“Catchy and fun. Cawley weaves pop and heavy elements together in a way that is hypnotic and captivating.” New Noise
“Eloquent and contemplative lyrics. Filled with emotion.” Indie Music Spin
“Restless. Cathartic. This album is meant to be something different – roof-lifting, stadium-filling different…” Punk Head
“Ever wonder how a collaboration between Elton John and Cheap Trick might sound? What a great record.” Palace of Rock
“well-framed pop enthusiasm…formidable hard-rock deliciousness” Come Here Floyd
“Polished, yet retains those rough edges in all the right places…a true songwriter” Jammerzine
“Energetic. Operatic. A roller-coaster of emotions“ Less Than 1,000 Followers
“Lush with pop melodies and anthemic, fists-in-the-air gusto…” The Sounds Won’t Stop
“Catchy. Contagious. Absolutely fun.” Given To Rock
“Fiery and anthemic. ‘Very Far” is a visceral rock record.” - Find No Enemy
“Undeniable manic energy, juxtaposed by a more commercial feeling. Instantly classic.” Girl At The Rock Shows
“Cerebrally stimulating. Charmingly defiant. Hits anthemic peaks with exhilarating harmonies and hyperactive guitar work.” Lost in the Manor
“Cawley wants to invoke powerhouse hard rock guitar heroics and succeeds wildly.” Vents
“Glorious. There’s not a dead spot or an off note. Highlights abound. 4 of 5 stars” Divide and Conquer
“Shake-out-the-cobwebs indie rock. It may be a bit over-the-top, but excess rather than restraint is no bad thing” I Don’t Hear a Single
“With roots in classic power-pop groups like Big Star, Cheap Trick, and Badfinger…Cawley creates avenues for becoming a cult hero himself.” Alt77
“Heavy, well-crafted riffs, inspired by artists from Foo Fighters to Queens of the Stone Age…a visceral record” Headbangers News
“Arena rock, traces of Americana, powerpop and new wave…Cawley keeps it all together in a smart way.” Melodic.net
“Dynamic. Gritty. Successfully pays homage to the rock genre’s roots while introducing a unique spark.” Certified Bop
“An explosive sound…like Kiss, Asia, Cheap Trick, The Gaslight Anthem and Pearl Jam all wrapped up in one” Sinusoidal Music
“Catchy melodies, huge riffs, and an anthemic feel…one of the best indie rock bands out there” York Calling
“Tim’s vocals are incredible, unique…if you love Green Day and Pearl Jam...” Music Injection
“Brilliant, classic rock with something more current, more intimate…one of the best releases of the year. ” Indie O’Clock
“Infectious. Euphoric. Demonstrates an ambitious and stunning creative vision.” Plastic Magazine
“Fabulous. Unique. Bound to keep you off your seat and bobbing your head” Illustrate Magazine
On this album, i just said “Screw it, I’m giving in to all my over-the-top, arena-sized impulses. I’m not gonna overthink it. If anything, I’m gonna underthink it and see what happens.” I’d gone through a dark stretch of writer’s block and felt that being true to that unapologetically bombastic Flashpot ethos might be a way to reset my creative compass. Basically, I wanted to exorcise some nagging demons (note the Exorcist reference in ‘Reclamation”) and have some fun in the process. The album was recorded here, there and everywhere (to start) with my longtime collaborator Andy Pinkham. We set up in offices and borrowed studio space, while file sharing with collaborators all over the US. As the project got more serious, we brought in Brian Charles of the Sheila Devine (one of my all-time favorite bands) to bring the project to completion - polishing the existing sessions, and producing/mixing several new songs at his just-finished Rare Signals studio in Cambridge.