About StrawberryThe 12th year of the 21st Century finds the Cincinnati rock phenomenon known as Wussy moving into their second decade as a band. Looking back, their first 10 years can be looked upon as a paradigm for the progression of a successful band: a string of solid releases that retains its core singing and songwriting bedrock while playing increasing larger rooms to greater acclaim. It seems easy, but few bands of late have managed to achieve their station with such modest grace. Strawberry is the fourth full-length from Wussy, released on the heels of a track-for-track acoustic revisitation of their amazing debut Funeral Dress. Recorded, as is their norm, with their longtime engineer John Curley at his Ultrasuede Studios, Strawberry manages to expand their sound significantly while still sounding like the same old Wussy. They’ve done nothing to fix what isn’t broken, but slightly bigger choruses and simmering bridges matched with layered vocals and therimin drones go a long way towards making Strawberry the finest Wussy record to date. (Pop Matters)

Press for Strawberry
“Mindful drone-rockers from Ohio are alternately terse and liquiform in all the right places”
- New York Times

“When I say I consider Wussy the best band in America I mean I like or love — no, make that love or really like — just about every one of the 46 songs on those five albums: Funeral Dress, followed by Left for Dead, Wussy, the unplugged start-to-finish remake Funeral Dress II, and Strawberry. We’re talking Beatles-Stones consistency here.”
– Robert Christgau, Barnes & Noble Review

“Every stick-in-your-head chorus seems like a small triumph” ★★★★☆
– Rolling Stone

“A truly classic record, one that will be talked about at length this year and for many more to come” 8/10
– Pop Matters

“No one else in indie-rock right now is better at capturing the quotidian with equal parts wit, warmth and snarl.”
Philadelphia City Paper

“Some of the best rock bands of the past, alternative and mainstream, have had male-female co-leads – early Velvet Underground, 1970s-era Fleetwood Mac, X, Human Switchboard. Wussy is a striking, significant addition to that legacy.. a faithful believer in the musical possibilities of a time when the tunefully buzzy, intelligent indie-rock of the 1980s (Husker Du and the Pixies) met the rawer, more emotionally exposed grunge of the early 1990s. It was a short-lived era in which alt-rock was the sound of young (and not-so-young) America – an integral part of the country’s cultural conversation. Wussy reaches for transcendence and finds it. You wish it would go on forever.
– Blurt Magazine

The first Wussy album in which louder, heavier tub thumper Joe Klug replaces Mo Tucker fan Dawn Burman is also the first he co-produced. There’s more distortion, less naturalism; Chuck Cleaver and Lisa Walker yowl more, as when Chuck’s aging head voice rises to the challenge of Mark Messerly’s organ on “Pulverized.” These alienation effects help define a rock that generalizes the connubial agony at the band’s core, and if this is alienating for those of us who love them as well, it’s also comforting, because it distances us from real-life couple Chuck and Lisa’s real lives. I’d as soon assume the co-written “Fly Fly Fly” was inspired by a dumb young couple they know. I’m glad “Pizza King”‘s tale of permanently adolescent disarray takes place in Indiana, not Ohio. And it’s fine with me that “Asteroids” is so spacey‑-it means the heart “floating in the frozen void” might be metaphorical. A
Robert Christgau, Expert Witness
#8 on 2011 Dean’s List 

“Wussy’s a brilliant Cincinnati four-piece for whom the local record shop turned into a label. Imagine R.E.M.’s oddball songwriting crossed with Hüsker Dü’s factory-like fervor and the Mekons’ vast inventory of folk noises, and you’re still nowhere near the lyrics, which combine Richard and Linda Thompson’s rueful ruminations with Tom Waits’s diner-corner yarns. Now teleport to the 2000s, where even great bands aren’t this consistent or melodically thoughtful. Other than singer-guitarist Chuck Cleaver (ex–Ass Pony), they’ve barely been inside the business besides raking in raves since they bowed six years ago with the perfect Funeral Dress. Where to go from there? Both louder and softer, it seems, on Strawberry, stretching themselves with muscular force on “Pulverized” and “Fly Fly Fly,” and with Lisa Walker’s newfound swamp howl on “Chicken.” “Waiting Room” and “Little Miami” explore Yo La Tengo–style quietude, and the lyrics find all sorts of color in between… They don’t make bands like this anymore.” ★★★★☆
– Boston Phoenix

“Strawberry is not only the most accomplished record in the Wussy catalog, it’s also the band’s most dynamic and diverse.”
Cincinnati CityBeat

“a more muscular, dynamic and expansive take on their jangly Midwestern pop-rock, with more diverse songwriting that never forgets to deliver plenty of killer hooks and devastating lyrics.”
KEXP Seattle