Excerpt: “The album delivers fifty-one minutes of reverb-drenched vocal harmonies and raw guitars that may roar but not so loudly they conceal the fundamental elegance of the band’s material (the instrumentals “Mitre Peak” and “Dry Lakes” cases in point).The group opens I Haven’t Got It In Me boldly with a dramatic, eight-minute instrumental, “Stranger,” that’s elevated by Braun’s beautiful cello playing; hearing the instrument swim through the oceanic mass generated by the guitar is a wonder to behold, and the tune’s epic quality imbues its post-rock with a rather prog-like aura.”

Textura

Excerpt: “Their ouevre is post-shoegaze / nu-gaze or whatever you’d like to call it, with obvious nods to the likes of My Bloody Valentine, Slowdive and particularly the Drop Nineteens. What stands them apart is Miriam Braun’s sympathetic cello playing. The instrument isn’t over-used, but shines when it leads the melodies rather than just being used as a background drone instrument. I Haven’t Got It In Me is a mixed bag of vocal tunes and instrumentals. It’s also a mixed bag of sonically adventurous pieces, and straightforward slowish indie-pop.

“Music Musings and Miscellany

Excerpt: “Turn the clock back a few years and most people were convinced there was something in the water in WA because of the sheer number of excellent acts who called that piece of Australia home. Fast forward to 2010 and it seems our short attention spans have been diverted elsewhere in the search of the source of the ‘next big thing’. A Million Square Miles is a compilation…. Drawing together 16 tracks from eight artists, it successfully navigates the folk, indie pop and rock genres….A Million Square Miles is a pleasing and mellow offering that is easy-on-the-ear and reaffirms the fact that there is something in the water out west.”

The Dwarf

Excerpt: “Formed around the talents of multi-instrumentalist Chris Mason, ‘I Haven’t Got It In Me’ is an often brilliant record which delivers on both an emotional and melodic level… Beginning with organ swell and percussion, ‘Stranger’ is a perfect way to introduce fifty minutes of warm melancholia. A rich beast in itself, the same track ends in beautiful layers of shoegaze effects and Miriam Braun’s mournful cello. Better still is ‘City Sleeps’, which is spine tingling as soon as Braun’s cello kicks in and the goose bumps are maintained when she teams up with Mason again on vocal duties. It’s a truly perfect song. [The record is] superbly produced and varied enough to keep fans of old and new dreampop very satisfied indeed.”

Leonard’s Lair