AE3

This is the second release of Lucid. Murky visions of secret gardens, childhood
reveries, mystical journeys and imaginary bugaboo's? Perhaps, but as always,
the listener can decide for themself where the sounds and music takes them.

There is a mysterious intimacy to the music of Lucid that must be experienced
in quiet, patient turns. Though I'd call Lucid 'difficult music', I would still include
them in a world that has made a place for the likes of John Cage, Pram, and
the Cocteau Twins. Lucid's music - they seem only barely concerned with
constructing anything like a song - is full of interesting corners, filigreed detail,
and boxes that, when opened, just grow more and more curious. Indeed, if
anything, listening to this remarkable LP (full of buzzing bees, half dreamed
melodies, creaking doors, and Cheshire Cats) is like stepping through the
looking glass. Lucid make music that is part hallucination, part daydream, part
memory. They are romantic, listful, haunting, delicate, and slightly, elegantly
macabre. So full and convincing is their world, that it's easy to forget that this
disc is even on. It seems, all too strangely, like the sounds, words, noises
falling through your brain, into your heart. A strange and entirely compelling
experience.

(S. Duda) The Rocket 12/96.

Etudes for watchsprings, wrenches, and human voices distance Lucid from the
4ADemented masses and Projekt's 'gothique' absurdists. Uncomfortably simple
musings such as "One Of The Clearly" conceal startling depths: two-note piano
chords and concrete indercurrents refract into accreted layers of weightless
density. Galloping rhythms quickly fragment into tape-loop distractions
('The Heady Elemental') or arise spontaneously from static beehive drones
('Swarming Sweet'). Idylls challenges listeners to abandon preconceptions and
to accept the band's own fascinating terms. Perhaps the audience that opened
it's doors to Rachel's and His Name Is Alive will welcome the exquisite poetry
of Idylls.

(Gil Gershman) Alternative Press 4/97.