myriad studio effects and variety of folk, pop, and rock that Gorton offers us throughout the album." Jeff Penczak, Foxy Digitalis

"Brent Gorton’s self-titled debut, recorded with second-hand components like an open reel 8-track, spotlights the constant battle between his D.I.Y. mentality and an uncanny ear for shimmering pop sheen. Despite the lo-fi recordings and grassroots approach, each song miraculously translates Gorton’s crisp and solitary brand of indie-pop. And production details aside, Gorton’s vocal delivery and smart, literary hooks are the real meat and potatoes on this, his first and gentle foray into the indie world. Nowhere is this more evident than on “Ferris Wheel,” where Gorton delicately transmits the lonesome-in-a-crowded room mentality as it relates to a weekend carnival. And perhaps most impressively, the feeling is created not so much by what he says, but how he says it, as his voice gently cuddles a slow-burning organ riff. Each component seems to work well together, as the musicianship ranges from dense and layered to sparse and tranquil, and usually rests someplace in between. Standout track “That Photograph,” which comes and goes in just slightly over two minutes, features Gorton’s squeaky lyrical lamenting, a stomp-stomp drum line, buzzing guitars and healthy portions of playful keyboard doodling. Elsewhere, the folky “Anna Berlin” seems like a clear tip-of-the-hat to the Beatles, and album closer, “The Owl,” seems perfectly suited for a night of solitary nocturnal hunting with Gorton’s timid “oooohs” float quietly with outstretched wings above a dark, two-note, guitar landscape. When it’s all said and done, Gorton proves the old adage “it’s not what you do, it’s how you do it” to be a valid one. The man knows how to create hooks and package them in a way that allows them to breathe comfortably within broader confines. Mostly, though, he proves that homemade music and pop music are not mutually exclusive terms." Amanda Rohlich, Urban Pollution

"Brent Gorton is quirky...I think Wes Anderson might like him." Skope Magazine

“His self-titled album contains highly melodic and thoughtfully arranged pop music. The finest songs Anna Berlin, Feedback, That Photograph, Cuddlecore and Ferris Wheel are absolutely marvelous. Hmm, it seems that I already listed half of the songs and there are a few more that are equally great. It almost amazes me how good this home-recorded pop album really is… just a great pop record.” OneChord.net

“I love getting music in the mail that's a perfect fit. Brent Gorton's new record is just that. It's ragged and right indie hard-twee combined with a little orchestral pop. On many of the songs the fuzzy wash of instruments attempt to overpower Brent's vocals but they never prevail. It's quite a tight wire act though and one of the aspects of the record that I like.” Songs:Illinois

“Brent Gorton and the Tender Breasts - ?Is it the best band name ever? I'm pretty tempted to say yes. But this is not a gang of leather-clad punks, no riot grrrl synth group. It's instead a trio from Albany, NY, one Mr Gorton and two lovely ladies. That Photograph is McCartney bounce and Lennon persistence. THUMP THUMP THUMP go the double toms, kids clap in the back, a pop song snakes a circle round your balmy room. Take out your kites and cameras.” Sean Michaels / Said the Gramophone

"Brent Gorton creates a pop world of fascinating surprises in which seemingly odd topics revel in deeper meanings. Crisp melodies and sharp hooks almost overshadow the ingenuity of arrangements that push and pull in extreme directions. A masterful example of pop whimsy and found art, filled with enough pop revolutions per minute to keep the most level head spinning for days." Ed Baumgartner Winston-Salem Journal

"Welcome Back the lo-fi Bedroom Troubadour:
If I had to make a guess at Brent’s influences I’d start with Phil Elvrum and Chris Knox - he shares a similarity of approach and the belief that talent and craft can overcome budgetary limitations. This was recorded at home though it isn’t really noticeable; the sound is full and layered like filo pastry. You can call if lo-fi, you can think of Dump or East River Pipe - these are all bedroom auteurs unconstrained in their approach. Like Hartley Goldstein, Gorton is breathing some new life into the genre, and where Goldstein uses humour Gorton uses sensitivity. Songs like ‘Albany is the End of the Line’, ‘Hit the Station’ and ‘Anna Berlin’ are most akin to the Tall Dwarves (it can never be too soon for a Flying Nun or all things NZ revival). He gets more experimental on ‘Feedback’ and ‘From Where I’m Standing,’ the latter having a pure pop sound, stripped back Microphones style to obscured guitar, clattering drums and a wheeze of accordion sound. ‘Adelaide’ is a scorched ballad with harmony vocals and along with the tender ‘The Owl’ it is where he sounds most like himself." Americana-uk.com

"Here’s a little change of pace, so to speak. Brent Gorton & The Tender Breasts is another promising home-rec band to cross my path recently. It’s a little twangy, a little rough, but so damn catchy nonetheless. Anna Berlin recalls the same characterization The Beatles masterfully trademarked in many of their songs. Using a namesake is a great hook, personalizes the lyrics, makes everything that much more interesting. The instrumentation is simple, much like “Bungalow Bill” is, making it sing-along, clap-along, and sway-along friendly, and pretty damn fireplace worthy to boot. Cuddlecore -This song’s got the same power and promise that AC Newman’s debut demonstrated after one solid play on my stereo. It actually reminds me of a garage band from the seventies getting by playing pool parties and mixers. That guitar just screaaammss through the whole song, and for some reason just reminds me of summer." I Guess I'm Floating

"Brent Gorton has an acuteness for smart, twisted songwriting. Since his 2002 home-recorded masterpiece, San Diego—one of the best albums to come out of the area in recent memory—Brent’s songwriting has rendered an experimental bend on lo-fi pop. That experimentalism, along with his incorporation of things old and new (e.g., acoustic guitar and theremin, folk and dissonance), creates an ironic twist in his music—playing with the tradition while still traveling along it. Brent’s songs can sound like an Americana-obsessed mental patient, disposing of his near, dark and bizarre secrets, but with a disproportionate beauty." Metroland