HERON - The Brown Room

Most gloriously, The Brown Room catches an artist as yet unaffected and overawed by big-budget commercial imperatives. The mistakes are left in, and only increase the sense of a musician with a lot to say, and in a hurry to say it: What a way to begin.
The Sunday Times: Record Of The Week 3/3

A self-produced majestic effort, blending American country, '60s rock, psychedelia and electronica. Heron mixes a plethora of influences from the last four decades, whilst still conjuring up his own magical sound

The Brown Room sparkles with the wit of ‘Odelay' and the confidence of ‘Around The World In A Day'.
The Fly Magazine****

This is a very special album indeed. Heron is a modern day Harry Nilsson with tunes and attitude aplenty. He's also one of the most exiting talents to emerge this year. Don't take my word for it. Give the album a listen and prepare to have your head expanded.
4/5 What's On Magazine: Album Of The Month

Heron's DIY debut is about as indigenous to Liverpool as bikini car-washes to Siberia. Heron sounds increasingly like Oar-period Skip Spence. No mean feat.
Uncut Magazine***

A home-made delight where no consideration has been given to markets or boundaries.
Daily Express

Heron has basically managed to cram all of his influences into one 30 minute masterpiece that still invigorates with every listen, and that's why this is one album you must own this year.

The Brown Room is full of off-kilter, warped country tunes, unfocused psychedelia and lo-fi slacker rap. There is imagination at work here and the album is rarely dull.
Q Magazine***

We Get High is a perfect Gorkyesque slice of acoustic psychedelica, I'll B Your Alibi felicitously introduces Loudon Wainwright III to hip hop, while closer Every Little Thing boasts a prettiness redolent of prime Scritti Politti.
Mojo Magazine***

In the tradition of premier releases by artists like The The and Baby Bird, this debut is a mighty potent concoction assembled from creaking electronic beats and shuffling analogue accompaniments, while the songs themselves are funny, flirtatious and shot through with ripples of darkness.

This debut album has it all.
Hot Stars:****

Listening to Heron's debut, The Brown Room, is like taking a laid-back trip through a landscape of lo-fi beats and sounds, not quite knowing where you are going or where you'll find yourself at the end of the eclectic journey. An interesting example of what a perfect summer album should be.
BBC Manchester Online

Here's one of those bedroom debuts that appears to have been made with a beatbox, a keyboard and an old hairdryer. The plaintive ‘We Get High', ‘I'll Be Your Alibi' and Cotton Clubesque ‘Jukebox Saloon' are engaging indie gems - enough to win him funds to dispense with the hairdryer next time round.
The Observer

Music that is untouched and raw.
BBC Radio Stoke Online

Heron is one of those schizo singers (à la Beck and Badly Drawn Boy) that plunders from all sources and sounds. Make sure that he doesn't pass you by.

A pissed up son-of-Beck-possessed-by-beelzebub subterranean blues hoe-down. Look out, kids.
Flux Magazine

The world needs eccentric performers with supreme songwriting ability and there's none more eccentric and talented than Heron. Tracks like ‘Punk Muthafucka' and ‘Keyboard song' will establish him as a lo-fi mixture of Beck, Badly Drawn Boy, Syd Barratt and Brian Wilson, while the strange but beautiful ballad ‘Every Little Thing' has hit record written all over it.
What's On Magazine

Proving that navel-gazing still has some life in it, the album also confirms that the new acoustic movement has been beaten senseless by the left-right of iconoclastic solo quirkiness and good old fashioned electric guitars.
The Sunday Times: Culture Magazine

‘Jukebox Saloon' is what the Bugsy Malone soundtrack might have sounded like if it'd been scored by Super Furry Animals, all collapsing breakbeats and music hall piano, while ‘Lemon Aid' is lo-fi toytown dope-hop, kind of like Gonzales with less sleaze and more wonky sound effects. Heron might be just the thing we all need.
NME Magazine