"Sam Densmore is a singer-songwriter from Portland, and his music is warm and inviting, like a well-worn blanket that’s always in reach. He put a new song up on his Bandcamp late last year, but I spent considerably more time with his 2012 album “Ku-thar’-tik,” mainly because I had a hard time turning it off. The guy takes basic tools — voice, words, melodies, plus an acoustic guitar played with some percussive oomph — and spins some pretty spellbinding songs that sound like a collision of Wilco’s Jeff Tweedy (when he’s playing solo), David Bowie’s spacey pop sensibility, a bit of R.E.M.’s organic jangle and something else that I can’t quite put my finger on. Seriously, it’s on the tip of my tongue. I hear it in the melodies and phrasing all across “Ku-thar’-tik” and it brings to mind someone singing something, but that vision stays just out of focus. Which is probably just as well; who wants to be compared to a bunch of other musicians anyway?
“[Sam Densmore - Sad Songs For A Sad World] "Buy this now! Solo Acoustic jams from Silverhawk songbird Sam Densmore. Picture perfect depressionist music for the depressed masses. Well polished indie pop at it's finest. Buy this now and consider yrself hip!"”
"Silverhawk will stun you like a beautiful new wave pop sunburst.. "Flowers in June" embodying the rhythmic propulsion and chorus perfection...."
“The melodies are huge, the lyrics begging for a throughway sing-a-long,......Melancholy yet hopeful, Stipe-like but original,”
"Sam Densmore has a knack for crafting witty and bucolic pop songs in the key of a warm summer day,"
“I think this ended up being released in two pieces, with Cat Years being the more recent entry. Not sure, and it doesn't matter. To my ears, Sam Densmore has finally found himself as a songwriter. His stuff with Silverhawk was okay, but generally up-and-down. The work on these two EPs is more subdued, but also much more consistent. He's got a voice now, and his songs work much better. The sound is extremely muddled and lo-fi, but that suits Densmore's understated delivery. These songs sound old, and the production plays that up to the hilt. Is it folk? Rock? Americana? Something else? Yes. Densmore sounds like he's simply tossing off song after song. But after a while, it becomes apparent how good these pieces really are. No matter how you might classify this release, it's a a winner.”
“Portland, Oregon singer/songwriter Sam Densmore adroitly mines a nicely affecting and incisive line in bittersweet reflectivity on his debut solo album. Low-key, subtle, and contemplative, Densmore casts a sharp and down-to-earth unsentimental eye on life’s steady stream of ups and downs while maintaining a firm grasp on delicately tuneful melodies and tight arrangements that keep things buzzing along with utmost harmonic finesse and a refreshing dearth of needless flashy razzle-dazzle. Densmore’s pleasant voice and smartly succinct songwriting make for a strong and impressive double whammy. Moreover, Densmore plays a mean acoustic guitar and never degenerates into mushy cliché at any point throughout the album. Best of all, by emphasizing a stripped-down no-frills blunt’n’basic sound Densmore is able to bring an immediacy and intimacy to the music which adds considerably to its overall power and poignancy. Wonderful stuff.”
“would characterize Sam’s vocals along the lines of Michael Stipe (R.E.M.) or Dave Pilner (Soul Asylum), and the music he crafts is in the neighborhood of Elliot Smith or Guster at times. While the arrangements are sparse, this isn’t to say the artistry is not sophisticated. Beautiful chord changes and harmonies are heard throughout the course of this album and the simplicity forces you to focus on the message without being distracted by the smoke and mirrors of glitzy production tricks. Bill Sullivan Now This Rocks, June 5 2012”