On his fourth album, this great Irish songwriter continues to creep under the skin and behind your defences, his hushed songs, spare lyrics and diffident baritone detonating with real impact, for all that they arrive by stealth and without the slightest suggestion of an imminent explosion. Crowley deploys restraint as a deadly weapon, the self-recriminating Leaving the Party merely a repeated guitar figure and mumbled, mournful singing, which gives the eventual entry of added instrumentation, rhythm and ghostly backing vocals incredible force. The sawing and swooping strings on Walk on Part (“Of all the bedrooms in this town, you walked into mine”) create a similar frisson. This is a wonderful album.
Dan Cairns, Sunday Times (6/1/08)

It's not quite My Morning Jacket harnessing the acoustics of a Kentucky grain silo or The Knife channelling the spirit of Stockholm's underground catacombs. But Irish songsmith Adrian Crowley's fourth effort was recorded inside his very own quilted Abbey Road – a self-constructed castle of mattresses in his sister's house while her Dalmatian dog watched on.
A barmy set-up, yes. But the product is a lo-furnished, snug, auburn-tinged folk album which calls to mind Bill Callahan, Johnny Cash and Edwyn Collins clinking Toby mugs in a country hotel. Most assured moment, rosy-cheeked folk-tail 'These Ley Waters,' sounds like a tumbler of brandy, lush, full-bodied, while the gorgeous Atlantic-depth of 'Star Of The Harbour' - where Crowley softly witters about how his bones will be "powdered and mixed with coral" ("the sea and in water in general is an influence" apparently) recalls fellow countryman Fionn Regan. Emphatically lovely.
Greg Cochrane, NME (4/1/08)

For his fourth album, Crowley decamped to Dublin, removed most of the furniture from his sister’s house and soundproofed it with mattresses. The reflective songs that resulted bring a striking grace and dignity to the ever-fertile Celtic Albion indie folk scene. Striking accompaniment from such luminaries as James Yorkston highlights the gentle but illuminating nature of Adrian’s voice, while the songs’ sea-borne imagery provides a compelling backdrop.
Daily Mirror (4/1/08)