Robert Forster's endearingly fey persona, equal parts Bryan Ferry and gangly bookstore clerk, reaches full flower on the Go-Betweens' fourth album, which tempers the angularity and occasional claustrophobia of the band's previous work with a new airiness and nervous romanticism. The lighter sound can be partly attributed to the growing influence of co-leader Grant McLennan, whose wistful "Cattle and Cane" and "Bachelor Kisses" lent grace to the Go-Betweens' sometimes stilted early records. McLennan's touch is all over Liberty Belle and the Black Diamond Express -- his "In the Core of a Flame," a love song that manages to be at once tenderhearted and impatient, is a highlight -- but this is still mostly Forster's show, and as such is a revelation. The merry, pastoral opener "Spring Rain" serves as notice that this will be a less dour affair than usual, yet, rather than negating Forster's pained, self-doubting lyrics, the comparatively gentle songs set them off beautifully. "You opened my mail apart at the seams/and now you know I live beyond my means," he sings at the outset of the swaying "Bow Down," and the prettiness of the melody makes him sound all the more uneasy. Other highlights include the sublime "Head Full of Steam," a tale of infatuation so strong that Forster breathlessly reports what his beloved's parents do for a living before realizing that such trivia is probably "of no importance at all" to anyone but him (which doesn't stop him from blurting out just a few lines later the earth-shattering news that neither he nor his object of desire have ever had a nickname). Protestations aside, the urgency in his voice makes it clear that the minutiae of love matter very much indeed, and anyone who's been there will sympathize. Liberty Belle is by no means free of the old Go-Betweens edge (the brooding "Twin Layers of Lightning" is proof of that), but it is the pervading warmth and rueful humor of this release that make it so accessible and such a delight.

(by Kristi Coultert, All Music Guide)

Admittedly, it's understandable to see why CVB's sense of humor rubbed some people the wrong way. Titling a second album II & III and sprinkling it with songs titled "ZZ Top Goes to Egypt" and "No Kruggerands for David" sounds more like a parody of rock rather than rock itself. That never stopped Pavement, though, and on II & III, CVB sounds as inventive and unexpectedly inspired as before, mashing its influences together into a delightful brew. However, this time the band sounds a touch more straightforward; new member Chris Pederson's drumming sounds stronger, providing a good pace throughout and pumping up the energy on "Down And Out." Wigginess abounds musically and lyrically — "Cowboys from Hollywood" sounds like an amped-up honky-tonk, and following it with the on-the-level country of "Sad Lovers Waltz" fits whatever master plan there was. Lowery doesn't sing lead as much this time out; he's still the primary singer, but often is accompanied by most of the rest of the band as well. But as always, Segel is the wild card with violin and nutty keyboards ahoy. There's some refreshing iconoclasm at play — years before Sonic Youth became 'the legendary Sonic Youth,' CVB took that group's "I Love Her All the Time" and transformed its New York art angst into a kick-up-your-heels bit of yee-haw ska. It's worth hearing for Lowery and company's vocal drawls alone. The album concludes with the hilarious "No More Bullshit," mixing wanky solos with repetitive punk-rock slogans and strange comments -"Elvis Presley died! And no one knows why!"

(by Ned Raggett, All Music Guide)

Moving to a major label doesn't affect Hüsker Dü's sound greatly -- although the production is more full-bodied than Spot's razor-thin work, the Hüskers don't change their blazing attack at all. Much of Candy Apple Grey charges along on the same frenzied beat that propelled New Day Rising and Flip Your Wig, and both Bob Mould and Grant Hart are in fine form, spinning out fine punk-pop with "Sorry Somehow" and "Don't Want to Know If You Are Lonely." However, the sound is beginning to seem a bit tired, which is what makes Mould's two acoustic numbers, "Too Far Down" and "Hardly Getting Over It," so welcome. Demonstrating that punks can mature without losing their edge, Mould inverts the rules of conventional confessional singer/songwriter songs with these two haunting numbers, and in doing so, he illustrates the faults with the relatively staid post-hardcore punk that dominates the remainder of the record.

