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During their three-year existence in the mid-’80s “San Francisco’s World Of Pooh manifested all kinds of reverent beauty-moves … interwoven with darker mutterings and visual clews that seemed designed to confound and obfuscate. It wasn’t until much later that … listeners … would discover how bipolar the band’s actual wobble was…. The music of World Of Pooh is some of the definitive American underground pop bastardization created in the latter half of the Twentieth Century…. [M]aybe [the vocal and instrumental glisten] isn’t quite as pleasant as you’d originally thought. Indeed, their whole gestalt is pretty goddamn twisted…, in such an empathetic and human way that it can’t but help draw you in…. Because their ending was as rife with public commotion as their birth had been with the private variety, it always seemed highly unlikely that the exquisitely balanced songs … would ever reappear in graspable form. But time is a universal salve. And we should be glad of it. Because hearing this music, using ears that have been bored stupid by endless gushes of null-minded pap, it is possible, finally, perhaps, to appreciate the indelicate tension and unholy stylistic alliances that made World of Pooh so special….” —Byron Coley “[W]hile never abrasive [The Land Of Thirst is] at times shrewdly edgy … with a strong grip on instrumental spacing and texture…. [N]icely ragged … dual-voiced guitar-pop constructions [with] nervy, choppy moodiness.” —Joseph Neff, Vinyl District