The Red Alert
Shoegazing dream pop from San Francisco—you think you know what you're going to get. Think again. This ain't some airy, breathy slide into some other planet's atmosphere. This is your gritty and rough and heavy dream pop, closer to Black Rebel Motorcycle Club than Swervedriver; they may be staring at their shoes, but them shoes are nice and dirty. There are some drifts into a nice Spacemen 3 / Loop sonic drone, but without it taking over the whole song – just a taste here and there before the band kicks back into some StonerGazer groove. Dora Flood is pushing ahead while dragging the past along with them. Trippy light shows and hanging out in the '60s gets kicked up a notch and a few decades to a sonic assult and swirled guitars slipping over harmonizing vocals and driving rhythms. The songs do lapse into a hypnotic flow once in awhile, but the fuzz of the guitar always scoops you up and out of the psychedelic guitar waves and throws you headfirst into the next song. The third track, "Feels Like Yesterday," almost does feel like yesterday. Like some drawn out Doors solo before the inevitable freak-out. Like a Jefferson Airplane flashback tied to a Ride-inspired brit-pop jam. The next song moves a few steps over, getting all blues-grooved and snarly, like a Louisiana bad-trip, but man… the music can save you. So keep listening. Dora Flood washes over you and pulls you along, slides you through—an adventure that ends on a slow and mellow but spaciously beautiful song titled "Light." — Marcel Feldmar

Skinny Mag
San Francisco-based quintet Dora Flood got their start in the explosion of a certain early '90s musical sub-genre (whose name, in a fit of teenage self-righteousness I swore to myself I would never use) characterized by riff-heavy guitars and atmospheric synthesizer effects. Some call it dream-pop, but let's just say the boys in Dora Flood have stolen more than a glance or two at their toes. In truth, though, such categorizations become irrelevant when listening to We Live Now, as Dora Flood has crafted an album of diversely influenced psychedelic rock that you don't have to stare at your feet to appreciate. The album opens with "Phoenix Rising," a fuzz-powered guitar groove that gets kicked up in the second verse by some screaming rock organ before dissolving into a multilayered sitar wash. The album seems to get stronger as it progresses, from the juke-joint swagger of "Revelation Blues," to the standout track "Atlantis," whose sweeping, spaced-out verses recall Blonde Redhead at their trippiest, and whose head-banging choruses surely have Randy Rhoads peering down from rock-god heaven with pride. For all of the diversity of retro-psychedelic influences incorporated here, the album is unmistakably contemporary. With one foot firmly planted in the sounds of their forbearers, Dora Flood's eyes are fixed on the future (and not their sneakers). – Kevin Hobson

High Bias
Apparently, Dora Flood got tired of being polite. After several albums of shimmering, often gorgeous psychedelic guitar pop, the San Francisco band rocks out on We Live Now, its fifth record. Though the quintet certainly doesn't skimp on the trippy guitar effects and ringing hooks of its prior work, now its songs often boast the kind of noise-loving power chords more associated with stoner rock or even metal. Mixing the aggressive riffology with its usual acidic atmospherics gives "Daydream," "Atlantis" and "Phoenix Rising" a compelling power the group has rarely before enjoyed. Make no mistake—the band's use of hard rockin' licks isn't a makeover into the latest neo-AOR wannabe-star. Instead Dora Flood is adding another, quite logical arrow to its quiver, augmenting its already strong songs and dynamic arrangements with air guitarist's delight. Dig it. - Michael Toland

Baby Sue
Many bands appear, make a big splash, and then disappear within a matter of months. The guys in San Francisco's Dora Flood are taking a different approach...slowly building and expanding their influence based upon good word-of-mouth. We Live Now is a nifty, smooth spin that showcases the band's pop sensibilities as well as their tendencies toward subtle psychedelia. Produced by the band themselves and recorded onto two inch analog tape, this album has a nice warm sound quality that is a refreshing change from hearing too much digitally recorded music. Some of the tunes tend to rock...while others are somewhat drony in nature. We find this band's guitars particularly appealing. The layering of different guitar sounds definitely works in the band's favor. This is an album that gets better with repeated spins. Dreamy tracks like "Phoenix Rising," "Feels Like Yesterday," "Humble High" (our favorite), and "Light" make this album a purely rewarding listen. Should appeal to fans of The Flaming Lips and early Pink Floyd. (Rating: 5+)