(by Stephen Thomas Erlewine, All Music Guide)

CVB's self-titled third album generally differs little from II & III, continuing the blend of wistfully weird lyrics, any number of musical touches from all over the map and good-time vibes. The opening "Good Guys & Bad Guys" proves that much, with reggae, folk, country and more stewed together as Lowery plaintively sings about lawyers and the people in Russia and the like. From there on in it's another collection of generally short and generally fun ditties, but with a few more tweaks here and there. The bandmembers definitely have more fun with the studio this time out, thus a lot of tape manipulation and semi-psychedelic oddities sprinkled around the album. Something of a Led Zeppelin fascination seems to crop up throughout, perhaps not too surprising considering that band's similar fondness for many musical influences and Jimmy Page's more acoustic numbers. Lowery drawls "Has anyone seen the bridge?" on "Joe Stalin's Cadillac," the following song is "Five Sticks," while later on in the album one gets "Stairway to Heavan (sic)," most definitely not a remake of the referenced song in question. Not to say there aren't reinterpretations here as early Pink Floyd gets the band treatment with an impressive, strong version of "Interstellar Overdrive." Then there's the catchy pop salute to a certain Mr. Garcia of the Grateful Dead, "We Saw Jerry's Daughter," the sitars and kicks on "Still Wishing to Course," the concluding 90-second long "Shut Us Down" and more to fill out this album's corners well.

(by Ned Raggett, All Music Guide)

Words like "shimmering" and "jangling" seem like such rock clichés, but if any guitars ever deserved the term, those on Forever Breathes the Lonely Word certainly do. The album is almost too perfect a pop masterpiece -- upbeat, succinct, and wildly catchy -- with the only out-of-place element being Lawrence Hayward's Tom Verlaine-esque vocals. That's not a drawback, though -- the imperfect vocals give the album just the kick it needs to stand apart from the rest of the flock (much like their contemporaries, the Smiths, come to think of it). It may be overstating the case to say that the album laid the groundwork for a lot of pop music that followed, but the sound was certainly influential in certain quarters, and considering the success of some of those followers, the fact that this album wasn't a hit may be all the proof you need of the injustices of the music industry.

(by Sean Carruthers, All Music Guide)

In 1986, Richard Thompson and his record label of the moment, Polydor, were eager to expand his audience, so Thompson parted ways with his long-time producer Joe Boyd and went into the studio with producer and keyboard player Mitchell Froom. While Froom's approach was noticeably different than Boyd's, he displayed an obvious respect for Thompson's gifts, and though Daring Adventures boasts a bit more aural sheen than the albums that preceded it, Richard Thompson's style as a guitarist and songwriter still shines through clear as day. Froom replaced Thompson's usual rhythm section with top-shelf session players Jerry Scheff on bass and Mickey Curry on drums (Jim Keltner sits on three cuts), and if their style is less idiosyncratic than that of Dave Pegg and Dave Mattacks, they match the material far better than Willie Weeks and Andy Newmark did on First Light. And Froom kept his fondness for tape-loop keyboards and eccentric signal processing in check, giving the sessions an enjoyably warm, organic sound. If Daring Adventures has a flaw, it's the songs; while Thompson, as usual, has a handful of gems on board (among them the joyous near-rockabilly of "Valerie," the disquietingly atmospheric "Lover's Lane," and the two heart-rending tales of life during and after wartime that close the album, "How Will I Ever Be Simple Again" and "Al Bowlly's In Heaven"), there are also a few that don't go anywhere, and "Baby Talk" and "Dead Man's Handle" could have been left on the cutting room floor without disappointing anyone. If you're not familiar with Richard Thompson's music, you'll doubtless find that Daring Adventures has great songs played by a great band, with an amazing guitar player up front. But if you've already heard most of his records, you'll know he can do better.

(by Mark Deming, All Music Guide)

Call this the second coming of the Saints, but the only thing this record has in common with previous Saints recordings is Chris Bailey. Still, it's a sharp, tuneful, and (ahem) mature work that shows Bailey's increasing confidence as a singer and songwriter. One listen to songs as grabbing as "Celtic Ballad" or the great "Just Like Fire Would" (which is kind of a neat pun) will convince you that despite the differences, the new Saints were a good band for completely different reasons than the old Saints.

(by John Dougan, AMG)

With Blast of Silence the group that began as an outlet for drummer Anton Fier and his friends in the New York avant-garde scene (Arto Lindsay, Fred Frith, etc.) unexpectedly veers off into country-rock and folk, of all places. But with Fier's reputation, listeners should realize from the start this is not country-rock in the New Riders of the Purple Sage fashion. Rather, Fier and company, which includes singers Syd Straw and Mathew Sweet, organist Bernie Worrell, and guitarists T-Bone Burnett and Don Dixon, experiment with confidence on songs like Lowell George's "I've Been the One," adding raga percussion to the C&W ballad. The rest of the album is filled with such musical daring and is a worthy addition for fans of both Palominos and the avant garde scene alike.

