“Anthony’s virtuosity is tremendous, he is new music.” Pat Martino 1987
“One of the most advanced guitarists today.” W. Royal Stokes The Washington Post – November 1989
“The Antman’s vocabulary includes the snarls and tremolo free-for-alls that come from the best atonally oriented “rock” guitaroids like Andy Gill, Hendrix, and Thurston Moore.” Rob Thornton RTFM – September 1994
“An electric guitar that moans and burbles to his touch…like the long, winding improvisations of Southern field hollers and church moans.” Clarke Bustard Richmond Times-Dispatch – August 1989
“Anthony is one of the most technically advanced guitarists on the planet and a truly unique artist.” Veneto West Newsletter - Spring 2004
“Richmond is lucky enough to call guitar player Anthony Curtis one of its own.” Jay Smack Ninevolt – April 2004
“Renowned for his inventive fret-board mastery, Curtis plays like a wild banshee capable of making a guitar squeal, moan and emote in ways once thought unimaginable.” Chris Bopst Richmond.com - March 2004
“Anthony Curtis’ guitar work has always resisted easy categorization. Some call it prog, some space rock, others heavy fusion. He’s often compared to Sonny Sharrock and Dave Fuiczinski.” Richmond Music Journal – May 2004
“He can be instrumental in seeing some of the indigenous music of the Middle East have wider acceptance in the West.” Chitra Sugandam Gulf Times – December 2000
"Curtis sifts through all sorts of multi-textures, fuzzy sustain, and exploratory guitar riffs as his band mates lay down rhythms, textures, and harmonies to propel each song." Dave Wright Progressive Ears - 26 May 2004
"One freakishly talented guitar player with an equally freaky approach to the allmighty axe.” Jester News – November 2004
"A very textured and spacey mix of prog rock, jazz fusion, and avant-garde sounds.” Pete Pardo Sea of Tranquility - March 2004
"Mahavishnu Orchestra, comes to mind pretty quickly, also Anthony's guitar style reminds me of Sonny Sharrock. Steve Tibbets, Weather Report, and Power Tools also come to mind when listening. There are elements of jazz fusion, funk, world-prog, prog-metal and other styles and textures running throughout this well-made album." Dave Wright Progressive Ears - 26 May 2004
“The guitarist lays down shards of molten lead passages while Levin's bass just bubbles and boils underneath, mixing effectively with Keneally's 70's influenced Fender Rhodes melodies.” Pete Pardo Sea of Tranquility - March 2004
“Levin is in amazing form popping gymnastic bass lines alongside the crashing drums of Pragasam, while Curtis is ripping tons of distorted whammy bar leads." Pete Pardo Sea of Tranquility - March 2004
"You can really hear Curtis' emotional side on the gut-wrenching "Hymn to Helios", a mellow piece that features plenty of passionate and tortured lead passages.” Pete Pardo Sea of Tranquility - March 2004
“’Balinus’ leads in with some majestic violin work from Gauthier before Pragasam struts his stuff with some very technical percussion work underneath the searing leads of Curtis.” Pete Pardo Sea of Tranquility - March 2004
“The real highlight of the CD though is the epic 23-minute title track, a bubbling cauldron of hot, groovy playing from the whole cast. Featuring meaty guitar riffs, wild leads, searing violin, jazzy keyboards, and a frenzied rhythm section, this song is almost like the second coming of the Mahavishnu Orchestra." Pete Pardo Sea of Tranquility - March 2004
"If you are a fan of King Crimson, James "Blood" Ulmer, Robert Fripp, Speed Metal or, for that matter, good music, you should definitely check out this guitar wizard's music. Based out of Richmond, Anthony Curtis is an exceptional player of astounding range, as evidenced by this blazing composition [Gallabalba]." Chris Bopst Richmond.com - March 2004
“There’s an obvious kinship with King Crimson and since Pragasam is from Malaysia, there are complex Eastern rhythms played with inhuman perfection and a rare depth of feeling…Keneally brings an incredible intellect and wit to the Fender Rhodes.” Richmond Music Journal May 2004
“Weird and tortured guitar over a very Crimsonesque fusion offshoot with the very great drummer Lewis Pragasam.” Denis Taillefer Proglands – Spring 2004
“Something out of the ordinary.” François Couture All Music Guide (RollingStone.com) – 2004
“Compared to the astral weeping of King Crimson, called a fiery Sonny Sharrock or Dave Fiuczynski’s evil twin, BOOM has honed its power trio onslaught to a dangerous edge.” CMJ Music Marathon – September 1996
“Freight train aesthetics with their respective “Birdland” equivalents. Take a laid back Miles Davis tune, add a sprinkle of Albini’s charm, and indulge in the instrumental bliss.” Jonah Brucker-Cohen Yourflesh Quarterly – August 1998
“Deeply textural work.” Aaron Burgess The Penn – March 1995
“A stronger kick in the pants than a jumbo cup of java.” Les Carter Richmond Music Journal – December 1994
“Never have I heard such a shamanic journey inspired piece as Weather Vane. I truly experienced a shift in my world view.” Adam Knight Music Times: New York CD Review – 1998
"Controlled, clear, precise - its rhythmic asymmetries smoothly locking with flinty, carefully scattered (guitar) lines." The Wire - November 1997
“Intricate instrumentation, timely tempo changes and the ability to put it all together in a live performance.” John Ferrucci Commonwealth Times – November 1996
“Music to walk hot coals by.” Kevin Kravitz Throttle – February 1995
“A man, a guitar, and an amp turned up to ten.” Rob Thornton RTFM – September 1994