“On the definitive closing track, Christoffel deftly connects these many strands, sewing together a varied set of ’70 styles with his own inspiring new musings, when he open-heartedly sings, “My memories are sights and sounds that still surround and talk of many things/I am old, and I am young.” So is Nothing. Review by Nick DeRiso Rating: 4 stars (out of 5)”

““Sailing on the Moment” seems to settle into the melancholy singer-songwriter atmospherics of Michael Martin Murphey’s “Wildfire,” but Don’t Ask keeps stirring the pot. “Doubt” boasts the shiny optimism of Loggins and Messina, but with a modern pop propulsion courtesy of Aslin. While often the portrait of understatement, here he happily bashes away. Christoffel employs a Jim Croce-like fragility on “My Heart is Taken,” setting the stage for a sweeping, sweetly romantic harmony with Faget. Similarly, “Dream Away,” sung with the honeyed delicacy of the Band’s Rick Danko, builds into a swirling, appropriately atmospheric chorus. “Eye of the Storm,” however, is anything but. The song comes thundering out with a rumbling authority, as Faget and Aslin set the stage for a story of shipping tragedy in the style of Gordon Lightfoot’s “Wreck of the Edmund Fitzgerald,” only with a sea-shanty swagger.”

“Together, they bring an agile, jangling groove to “No One Said Love Was Easy,” imbuing it with a sun-drenched optimism that’s in direct contrast to the difficult times that must have inspired the lyric. Meanwhile, a tender sadness embraces “The Cold Stars Dance,” a song about a child battling the withering effects of polio. When Christoffel falls into a whisper, as if wishing someone goodnight, it’s a heartbreaking blow. On “Creeks Run Dry,” Faget unleashes a feline Santana-ish guitar structure amid a series of suggestive flourishes of percussion. Other times, he displays a deep regard for the Anglophile blues of Eric Clapton and John Mayall. Yet he’s also capable of a more formal approach, as on “Seattle Day” where Christoffel paints a note-perfect description of a dreary afternoon with simply constructed lyrics set amid lonely, interlocking harmonies.”

“Don’t Ask consistently lives up to its name, which was inspired by a persistent question: What kind of music do you play? Answer: A little bit of everything. “Real Love” begins with a foreboding guitar signature, signaling its intention to frankly examine the complications and lasting joys of passion’s bond. A wordless opening vocal ends up saying more than lyrics ever could, as Faget touches on a spectacular range of emotions at the guitar. Then Don’t Ask returns to the muscular folk-rock hinted at in the song’s opening, brilliantly switching into a crackling groove that allows Christoffel to explore a tougher cadence. It’s a terrific example of the symbiotic relationship that belies this duo’s long tenure together. Christoffel and Faget met almost two decades ago, forming the group String Theory. They became Don’t Ask when drummer Doug Aslin joined.”

“Chicago-born Todd Christoffel is impressively versatile, employing singing styles that span the decade, even as New Orleans native Crispin Faget updates the template with guitar aphorisms that expertly meld folk, rock and the expected pop sensibilities. The record begins with the title track, and a conversational singing approach from Christoffel that recalls Warren Zevon. Faget then encircles a Seals and Crofts-inflected chorus with this comfy riff right out of Bob Welch’s “Ebony Eyes.” There is, in fact, as much that is familiar about Nothing, as there is new. “How Could I Know” is a Hollies-sounding piece of power pop. “The Voice Still Believes” recalls Paul Simon’s erudite inspirational odes of the era.”

“Nothing is a fun to listen to album that features poignant, well-written lyrics and strong musicianship. Listeners who are looking for a heavy rock-oriented album might not be able to dig in here, but it’s an ideal fit for those who love acoustic rock and folk with killer guitar work. Review by Matthew Warnock Rating: 4 stars (out of 5)”

“The band can also write interesting harmony that reaches out and grabs the listener’s attention, using chord to generate energy beyond what the guitars and vocals are already creating. “No One Said That Love Was Easy” is a great example of this technique. The harmony moves in some predictable, but also some unpredictable ways, drawing one’s attention to the harmonic movement of the song without going overboard and detracting from the vocal line or the rhythm of the piece. Also, the band effectively uses silences, though short and to the point, in order to punctuate important moments in the song. Taking the opportunity to fill these moments when the band drops out with some tasty vocal harmonies, they really show off their attention to detail with arrangements like this.”

“Besides using strumming as an effective tool to introduce a song, the band also breaks out their flattops and flatpicks to showcase their diversity on songs such as “Sailing on the Moment.” Here, the entrance of each guitar is reversed from “Creak Runs Dry,” where now we hear the lead line, in this case playing a country inspired riff, before we hear the rhythm guitar entering a short while later. This may seem like a small change in plans from other songs on the record, but it stands out to the seasoned listener as evidence that the band is thinking beyond what sounds cool, and is programming their record with sonic diversity in mind. Even the most interesting musical idea can become old and monotonous after a while, but by mixing things up within the arrangements of their songs, Don’t Ask establishes a writing style that goes a long way to avoiding such things from occurring on the record.”

