"One way or the other, this music will uplift and enhance your life. You will have more than you do."
Jim Dickinson, producer/pianist
(The Replacements, Big Star, Ry Cooder, Aretha Franklin, The Rolling Stones)
"[Your Wound Is Your Crown] is full of ensemble grooves that spring forth like little parades, confident melodic character, and alluring propulsion."
David Greenberger, Metroland: Best Recordings (#1 )
"Boister creates a fugue-like convergence of styles and story lines that collide into jarring dissonance only to resolve into goosebump-inducing harmonies."
Ann Hornaday, Washington Post: Boister, ‘Intolerance,’ and the Art of the Amazing Convergence
"[Your Wound Is Your Crown] has a Copland understanding of American space mixed with a continental musical intimacy. Refreshingly radical."
Bret McCabe, The Spaces In Between-Baltimore City Paper
"Anne Watts belongs, certainly since the beginning of this millennium, among the most interesting figures in the American musical landscape…Your Wound Is Your Crown is uncommonly fascinating."
Eric von Domburg, Heaven (Dutch magazine)
"Every track on [Your Wound Is Your Crown] surprises and delights."
Tom Hall, WYPR Baltimore: Boister Explores Death and Grief on New Album
"[Your Wound Is Your Crown] is artistic fulfillment for Boister, the baddest band in Baltimore; they play in a space most other bands don’t even know exists."
John Hall, WHFS/WRNR
"Boister’s relentlessly listenable songs of sorrow and pity, of sin and salvation, deftly stitch together musical swatches of pre-Weimar Germany, jazz-age Paris, and post-modern America to form a strong, seamless, 100 percent natural sound fabric."
Michael Yockel, New Times
"Acknowledged by several masters (Jim Dickinson and Ike Turner have saluted her talents), Watts sings a smoky mood, of heartache and life’s tragedy…Of the same genre, but a lot cleaner than the impressive Black Rider of Tom Waits."
Renaud Paulik, magic!/Revue Pop Moderne
"Boister’s music is inhabited by spirits, strange ambiances, and subtle messages. Melodies that seem familiar detach themselves for an instant to take on a certain spirit, then are lost. The musicianship is staggering…Anne Watts is mysterious and radiant at the same time."
"Situated between Nino Rota and Kurt Weill, never far from Debussy and Satie, Coltrane and Bartok…In this smoky room of nostalgia and tenderness, Watts elevates suave and cloudy melodies carried on a delicate trombone, a melancholy accordion, a compassionate clarinet."
Le Populaire du Centre