"Josephine Foster...a veritable Shirley Collins...manages what some might liken to clandestine amateur opera: her voice is quiet, shaky even, but she manages a practiced control over her pitch and delivery. Which is important: Foster often taps into a certain melodrama that finds a face only in the most assuredly private bathroom mirrors. The glam works here perhaps to its own chagrin because it sounds quite real and vulnerable..."
"With wailing singing reminiscent of such fringe folkies as Magic Carpet songsmith Alisha Sufit and one-time Loren Mazzacane Connors collaborateur Kath Bloom, Josephine Foster stirs stirring life into every one of the odes herein, her boisterous voice swooping and soaring like a kite caught at the top of the breeze..."
"Josephine Foster sounds like a time lost singer from the Snow White and Cinderella animated films. If Iggy Pop would be your deranged grandfather who takes you to brothels and slips you some weed, Foster would be the mother who sings you lullabies and strokes your hair to put you to blissful sleep."
- the Manila Standard
"Plenty of so-called acid folk singers sound like rock vocalists trying to backtrack into a purer, more idiosyncratic style, but Foster has been idiosyncratic from the start. The former opera student has a startlingly clear voice, wonderfully mannered articulation, and an impeccable sense of pitch...Her timbre isn't as plush but otherwise she sounds strikingly like Shirley Collins, the matriarch of the 1960s British Folk revival."
- the Chicago Reader