Here is a selection of reviews, features, and mentions of Kevin Dunn's No Great Lost: Songs, 1979-1985 anthology. We really appreciate the dedicated efforts of the journalists who have undertaken to tell the story of Kevin's music, Kevin's life thus far, and the forces that conspired to release the compilation! Now, without further delay...
"...this anthology shows Dunn made some strikingly contemporary-sounding records in his own right. Bridging effete 1970s UK art-rock and the jagged, jerky American new wave he'd helped shepherd, with clever deconstructions of rock'n'roll classics for good measure, Dunn would fit right in with the more recent Atlanta scene of brainy, bratty bands like Deerhunter, the Coathangers, and Black Lips...this release is a singularly warped artifact from a post-punk intellectual off in his own world. It's a world not so different from the one many bands inhabit today, and it has its own strange rewards." -- Pitchfork.com
"The record is a revelation, brimming with sharp, inventive electronic art rock, marked by Dunn’s precise, mannered vocals and seemingly endless guitar lines." -- The New Yorker
"His buzzing analog synth lines and artful, staccato guitar riffs are employed with care on smart, sharp compositions full of both offbeat attitude and pop hooks. It's troubling to think that this stuff might have been lost in the proverbial dustbin of history if not for the admirable archival efforts of the Casa Nueva label, but thankfully, Dunn's pioneering work is now waiting to be discovered by a whole new generation of oddballs." -- Allmusic.com
“A simultaneously panoramic and claustrophobically crammed view of Dunn’s skewed vision and cracked perspective. …as weirdly compelling as it is compellingly weird.” -- The Boston Globe
"By blending electronic music with an art-rock palette, Dunn crafted a small but precise body of work, revolutionary in its own right, while fronting bands with such names as the Regiment of Women and the Radical Centrists. But he was too far ahead of his time for the new wave scene..." -- Creative Loafing
"...the rediscovery of a post-punk goldmine...No Great Lost is a compelling hyper-literate look into an unheralded past that still managed to shape music 30 years on, but also a remarkable story of aural archæologists restoring a treasure few knew existed." -- The Boston Phoenix
"An art rocker with a sly sense of humor, Dunn combines wry lyrics and guitar flash...Check it out if you like: Brian Eno's pop albums, Sparks, early Robyn Hitchcock." -- Mother Jones
"... the compilation is a must for fans of the idiom, revealing Dunn as a key link in the chain between British and American new wave. Don’t believe me? Then toss out all your R.E.M., dB’s and Feelies records and see what’s missing." -- Nashville Scene
"...lovers of Game Theory/Loud Family’s Scott Miller or Brian Eno’s 'pop' albums should feel right at home with his penchants for modernist wordplay and exploded song-forms." -- Time Out New York
"...while Dunn's No Great Lost: Songs, 1979–1985 (Casa Nueva) features only one track by his mid-'70s Atlanta band the Fans, it still embraces rock 'n' roll enough to include insanely fuzztoned covers of Bo Diddley, Chuck Berry, and "Louie Louie" amid all the herky-jerking Eno loopage." -- The Village Voice
"Had I heard this album in 1981, it would surely have been a big favourite – sharp and quirky lo-fi songs laid down with the urgency of the time using primitive drum machines and dry multi-tracking…A witty and infectious album that shows that there were also people on that side of the Atlantic in 1981 who were listening to This Heat’s Deceit in preference to Rush’s Moving Pictures...an invaluable souvenir of that small corner of Georgia that will forever be Ladbroke Grove. Highly recommended to anyone whose idea of perfect pop includes Taking Tiger Mountain (by Strategy) and Chairs Missing." -- Freq [UK]
"Spanning the years 1979 through 1985, No Great Lost is an essential introduction to the artistry of this unheralded hero of American post-punk, whose combination of hyper-literate lyricism, angular, envelope-pushing guitar playing (think Glenn Phillips of the Hampton Grease Band meets Bill Nelson of Be-Bop Deluxe) and a voice that brings to mind a Dixie Tom Verlaine is long overdue for rediscovery." -- Blurt
“Up there with R. Stevie Moore's early releases and Gary Wilson’s You Think You Really Know Me as one of the great DIY one-man-band records of its era, The Judgment of Paris has all the herky-jerky rhythms, hiccuppy vocal tics and monophonic synths a new wave historian could want, but Dunn's obvious songwriting and arranging gifts make songs like “Private Sector” and “Giovinezza” much more than a collection of period cliches…[a] flawless and long overdue reissue…” -- Critical Mob
"Quirky and compelling, Dunn aims for the head, heart and hips, and achieves his target..." -- Stomp and Stammer
"No Great Lost is immediately remarkable for its prescience: it fits somewhere between XTC's wackball pop and the Futureheads' most eccentric moments." -- Flagpole
“…the variety of guitar textures, and Dunn’s concise, well-constructed solos, give notice that he’s working within a wider rock-historical frame than many passingly similar artists of the period.” -- Thought Catalog
"Excellent new-wave songs like the crisp, catchy, clever '911' and stark, buzzing 'AG' immediately make you investigate the packaging and wonder, 'Why haven't I heard of this guy before?'" -- The Daily Hampshire Gazette
“It's an impressive collection of music that sheds light on an overlooked oeuvre.” -- Underneathica
"The CD is really a treasure of awesomeness..." -- Acute Records Blog
"For a new generation of music fans (including Dunn's son Malcolm who now plays bass with his dad), the new CD collection provides a missing link to what Rolling Stone's Anthony DeCurtis calls: "a smart, engaging, innovative artist whose groundbreaking work has been unjustly overlooked — until now." -- Atlanta Magazine's ATLintel Blog
"Long overdue...Dunn was an artist who was at the wrong place at the wrong time. If he had been living in Europe when these tracks were recorded, he would probably be a legend by now...This man was obviously ahead of his time." -- Baby Sue Music Review
"Kevin Dunn demonstrates quite precisely throughout why this retrospective release merits every second of the shelf-life it ought earn from this moment on." -- Dots and Dashes