Dora Flood Highlands

Skyscraper Magazine (April 2005)
Since 1995's striking EP debut, 1301, the Bay Area's Dora Flood have been producing some of the most notable shoegazing dream-pop to come from the United States. Never married to a singular musical vision, each of the band's records have seen exploration into other genres, drawing the best features of each back into the warm and fuzzy nest of dream-pop. Highlands continues the psychedelic playfulness of 2002's Welcome. This record delivers a healthy dose of sixties inflected (oh, those jangling guitars; the lovely, airy harmonizing) psychedelia that summons The Byrds on the lush, chiming "Phantasm" and "Echoes," and The Beatles circa Magical Mystery Tour in the jaunty rhythm changes and multi-tracked vocals of rocker "Where You Belong." Stratospheric guitar and synthesizer echoes of the seventies' British prog rockers are layered into the records' best cut, "Evening on My Mind." Opener "Stargazer," with its sedate repeated guitar patterns and processed vocal comes off as early nineties drone pop, and surely a stoned Jason Pierce was looking over the band's collective shoulder as this was being recorded; the loopy synthesizer line in the mid-section wouldn't be out of place on a Japanese synth-pop album. It's a winner, and highly commendable as is this record on the whole.



Jack Rabid, The Big Takeover (September 2004)
One of the last remaining survivors of the powerful early '90s dreampop/shoegaze explosion (pity, that), this San Francisco group has remained true to its original aerial inclinations while growing more overtly and nicely psychedelic with each release. On this, their fifth offering, the two-guitar quintet based around guitarist/singer/songwriter Michael Padilla aim for a more sprawling miasma that reminds of The Church when those Aussies are clicking. They still do the Byrds/Bunnymen swooping/sweeping guitar lines well (see the fine, fine favorite "Phantasm") when it pleases them, and they can affect a romantic House of Love hush (the organ-fed, fat "Experimental Phase"). But behold, to start Highlands, they try a new wrinkle drone-psych that hints of early Pink Floyd and Spaceman 3 on "Stargazing" and "The View." Whereas later they let one guitar glisten while another reverberates, evoking a cleaner Rolling Stones' Satanic Majesties meeting Robert Fripp. You like a band that hasn't lost its sense of exploration after more than a decade, and these guys always transports listeners to lofty places full of dusty enchantment. - Jack Rabid


Not Lame records (August 2004)
2004 release! We loved the debut, "Welcome"--as did many of you! Three years in the making, Highlands ups the ante on all the promise of the debut in spades. What's this sound like? The Church---obsessed with writing less arty and totally melodic, catchy songs. The Boo Radleys. The Wondermints in a few spots (but with a New Zealand fixation) or Velvet Crush and The Dandy Warhols playing The Stone Roses debut with Echo and The Bunnymen standing on the side of the stage ready to pounce. Or 60's Pink Floyd and The Byrds with The Church, The Verlaines and Straightjacket Fits. There you go, got it?! Dora Flood expertly mix together a melange of power-60's psych-pop influences, bold and vibrant production. "the songs are intimate, but the music expands to the edges of the universe. It's the aural equivalent of standing alone at the edge of the Grand Canyon on a clear, starry night, feeling tiny yet comforted by the enormity of it all"- Fufkin.com. One writer put it this way: 'transcendent experience, transporting the unsuspecting listener to another time, another place, another era. Spacey guitars, moody organs and poetic lyrics combine with pop rhythms to create something altogether special'. Bottom line: The 11 tracks fit together like carefully shaped pieces in a trippy, beautiful puzzle. Both soothing and stimulating. And Extremely Highly Recommended, oh yes-sir-eee!


Mystery and Misery (August 2004)
I have been enjoying the retro-psych pop of Dora Flood as of late so I thought I would mention it here. There's lots to hear here as the two bands that are comparable (and I am stretching here) are the Dandy Warhols and The Velvet Crush (who I saw open for the Jesus and Mary Chain a long time ago). Sometimes the lead singer stretches out some words vocally a la Liam Gallagher from Oasis. Dora Flood sounds much better than what Oasis could possibly churn out now. Some of their songs could possibly stand up to the Stone Roses and Verve both lyrically and sonically. This is one of the only times I have seen Brit-pop done well by an American band.