“Take a tune like “Creek Runs Dry.” Here we find the band kicking the song off with a softly strummed guitar, using a soft gauge pick to grab the percussive sound that characterizes thinner flatpicks, the lead line jumps in with a few hammered notes, before cutting out to let the vocals enter, setting up the first verse. The engaging part of this song, and many others on the album, is that when the drums come in at the first verse they only add to the groove that has already been set in place by the guitars. Too many bands rely on the drummer to drive the rhythm of any given song, but the players in Don’t Ask can all hold a groove on their own, which only adds an extra layer of interest to each song on the record.”

“Mixing strummed acoustic guitars with effects layered, tasty electric-guitar work all played over deep percussive grooves and solid bass work, Don’t Ask’s album Nothing is an entertaining and intelligently written acoustic rock album that is sure to make waves in the indie rock world as well. Featuring all of the things that make an Acoustic album great, carefully penned lyrics, solid rhythm work and lead lines from the guitars, creative and groovin’ drum work and great vocal harmonies, the album is a cornucopia of musical treats for fans of the genre. ”

“Throughout Nothing, Don't Ask maintains high standards of performance, nothing particularly spectacular or showy but just enough to serve the purposes of the individual songs. Everything is in its rightful place, as it should be with the result being a satisfying contribution to the folk-pop canon. Review by Kevin Mathews Rating: 4 Stars (out of 5)”

“Don’t Ask makes music that is oh so easy to warm up to. Even if you’re not paying attention to the words, the group’s melodies and arrangements still have great power to hook you. Today’s crazy music world sometimes has more to do with marketing than the music itself. And that’s a shame because much fine music is overlooked simply because it may not look exactly like everything else. Don’t Ask creates delightful sounds for those that focus more of their attention on the listening part, rather than just merely the looking. The best chance they’ll have at commercial success is if word of mouth becomes its primary marketing tool. Don’t ask the guys in Don’t Ask what kind of music they play. But, by all means, please tell somebody about it.”

“The “Eye Of The Storm,” with its complicated acoustic musical parts, mixes folk-rock along with progressive rock. Its lyric warns about the dangers of sailing rough seas. And while “Sailing on the Moment” isn’t specifically about sailing, its title alone suggests that these musicians must have a thing for the aquatic lifestyle. The most touching moment of this recorded work arrives with the track “Dream Away.” Christoffel sings it to a sparse instrumental arrangement. This song once again has one of those heart-tugging arrangements that draw you into its space, much like a roaring fireplace in a living room on the coldest night of the year.”

“The lovely “Creeks Run Dry” features an electric guitar solo, yet it is not the sort of loud and obnoxious soloing you most often hear in heavy metal songs. Instead, it’s both tasteful and tight. The song also features a loving lyric about always being there for someone else, even when the chips are down. This could be a song about friendship, or it may be romantic. Whatever the case, it describes true and lasting love extremely well. Their harmonic vocal skills are showcased during “My Heart Is Taken.” When Christoffel sings, “Our hearts beat like one heart all through the night,” it may bring back memories of John Denver songs, as well as hearkening back to about 100 other folk songs by Peter, Paul & Mary and the like. The tune’s melody just reaches out and commandeers your emotions and will not let go.”

“Not surprisingly, then, these 14 songs are sometimes a little difficult to categorize neatly. Christoffel is blessed with an extremely emotive singing voice. It’s not big and booming, nor is it high and sweet. But whenever he sings these songs, the listener feels something good. If comedians are able to hit folks’ funny bones with their jokes, why can’t musicians also strike heart bones? If this analogy is a medical plausibility, Christoffel has the skill it takes to touch the heart bone on a consistent basis.”

“Whether folk-rock or soft rock, Nothing is an album that is usually mindful of the mellower side of the 1970’s. The direct or indirect influences on Nothing include, among others, Gordon Lightfoot, Paul Simon, Seals & Crofts, Dan Fogelberg and Crosby, Stills & Nash. Don’t Ask leader Todd Christoffel, in fact, favors a vocal style that recalls Seal & Crofts’ Dash Croft. And like so many people in the folk-rock world, Don’t Ask are big on the troubadour tradition. They are effective storytellers, and storytelling is exactly what they do on contemplative, reflective offerings such as “Seattle Day,” “Eye of the Storm,” “The Still Voice Believes,” and the title song (which is the opening track).”

“Don't Ask is a group that produces itself, and by eschewing studio trickery and treading but lightly on the effects pedal, every note rains upon the listener like drops of clear ice water.”

“Founding members Christoffel and Faget have been playing together since the late 1980s and it shows. Together, their voices blend as though they were brothers”

“Todd Christoffel, Crispin Faget, and Doug Aslin are mature musicians with deep roots and vast abilities and every minute of this CD is assured and precise.”