Audio Exposure Magazine
A lot of female-fronted punk or rock outfits rely too heavily on screaming or whining their way through an entire song about being screwed over by this guy or that. Not so with Baxter House's Please Baxter, Don't Hurt 'Em. Instead, Rachel Mintz gives you all the attitude you can handle while, at the same time, she's caressing your ear drums with a sweet melody. She'll fool you into thinking she's an angel and Satan herself all within the same number. Baxter House refuses to be put into a box with any one genre labeling, and instead breaks rules freely as they feel the desire, making Please Baxter, Don't Hurt 'Em a rather unique (and I'm rarely willing to use that term) compilation. Mintz almost deserves a spot in The Met for perhaps being the epitome of modern art, between her unconventional work and vinyl performance attire. Baxter House manages to avoid the expected in every way. No Food gives you a good range of what the band, and especially Rachel, can bring to the table, while you can listen to Mintz have an almost introspective conversation with herself in Dissociative Personality Disorder. When you throw in the rest of the EP, Fat Gross Cowboy, Black Skies, MKAO, and Gumdrop Heaven, what you get is an addictive assault on the senses. Imagine Dorothy and the Wicked Witch of the West all rolled into one, gathering you around in a circle for grown-up story time - that's Please Baxter, Don't Hurt 'Em. Just give in. You don't really have a choice.
Crusher Magazine, Flex Your Head Magazine and Ear Candy Magazine
Baxter Houses playful album title is unindicative of the fury that the trios six tracks give off, as tracks like Fat Gross Cowboy contains enough anger to make Courtney Love blush. This female fronted band twist the punk rock ethic with toy piano interludes, infectious choruses like the one found on Black Skies, and Candyland-esque trippy ditties gone punk like Gumdrop Heaven. Sweet on one side and very bitter on the other, Baxter Houses stripped down angst and tongue in cheek abruptness smashingly radiate the perils of punk rock.
MUSIC DISH (Industry Journal) and THE LANCE MONTHLY
Ping-ponging back and forth between quiet and loud, Baxter House yields a sound that is nothing short of startling. Just when you think you're being serenaded by a lullaby, the volume is suddenly cranked up full blast, shrieking guitars take charge and the vocals wail in pain.
Powerful and explosive, Baxter House involves tracks like "Fat Gross Cowboy" and "Dissociative Personality Order" that keenly represent this Los Angeles trio's penchant for angst-riddled sentiments. Naked emotions, teeming with frustration and a determined will to make some serious racket are the stuff that causes Baxter House to tick. The grooves are punishing and the feel is raw and hairy. A hardcore punk rock philosophy is arguably at work here. Good for Baxter House for playing music for the sheer sake of playing music.
Independent Clauses Magazine
"Baxter House should’ve subtitled this album “How to Create a Huge Splat on the Musical World”- because that’s exactly what they’ve accomplished with this 6-song, 12-minute EP. They establish their guitar/drums/vocals sound and they don’t back down off it. There aren’t any concessions, there aren’t any genre fusions- this is stripped down rock with a snotty punk attitude. If you like it, you’ll love it, and if you don’t, you’ll be confused.
It’s an extremely galvanizing record in the fact that there’s not a lot to respond to- there’s the female sung vocals, the female screamed vocals, the guitars that borrow from both the herky-jerky fervor of the Yeah Yeah Yeahs and the sludgy melodicism of an old school punk band, and extremely versatile drums that mutate to fit whatever the guitar is doing. If you’re put off by the girl screaming in “No Food”, then you’re put off- there’s not much other stuff going on that you can focus on.
That narrows our focus right at the songwriting- are these songs good or not? The answer is mostly yes. While the guitar sometimes gets a little bit bland (parts of “Black Skies”), songs like “MKAO” are just incredible on all cylinders. “MKAO” has verse that are very subdued (the drums even do some mellow rimshots), but the chorus just rips wide open, with the vocals and guitars and drums all going full tilt. They use some interesting rhythm patterns in the chorus of “MKAO”, as well as in “Dissociative Personality Disorder.”
They do a really good job of mixing it up, though- the intro to “Black Skies” is just drums and vocals, and “Black Skies” also includes a toy piano, in a cool touch. “Gumdrop Heaven” is only forty-five seconds long- but then again, it’s a Baxter House version of reggae. I think that gets props in itself.
So basically, this EP rocks. The songs are good, the instrumentation is unusual, and the sound is fresh enough to pass an USDA test. They’re not going to change the world, but they’ll certainly make a big splat when they’re dropped right in the middle of your day. You’ll remember Baxter House. Whether you enjoy that memory or not is up to you."