(Steve Kurutz, All Music Guide)

When the BoDeans appeared with their first album, Love & Hope & Sex & Dreams, in 1986, they immediately were filed under "roots rock" (a popular term of the day) because of the Western twang in their guitars, their bouncy beat, and their simple, neo-rockabilly approach to songwriting, not to mention the production of T-Bone Burnett. They led off the album with "She's a Runaway," a song of spousal abuse and revenge that indicated a higher social consciousness than much of the rest of the album, which was typified by "Misery," in which the singer laments that his girlfriend sleeps around. At their best, on "She's a Runaway," "Fadeaway," and "Angels," the BoDeans came up with infectious riffs and made maximum use of the sweet-and-sour vocal interaction between the conventional voice of Kurt Neumann and Sammy Llanas' distinctive nasal whine. Much of the album was slight, but there was enough of an individual sound to the better material to think of the BoDeans as a band of considerable promise.

(by William Ruhlmann, All Music Guide)

The band's first full-length album found the group starting to come into its own more and more. While the various influences that can be referred to are still present, Died Pretty are starting to sound more like a group finding a distinct sound instead of taking a cue from good fluences. Helped in the studio by a variety of guests on everything from sax to pedal steel guitar, and with good, full production from Rob Younger continuing the job he started with the Pre-Deity tracks, Free Dirt is a fine, fiery effort. "Wig-Out" serves as good an example of its quality as any -- with martial drumming and a very Celtic drinking tune atmosphere made just that much more intense by being performed on rock instruments; it shows how the band hotwires the past for its own purposes. Opening song "Blue Sky Day" is, perhaps, the band's best-yet, an energetic but never overbearing rocker with a comfortable glow and surge to it, Brett Myers' really wonderful guitar matched by the additional performances on mandolin and violin. His work throughout the album is exemplary, powerful but never pointlessly showy, while Brunetti's keyboards take the melodic lead more often than not, calling to mind Ray Manzarek's often-similar role in the Doors, while not sounding like a clone of same. Similarly Ron S. Peno's Jim Morrison inspirations are clear, but his higher-pitched, less self-obsessed singing is in many ways warmer and more immediate than those of his forebear. Top it off with the fine Mark Lock/Chris Welsh rhythm section, and it's clear a crack band is at work. "Through Another Door," sung by Myers in a warm, winning fashion, the grand concluding solos on "Life to Go" and "Next to Nothing," and the beautifully cryptic "The 2000 Year Old Murder," are among the many highlights. As a fine bonus, the CD version includes both of the stand-alone singles "Stoneage Cinderella" and "Yesterday's Letters."

(by Ned Raggett, All Music Guide)

"In 1985 Glenn, Bill and Dave started playing again as The Feelies with Brenda and Stan as new members of the group, and a year later they released a new album, The Good Earth. The sound changed a lot and it was marked by slower rhythms and acoustic guitars, and someone could think that Peter Buck (R.E.M.), who appears in credits as co-producer, had some influence on it: though he helped the band in many other ways, actually Buck had very little to do with the production which, as always, was mostly handled by Bill and Glenn. A very good record, anyway, and the same thing can be said about No One Knows, an EP published at the end of 1986 containing two covers of Beatles' and Neil Young's songs"

Element of Light, Hitchcock's second studio album with the Egyptians, remains one of his finest moments and offers a convincing argument for his talents as a pop craftsman. Using John Lennon's work for Revolver and The Beatles as a template, Hitchcock wrote an elegant set of songs for Element of Light, songs that contained all of his cryptic lyrical sensibilities, yet featured more refined melodies and song structures. The Egyptians play with a subtle grace, moving between the stately "Winchester" and light psychedelia of "If You Were a Priest" to the bracing attack of "Tell Me About Your Drugs" with ease. While it sacrifices some of the edgy tension of Hitchcock's earlier work, Element of Light is his most melodic and eerily beautiful record. [In 2008, Yep Roc released a new edition of Element of Light which included the original album re-mastered, six bonus cuts (four of which had never seen the light of day) and expanded packaging.]

