SAN FRANCISCO WEEKLY
"...their three song EP Boy With the Aluminum Stilts affirms that their upcoming album, In the Russet Gold of This Vain Hour, will be as lovely as its name. Lush instrumentation, abstruse lyrics, and delicately puissant
vocals...Intelligent, seductive, a little bit cruel.”

Simon Raymonde [Producer]
Naturally, as the producer I was always worried about this EP, but for all the wrong reasons.....cos as an Englishman we have always used & spelled the word ALUMINUM,'alumin-ium'. And once Matthew had recorded the vocals so beautifully, it felt a bit cruel to patronisingly point out that he was missing the crucial vowel 'i'. I silently conceded that this must have been another quirk of your curious cultural cross-fertilization of the English language. Ha! The Autumns are really the most ridiculously talented band, an absolute dream to work with, and I am secretly very envious that they are beginning this journey now, toward a glorious future. After playing a couple of shows together, I had rediscovered the joys of performing live, and now back home, am missing that unique bond that being part of a group allows. As for the EP, the Garlands recording was a real blast, a totally live recording in Cotati, SF, and mixed in a similar style at September Sound.

THE PHANTOM TOLLBOOTH
"The Autumns have found a way to be passionate without angst and atmospheric without over-emphasis on distortion...The three tracks are expansive in vision and sound, clearly transmitting the emotion of the pieces, even if the diction isn't always clear enough to convey the lyrics without careful inspection."

SWIZZLE STICK
Three more songs of sonic dream-pop bliss from this L.A. band that sounds more British than most of the imports you'll find in your local record store. It sounds like a lot of work was put into these brilliantly
constructed songs, especially "Boy With the Aluminum Stilts," which, to me, the novice dream-pop listener, sounds an awful lot like the Cure. The Autumns also count the Cocteau Twins as an influence (explaining the radiant cover of the Cocteau's "Garlands") and the Cocteau's bassist Simon Raymonde produced the three songs on this EP. When I saw this band perform an amazing live show last year, they reminded me of what I like about Catherine Wheel - purely passionate dream-pop with a slight edge. Hunt this one down and keep an eye out for the full length, "In the Russet Gold of This Vain Hour," due in stores in early 2000.