“Sonically ,the record sits somewhere between the glacial pace and textural meditations of HTRK and the spectral brutalism of Throbbing Gristle (the elegiac “Bonus Life”, in particular, recalls the mothball dirge of “Convincing People”). On the cusp of dissonance, synth and organ tones fill the space wonderfully, as vocals surface on heavy rainclouds of polyphony. All this, set to minimalist drum loops that make Beach House sound like Art Blakey.” – The Daily Dart, Melbourne

“Across four blasted slow-mo nocturnal pop songs the group trade frail/wayward boy/girl vocals and sing haunted lullabies that combine the macabre emotional weight of The Kiwi Animal with the kinda narcotic international underground appeal of that killer Beat Happening/Screaming Trees EP. Droning keyboard and nod-out drum machines are illuminated by simple hymnal melodies that combine the kinda austere atmosphere of the late Shadow Ring recordings with a dosed Spacemen/Spectrum vibe and a Pip Proud crying-at-the-moon appeal. Lonely, raw basement exegesis at its best.” – Volcanic Tongue, Scotland

“The name “Elli And Bev” makes me think of two old friends, ostensibly blue-haired senior citizens with reserved seats at bingo night, and while the two behind this project surely have the better part of their lives ahead of them, that same sort of adorable camaraderie is evident here.” – Yellow Green Red, United States

“Music is not a commodity despite being just that; so it takes patience to find something genuine. Or a knock at the door from Natalie and Karl of Elli and Bev. The doomed, affected vocals over gloomy melodies is the rain and the clouds and the dusk. Tangible emotions tied up in musical reaction. I can dig it. Maybe that was the root of punk.” – Tiny Mix Tapes, United States