(by Stephen Thomas Erlewine , All Music Guide)

As far as I can tell this is Hitchcock's peak, with every tune delivering memorable hooks and intriguing lyrics. A 14-song, 51-minute opus, it's stuffed with jangly, druggy, mid- and down-tempo pop-rock that's brought to life by creative instrumentation and studio effects like backwards tracks - and like the Edge, Hitchcock makes up for his lack of lead guitar chops by trying hard to get some interesting sounds out of his guitar. The lyrics are outstanding, always imaginative ("Raymond Chandler Evening") and frequently perverse in a way that recalls Lou Reed ("Ted, Woody And Junior"; "Tell Me About Your Drugs," where the band members switch off instruments and get away with it). It's hard to pick favorites, but the dreamy, unpredictable, and carefully harmonized ballads seem to work the best ("Winchester"; "Airscape"; "The Leopard"). Elsewhere, there are a couple foot-stompers that edge toward 50's nostalgia ("Somewhere Apart"; the aptly named Metcalfe showcase "Bass"), some minimalistic, experimental numbers that are arguably dull ("The Black Crow Knows," a Gregorian chant REM-style), and a rambling, but interesting Brit-folk story song ("Lady Waters & The Hooded One"). There are a bunch of radio-friendly rock tunes here like "If You Were A Priest" and Hitchcock's subtle political satire "The President," but they're icing on the cake. Produced by Hitchock and Metcalfe, who handles a lot of the keyboard parts.

(J. Allroy)

Kaleidoscope World collects all of the Chills' early singles, starting with their contribution to 1982's Dunedin Double, Flying Nun's first release, through their 1986 single "I Love My Leather Jacket." It's clear right from the start that Martin Phillipps was a special songwriter and he was able to inspire whatever group of musicians he had backing him to great heights. Their very first song to see the light of day was the song that gives the collection its title, and it's an instantly hooky, restrained slice of underground pop that has a timeless feel. Phillipps was able to tap into this kind of warmly rollicking song almost every time he brought the group into the studio. The comp is full of songs that capture the restrained beauty and breathtaking emotion of that first attempt, seemingly in effortless fashion. "Pink Frost," "Rolling Moon," "This Is the Way," and "Purple Girl" all fit the bill; so does the slightly more rocking "Leather Jacket" and the morose but still pretty "Doledrums." Phillipps saved some of his weirder inclinations for B-sides, and it's fascinating to hear the straightforward pop songs balanced with these experiments and offbeat tunes. The disc provides a look at the formative work of one of Flying Nun's best bands, which is saying a lot, and also helps Chills fans who may not have been quick enough on the draw to get the original singles a chance to have all these great songs in one easy-to-digest package.

(Richie Unterberger, All Music Guide)

Actually this was first issued as a tape in 1984, and then on vinyl in 1986. It's not the most outstanding of their efforts, but it's a reasonably solid survey of their combination of savvy pop melodies with idiosyncratically English weirdness. "Song for Syd Barrett" isn't the only thing here reminiscent of Television Personalities, but Newell crafts a more diverse sound, using touches of glockenspiel, drum machine, sleighbells, and even a saucepan to embellish the guitar-rock core.

(by Richie Unterberger, All Music Guide)

... endlich, endlich, endlich! Das legendäre, fast einviertel Jahrhundert alte, längst verschollene Debütwerk der Jayhawks (1986, auf Bunkhouse) kommt erstmalig als regulärer Silberling-Release raus (mit aktuellen Liner Notes von Mark Olson) und sollte alsbald alle Country Rock-erprobten CD-Player dieser Welt auf Wochen und Monate blockieren! Soooo stark!! Wohlgemerkt, das waren die Jayhawks im ganz jungen Alter (Anfang 20), drei Jahre vor 'Blue Earth', das fälschlicherweise viele als eigentliches Debüt wahrgenommen hatten, sechs Jahre vor 'Hollywood Town Hall', das bei den meisten als Jayhawks-Nonplusultra im Rocklexikon steht. Das war die ganz fest in der blühenden Minneapolis Indie-Szene verankerte Band von Mark Olson, der als Leadsänger im geradezu "unverschämt" unverblümten Gram Parsons-Stil und nahezu alleiniger Songautor klar vorneweg marschierte. Gary Louris erhielt immerhin schon drei Co-Credits, spielte die ständig twangig-präsente, chicken-pickende, an James Burton und Clarence White angelehnte Electric Lead, sang die einzige Harmoniestimme. Marc Perlman am Bass und Norm Rogers als Drummer komplettierten das Quartett, der eher in konventionelleren Kreisen (Leo Kottke, Steve Young, Peter Lang) verkehrende Cal Hand steuerte herrlich heulende Pedal Steel-Licks bei und Producer Charlie Pine bearbeitete auf 'King Of Kings' ein Honky Tonk-Piano. 'Sweetheart Of The Rodeo', 'Gilded Palace Of Sin', 'Burrito Deluxe', 'GP' und 'Grievous Angel' watch out, those were the Jayhawks back in 86!

