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From AustinSound.net Review by Doug Freeman Sept 2007 On the grander orchestrations that seep into Followed By Bad Luck, there's a subtle feel of Brian Wilson's work, but perhaps the closest touchstone may be Elliott Smith's later albums, especially on "There's Always Something Wrong With You." The layered vocal self-harmonies only emphasize the loneliness and isolation, even as the entire album wraps itself in a gorgeous, uplifting swell. Opener "Closing Door" encompasses both aspects of Gibson's songwriting, fully tracing the silver lining of resigned sentiments like "Every time you see a closing door, think of me…Because one day I'll be gone, you'll see," with "Cause there's a better place for you, there's a better place for me." The simple, fatalistic honesty is gut-wrenching. The low-end piano chords and rolling drums of "Come Back to Me" create one of the darkest tracks, even as, or perhaps because of, the trilling, almost flute-like interjections. The song also sets up the conflicted tension running throughout Followed By Bad Luck, Gibson wavering between the detached realism of the opening songs that insists on letting go and the overpowering regret of what's being thrown away that emerges later: "Come back to me baby, I didn't mean to push you away, I only meant to combat my fears, But it's my fears that stayed." "Used to Be" is among Gibson's most powerful offerings and ends the album brilliantly, the stark accompaniment barely holding the emotion behind the slowly erupting vocals, the song leaving the album in a perfect state of broken beauty. Followed By Bad Luck is an exceptional work, showing Gibson at his best and with a considerable promise that stretches far beyond his under-appreciated talent.

"CLASSICAL GEEK THEATRE" FRIDAY, SEPTEMBER 19, 2008 It's never wise to miss a Radio Free Silverlake Let's Independent! show. Especially when you get the rare treat of the ever-nomadic Tenlons Fort (Jack Gibson), who's literal and sonic origins begin and end in both Austin and Los Angeles, depending on the day. If you like your Elliot Smith dunked in Texas barbeque sauce between two slices of Brian Wilson bread (and you should), then make it apointment music next time "The 'Fort" comes to town. While bearing no sonic similarity, Gibson's voice voice is as distinctive as Thom Yorke's and I am not the least bit exagerating. It's worth noting that for this particular show Amnion's Aaron Embry played keys -- sometimes, two keyboards at once. He also busted-out an electro beat for Gibson to rap to. It was shocking to say the least. Kaufman-esque, even.