Crashin in (August 2004)
This record sounds very late 80's to me. Strong hints of The Chameleons come to mind with soft vocals and dreamy guitars. Michael Padilla has a raspy, yet luring voice that soars throughout each shoegaze and psychedelic flavored song. "Throwing Wishes" even, reminds me of a mellowed out version of Jesus and Mary Chain during their "No Come Down" period. - Lio


Dora Flood Welcome

~Jack Rabid, The Big Takeover issue #50
With three fine records already to their credit, 1995's 1301 EP (American Standard), 1999's Walk a Lightyear Mile (Double Play), and 2000's Lost On Earth(Double Play) this San Francisco quintet nevertheless surpass themselves on their self-released pinnacle, Welcome. While still retaining vestiges of their dreampop beginnings as the resplendent Belladonna a decade ago, they expertly mix together a melange of power-60's psych-pop influences, bold and vibrant production, and some damn good songs. The best songs such as "Down Again" creates a pleasing atmosphere that compares favorably with the underappreciated, late Mock Turtles (most of all!), the later-60's Byrds (dig that fuzz guitar on the excellent "Las Vegas"), Boo Radleys, Dandy Warhols, Beatles, Velvet Crush, and Stone Roses, with some tunes to kill for. "Never let me down again," demands leader Michael Padilla with a cascading downward-melody, which immediately segues into one of those classic "aahhhaaahahh" harmonies and seesaw basslines that Beatles Revolver wet dreams remain made of. Without let up, "Go In Tonight" makes use of a discordant harmony and hooky verse to set-up a post Syd Barrett Pink Floyd-type full-throttle chorus. And on the LP goes, alternating between various 60's psych and classic pop flavors in modern sound, with cutting, exultant modern guitar effects, barging, insistent drums, background keyboards, and a heavy thump of a sound that takes them away from being a precious nostalgist collective. As the piano, trumpet and dual guitar glory of the enthralling "Eraser" makes clear, these aren't geeks recreating some Nuggets-esque heyday; this is a great modern rock band that can create much with a swirling-warm dense sound and Padilla's capabilities as a writer/vocalist. As we go to press, the LP is climbing the CMJ charts, so perhaps with such college airplay, more will recognize their inherent quality. Dora Flood may not be over-hyped like some sad and sordid sacks trying to retune Television-era art rock, but what they do is both timeless, multi-influenced, multi-nuanced (most of all) and convincing. This LP is "welcome," indeed. Rising from a constraining, confusing clutter of simply so-so indie rock, "eh" emo, feckless pro-tools demos, and undernourished talent or inspiration, the fun in it just soars in flight over it all.


~Notlame
Totally engaging and filled with unique stylings that evoke some important and usual artists. After a handful of careful and fully enjoyable listens, the vibe of Redd Kross and "Big Plans"-era Let's Active, Robyn Hitchcock and Velvet Crush, I just can't away from this excellent release remind me of. And what a great thing. Few can pull off a successful parade of such exploration. I can't recommend this one highly enough. "While still retaining vestiges of their dream-pop beginnings as the replendents Belladona, they expertly mix together a melange of power-60's psych-pop influences, bold and vibrant production and some damn good songs....the best songs...compare favoraby to underappreciated,late Mock Turtles(most of all!), the later 60's Byrds, Boo Radleys, Dandy Warhols, Beatles, Velvet Crush and Stone Roses...what they do is both timeles, multi-influenced and convincing. This LP is welcome 100%, indeed."-Big Takeover. I can't echo that rave enough......this is getting ready to hit my developing Top 15 list of 2002, Big Time Extremely Highly Recommended.