(Glitterhouse)

Paul Roland is a singer-songwriter, author, journalist and paranormal researcher. Since the release of his first single Oscar Automobile in 1979 Roland has been spinning his tales against a backdrop of gothic rock, psych-pop, folk and, occasionally, baroque strings. His character creations include a Regency magistrate, various 19th Century murderers, a retired executioner, an opium addict, and an entire court of medieval grotesques. Paul has been called 'the male Kate Bush' by one-time label mate Robyn Hitchcock, and 'The Lord Byron of Rock' by influential French music magazine Les Inrockuptibles. House of Dark Shadows came out in Germany (only) in 1985. Originally a compilation album of the first album and some singles, it is seen by many as one of Paul's strongest records ever. It features classic songs like "Blades of Battenburg" "Captian Blood" or "Death or Glory". For this first proper re-issue on CD, we have re-installed the original artwork. The album has been remastered for this edition, and as if this weren't enough, we have added five previously unreleased songs from Paul's archive. A milestone in dark-themed rock music coming back to life.

Originally a German only release back in 1985 it collects tracks from Paul's first album along with an assortment of singles whilst also adding five essential and previously unreleased bonus tracks. Roland's music should need no introduction but for any uninitiated listeners, his is a back catalogue of psych riches that range from baroque, string filled tales of wonder, whimsy and terror to full on lysergic garage rock. 'House Of Dark Shadows' contains several of Paul's immediate classics such as the ominous, synth-accentuated anthem 'Blades Of Battenburg' and the chamber psych pop of 'Burnt Orchids'. The mastering is exemplary. These tracks (some roughly thirty years old) sound crystal clear and Roland’s richly textured and detailed mini-symphonies sound immediate, resonant and powerful. (...) All of Roland’s catalogue is highly recommended and it is gratifying to see some of his earlier work being presented in such a considerate and thoughtful manner. For fans this album will be essential on account of the unreleased material; for others it offers an excellent introduction to one of the UK's finest and most individual songwriters.

(The Active Listener, February 2016)

If you do not own the original version of the Pastell LP or the reprint CD on French label New Rose of this Paul Roland compilation, this could be an excellent opportunity to hear a compendium of his first mini album associated to an assortment of the first singles, stuff that has passed almost unnoticed when it came out but, in retrospect, really valuable. It is, in short, a sort of antechamber and introduction to what would eventually be a psychedelic production of consummate value and that still does not seem, although with a slight pause, to interrupt, and already containing the ingredients of the following work: Gothic stories, Baroque tales and Victorian novels, mystery, horror and terror, all seasoned with folk sounds, lysergic and psychedelic, sometimes enriched with exquisite string arrangements. Peculiarities of this new edition are five previously unreleased tracks on which it is worth pausing a moment. The first is Midwych, with almost longed voice and a sweet and delicate xylophone in the background. It follows Shiloh, acoustic ballad with organ and guitar in folk colors. Then there is Versailles, with sounds and melodies of the classical Pauls style, a song that would not at all disfigured in one of his mini LPs. And yet Count Magnus, gloomy but at the same time dreamy, with its tolling of bells. Finally Summer of 1910, almost a military march, even this one beautifully arranged.

(Amazon.com, April 2016)

PAUL ROLAND is a master at creating moods and atmospheres to suit the subject matter of his songs and with his fascination for the gothic all you need to do is close your eyes and you're standing under a flicking Victorian gas-light as a horse drawn carriage disappears into the misty midnight....he can effortlessly conjure up visions of highwaymen hanging from wayside gibbets, blood stained swords and smoking muskets on a muddy battlefield or spin an eerie soundtrack for a bizarre Edwardian murder. Musically the tape is a real delight and features superb guest appearances by ROBIN HITCHCOCK and KNOX(reason enough for investigation) but it's Mr Roland's wonderful keyboard and string arrangements that hold the key. "Burnt Orchids is a gorgeous blend of Left Banke and 1967 Zombies and "Madelaine" is equally sublime with its gently strummed acoustic, rich strings and Hitchcock's oh-so-tasteful backwards guitar. "Green Glass Violins" is yet another evocative Left Banke-like tune with its rippling harpsichord and gently lilting strings and "Ghost Ship" is a Marie Celeste voyage to equal the nautical feel of Procul Harum's great "Salty Dog" or "Wreck Of The Hesperus". Roland's vision of 'rock' is totally unique and on tracks like "Captain Blood" and "Death Or Glory" you'll find Knox's dark psychedelic guitar providing the twist with its sinister overtones to otherwise gentle melodies. His vocals are a neat blend of Syd/Peter Perrett/Hitchcock that just add to the gothic.

