Against the defiantly garage-rock milieu of Detroit, an alternative underground has been brewing, and at the forefront is TERROR AT THE OPERA. The music of TERROR AT THE OPERA doesn't lend itself to modern classification, nor, indeed, to modernity. Toy pianos, diaphanous guitar and a dense, mesmeric accordion, conjured like a ghost of fin de siécle Vienna, betray the instant gratification that pop music proposes. However, the dark matter of absinthe dreams and other worlds made manifest in the music is pure atmosphere. The composition of the songs - evocative instrumentals and gypsy serenades - is an enigmatic web of styles: an inheritance of pop's bliss through a filter of folk and mythology.
(Real Detroit, Natalie Haddad)