~Rockbites,
Careening through the '60s and '70s with Dora Flood, Madam of Cannery Row. San Francisco retro/psychedelic rockers Dora Flood have a grand vision?one that encompasses the glory of a symphonic Pink Floyd moment, the panoramic sweep of a Byrds melody, the sublime intricacy of an arrangement by The Church, and the dreamy pump of a Bowie glam-era rocker.     But their third full-length, titled Welcome?self-produced and released on their own label on 1 May?pursues such lofty goals and more without a trace of pretension and with enough humor to make it all flow.     Dora Flood's musical palette may be disconcertingly familiar and somewhat extravagant. But if you can wend your way past that initial distraction you'll find a lovingly crafted rock record informed by a spurting fount of originality and a keen, even shocking, musical sensibility. Welcome merges a fully-fleshed, major-label production aesthetic with fully-DIY, brazenly iconoclastic artistic independence. The result, to say it plainly, blows me away.     Front man/songwriter Michael Padilla spoke with Rockbites recently, contrasting Welcome against their previous LPs: "I would describe the new record as a more realized, cohesive batch of songs, a little brighter and less dark than Lost On Earth...     "We tracked all the songs in Nathan Wood's basement before he was our new guitarist, then went and had Dave Schiffman [P.O.D., Rage Against The Machine, Black Rebel Motorcycle Club, Johnny Cash] mix it in another studio called Laughing Tiger in San Rafael. This gave us the freedom to get exactly the takes we wanted rather than settling for what our budget could allow."     Opening with the title track, that for all the world sounds like Roger McGuinn fronting Wish You Were Here-era Pink Floyd, the new album careens through the '60s and '70s like some out-of-control carnival ride... along the way tripping upon what may be the coolest '70s funk-disco track I've ever heard, Forget To Be Numb.     Dora Flood are named after a character in John Steinbeck's Cannery Row, a local reference to Monterey, California. They've been working up to Welcome for ten years with three other discs in their catalog?all still available (check their Website).     The band recently underwent a personnel shuffle?the current lineup includes Padilla on vocals, guitars, and occassional percussion and bass; new member Nathan Wood on guitars; new member Brian Tyley on bass; Sean DeGaetano on drums; and Stephen Cavoretto on keyboards, trumpet, and vocals.     If you like the musical sculptures made with '60s and '70s day-glo Play-Doh by folks like Robyn Hitchcock and Chicago's The Chamber Strings, you owe it to yourself to check out the new one by Dora Flood. Four bites out of five.
Rockbites ratings  5: life changing, 4: stunning, 3: captivating, 2: amusing, 1: annoying.

~The SantaClara review
Flood hits again
By Nate Seltenrich Ass't Scene Editor
"I'm placing myself in another world / And you're quite capable to join me," sings Michael Padilla in the opening and title track of Dora Flood's fourth album, Welcome. As the album progresses, it becomes evident that this line is more than just a casual suggestion or invitation; rather, it's a warning of what's to come. Welcome is truly a transcendent experience, transporting the unsuspecting listener to another time, another place, another era. Spacey guitars, moody organs and poetic lyrics combine with pop rhythms to create something altogether special, yet often hauntingly similar to a variety of musical influences. First and foremost is the Beatles, from whom much of the first half of Welcome seems to have drawn its inspiration. "Give Us This Day," track four on the album, could well have been written by John Lennon. However, with Dora Flood's meaningful lyrics and updated touch, the striking resemblance is almost appreciated. The same goes for "Safety." This song is so Pink Floyd that it even begins with the word "time," the name of a classic Floyd track. Offering a stark contrast, "Forget to be Numb" is pure pop psychedelia, drawing from late '70s and early '80s popular music. Many of the remaining tracks strike more modern chords, such as "Slow Return (to Sleep)," which takes a few pointers from the sound of earlier Radiohead. Tying together this wide range of styles and genres is a mysterious dreamy ambiance that is in a category all its own. The 11 tracks fit together like carefully shaped pieces in a trippy puzzle. Both soothing and stimulating, Welcome will almost certainly appeal to fans of more mellow Pink Floyd and Radiohead. At the same time, the album's pop undertones assure that it will estrange no one. B+


~BABYSUE REVIEW June 2002.
Dora Flood - Welcome (CD, Dora Flood Records, Rock/pop) Lush, dreamy, slightly psychedelic pop from San Francisco's Dora Flood. This is an exceptionally well-executed batch of tunes, independently recorded and financed by the band themselves. Some of the tunes on Welcome remind us in some ways of The Lassie Foundation. While the overall sound of Dora Flood is easy on the ears, the music is by no means sappy or premeditated. The band's music features sweeping melodies and a sound that merges fuzzy guitars with free flowing rhythms. The traits that make this band sound unique are subtle and understated. For a band doing it all on their own, these folks are doing all the right things...just the right way. Tunes like "Welcome," "Give Us This Day" (a real standout), "Eraser," and "Starflower" shed light on a band that is providing exactly what fans of underground pop are looking for. Sincere and real music for the intelligent listener. (The folks at Deluxxe Media sure know how the right things to publicize!) (Rating: 5)