Into It. Over It.

"Erudite, gregarious, well-connected, and extremely savvy" - Pitchfork “[Into It. Over It.] takes cues from early Death Cab For Cutie and the Promise Ring , as verbose, melodically winding acoustic guitars lead while more distorted parts add texture.” - Pitchfork “Intersections finds Weiss strengthening the connection between the various endpoints he’s explored over his career, and with the help of producer Brian Deck, he’s never seemed this self-assured.” - The Onion AV Club “The result is just familiar enough to be referential without becoming derivative—Weiss’ deft, rambling fingerpicked patterns bear a strong influence of Mike Kinsella’s Owen, though IIOI is far more melodic and compact. In his softer vocal register, there’s a boyish and bookish cloaking of mean-spirited sentiments that recalls Ben Gibbard.” -Pitchfork “Weiss has matured quite a bit during the past six years, and Intersections proves it—he keeps finding new ways to express himself within an idiom that’s already been declared dead several times.” - Chicago Reader “Weiss’s singing is assured and graceful, and with a gentle sigh or clean cry that doesn’t quite disintegrate into a ragged scream, he can summon the anguish of a tortuous relationship (“A Curse Worth Believing”) or grief at the death of a friend.” -Chicago Reader “Critics are finally recognizing his talents as a songwriter.” - Baltimore Sun “A mature and grounded mix of indie rock and emo that hits teenagers just as hard as it does the twenty somethings. It operates beautifully in an area that Death Cab For Cutie perfected and left behind almost a decade ago” - Buzzfeed “Or look at someone like Evan Weiss. Literally look at him, he is a beautiful man.” - Noisey/VICE