“The sound is a deft take on the dreamy mid-to-late 60s pop sound. Olsen drops in plenty of anachronisms, which keeps this from being simply an academic exercise in Brian Wilson worship. He is quite adept at molding a familiar sound to his sensibilities. The production is old-fashioned, dropping in plenty of reverb and depth. In fact, I think the sound of this album is truer to Olsen's influences than the content of his actual songs. He ranges afield when writing, but the sound stays aligned with his aspiration. He's got a real feel for this sound, and he's not afraid to drop in something that is a bit incongruent. Those ‘odd’ ideas are what makes this album so charming.”

— Jon Worley (Aiding & Abetting, 9/28/17)

“Olsen’s style is that of acoustic-based pop and upon just one listen, it’s instantly pleasing to the ear.  Beginning with the opening track, “Pop Bottle Green Eyes”, you may thing initially it’s from the late ’60’s or perhaps this is a lost treasure from the Paisley Underground, but regardless, the song is a winner.  Great structure and chord shifts and those harmonies on the middle break are of a Beach Boys-quality.  “Sketchbook Traces” is not dissimilar to the Big Star-school of songwriting and catchiness and “Lilt” is a perfect acoustic hybrid of “Everybody Hurts” mixed with The Velvet Underground and The Rain Parade and any one of the “quieter” tracks off Third and sung by Tom Verlaine.  “Sunny Dream” throws me right back to the mid-’80’s in the best way and “Childhood Blur” is a perfect way to close out this maiden voyage – a lengthy workout that shows a kinship with Joy Division/New Order in its execution.

— Rob Ross (Pop Dose, 9/5/17)

“Acoustic-based pop that evokes a baroque style, as the opening track, “Pop Bottle Green Eyes” sounds like a lost single from The Left Banke or The Rain Parade. The title track is another harmonically inventive highlight, with influences that range from Brian Wilson to Game Theory.

The tempo slows as the album moves forward, “Lost and Losin’ It Fast” and “Distant Summer” have a sad, daydream-like quality. Fans of the latest Any Version of Me will also appreciate Sven-Erik Olsen for his echoing vocals and dense production style. The last two songs “Sunny Dream” and “Childhood Blur” are not as old school, but more of a textured ’80s style similar to Bauhaus or Joy Division with its heavy reverb jangle. Definitely, music that deserves to be heard.”

—Aaron Kupferburg (Powerpopaholic, 9/10/17)