"Considering that Ogl's low-to-the-ground readings of these songs makes them all the more real for their subtlety, Gaius winds up to be a truly affecting work." (ALTERNATIVE PRESS)
"Thanatos are impressive for their ability to agitate. More than most industrial and metal acts and more than music you hate, Gaius will set you on edge" - EX CATHEDRA, Australia)
"Artistically speaking, Gaius is dead on..." - DEKALB COLLEGIAN, Georgia
"Thanatos creator Padraic Ogl strips down his sound even further, leaving only gleaming bleached bones. Few artists can create such compelling atmospheres with vocals and acoustic guitar alone, aided only by the occasional electronics from black tape for a blue girl's Sam Rosenthal. But Ogl does this with ease, exposing a subtle beauty, leaving the lyrics to glitter in the pale light." - Jo-Ann Greene AP Writer
December 1-7, 1995: Singer/songwriter Pat Ogl usurps traditional folk expectations, mixing his passionate political and personal views with various musical flavorings ranging from romantic pop to industrial. Ogl plays acoustic and electric guitars, bass, harmonica, and percussion; he's joined occasionally by Rena Rice's pretty vocals and Sam Rosenthal's gothic synths. He can be oblique and esoteric, but that's what gives Gaius its fresh, spontaneous flavor. On "Liquidation" he plays (and sings) an effectively constricted melody on his electric six-string while assailing right-wing views on crime, ominous synths joining him in the chorus. The mourning acoustic guitar and vocals of "Von Stauffenberg" conjure Holocaust images further climaxed by an eerie chorus of distant voices. He also offers an intriguingly stark version of Body Count's "Cop Killer," with his tense rapping over a drum machine accompanied only by radio messages and feedback. - Bryan Reesman