I also want to die in New Orleans

"The musical accompaniment is interesting, switching gears and time signatures quickly, but it's often burdened by the endless stories. While Kozelek's output has been far more overbearing, these bumbling rambles aim for the transcendence that he hits at his absolute best, but are mostly tedious".

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"Despite their periodic flirtations with lofty subjects, these songs are deliberately inconsequential, flimsy excuses for Kozelek's assault of superfluous details, circuitous dialogue, and dead-end asides. The individual parts rarely mean anything, and the whole means even less. Benji's great trick was its songs only seemed meandering-its winding tales gave way to emotional revelations that were all the more moving because Kozelek sounded like he was processing them in real time. But the songwriting style that seemed so brave on that album feels more than ever like a cowardly cheat on I Also Want To Die in New Orleans, a preemptive attempt by an artist running short on ideas to shield himself from criticism by feigning indifference".

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"Sun Kil Moon, even early on, was admittedly not for everybody, and even less so, now. Still, this shouldn't be seen as elitism, more that your enjoyment of Kozelek, White and McCaslin's work here will be directly aligned with how you'd feel having a friend over once a year, asking him "So, how are things?" and having him actually tell you".