(www.rainfallsite.com)

Nicht nur die TV Personalities wissen, wo Syd Barrett lebt. Die Shiny Gnomes aus der Nürnberger Gegend wissen ebenfalls Bescheid. Der ab- und weggetretene Pink Floyd-Mastermind ist eines ihrer Vorbilder. Die beiden anderen sind mutmaßlich Arthur Lee und John Lennon. Das ergibt einen Psycho-Halbpunk-Poprock mit Sixtieswurzeln, den die Band mit Wire-mäßigem Erneuerungswillen auf den heutigen Stand bringt. Die Orgel schiebt mächtig an, die Gitarren jaulen und brodeln königlich, Bass und Drums wirbeln, hindern aber zugleich die Musik am Verflüchtigen. Limo, Hanz, Gasmann und Mikki spielen nur eigene Stücke, die entweder einen geschmeidig fließenden Aufbau haben oder sich durch gewagte Sprünge auszeichnen. Und wer wagt gewinnt! Die Shiny Gnomes laufen auf ihrer ersten LP zu großer Form auf und krönen ihre tadellose Leistung mit dem indisch getränkten Temple Balls.

(TIP, Berlin)

Nach diversen Kassettenveröffentlichungen auf dem eigenen Servil-Label ist nun das Debüt des Paisley-Pop Spezialisten Limo und seiner Band The Shiny Gnomes erschienen und übertrifft die Erwartungen bei weitem. Nach ihrer Debüt-Single Sexmaniac erwartete man eine gut gemachte, solide Psycho-Pop Platte! Doch Wild Spells ist mehr als das: Eine brillant produzierte Tour-de-Force durch Psychedelic Underground, Rock´n Roll und Paisley Pop, mit exzellenten Texten wie Cryptic Tones, Daddy´s Stroboscope oder Sitting In My Shrine, kleine verschroben-mystische Geschichten, neben der üblichen Rockbesetzung eingespielt mit exotischen Intstrumenten wie Maultrommel, Sitar und Trompete. Packende populäre Songs mit internationalem Standard, auf Platte ebenso fesselnd wie bei ihren Live-Auftritten. A Band to watch!

(Zeche-Zeitung, Bochum)

Die Shiny Gnomes kommen aus der Gegend von Nürnberg und ihr erstes Album ist ohne Übertreibung eine der besten Scheiben, die ich in letzter Zeit bekommen habe; dies wohl deshalb, weil ich ein fast hemmungsloser Anhänger der besten aller Pop-Musik-Äras bin, nämlich der 60er Jahre. Den Gnomes ist eine LP gelungen, die ganz eigenständig, ideenreich und songmäßig überzeugend ein Sixties-Revival zustandebringt, das weit mehr ist als aufgemotztes, zur Zeit chart-übliches Aufwärmen. Da kreuzen sie Garagen-Rock mit Mod, da flimmert Folkiges durch die Song-Spitzen, fiepende Orgel und Fuzz treffen sich in höchst befruchtender Weise und an jeder Ecke wehen einem dichte Psychedelic-Schwaden ins Gehör und Gehirn. Eine Kreuzung zwischen Syd Barrett und Wire? Ein bisschen. Eine fantastische Synthese aus allem, was die Mid-60´s gut machte? Eine Menge! Eine starke LP, aus der man keinen Songs hervorheben kann, weil sie alle so stark sind? Jaaaaaa!

(Pupille, Würzburg)

Hallelujah All the Way Home finds the band looking for a style, somewhat aimlessly. Through epic-length complex compositions, the band sometimes loses its way, but in a few cases (such as "It Was Raining") a glimpse of potential is revealed. Not a great album, but a few very good songs.

(Chris Woodstra, All Music Guide)