Shoosh is a trio of musicians, combining guitars and Americana-influenced songwriting with all manner of perplexing electronic programming and treatments. 'Snake Eyes' is a little like Sparklehorse or perhaps Benoit Pioulard - all distorted and twisted out of shape, with a squeaky, obfuscated vocal in place to remind you that you're listening to an actual song rather than the Fennesz-influenced soundscape it might otherwise resemble. The vocal will almost certainly take some getting used to in fact, but once you're accustomed to the sheer oddness of Neil Carlill's delivery (imagine a cross between Dose One and Mark E Smith) there's an awful lot to like about this record - in a world crammed with electronically treated songwriting efforts, Orpheum Circuit somehow manages to sound like it's really out there on its own. Boomkat

Shoosh, the trio of Ed Drury, Neil Carlill and Craig Murphy, have a different approach to their music. More guitar-based than Cheju, Shoosh features a love-it-or-hate-it vocal style. Their track “Elastic Soil” is predominantly guitar-based but also features some soaring electronic textures underneath it all. Their second track, “Come in from the Cold,” is weirder still vocally and features shimmering electronic swirls and acoustic guitar. The first of their tracks sounds like Bowie meets Genesis P Orridge while the second is more like Dylan; both sound like drug-addled psychedelic folk - uniquely blissed out weird psychedelic folk excursions.
Igloomag

Shoosh are a different proposition altogether, combining the talents of Craig Murphy (synths, programming), multi-instrumentalist Ed Drury and former Delicatessen frontman Neil Carlill, who provides rather unique vocals. A starlit chime introduces “Elastic Soil” but will not prepare the listener for the intergalactic journey they are about to embark on. Murphy’s spectral drones provide the template for Drury to weave a beautiful Spanish guitar arrangement atop, while Carlill delivers his indecipherable yet strangely alluring vocals. Spell-bindingly inventive, shoosh construct an exclusive brand of ambient, space-folk.
Reverb Mag

Shoosh’s ghostly alluring ‘elastic soil’ is an off centred though numbingly beautiful work of ethereal psych-ambi-folk, pining celestial sheens, crooked and dust ridden stumbling acoustic flamenco strums serve as deliciously spectral montages underpinning the ether driven wandering vocal mantras - all at once hazy and disquieting though magically omnipresent the individual parts coalesce and caress like heavenly apparitions weaving in and out of view imagining Animal Collective centre stage in a celestial gunfight setting amid supernatural serenades sourced from Neil Young’s ‘eldorado’.
Losing Today

Shoosh present a far folksier prospect, first with the digitised folk of 'Elastic Soil' - which avoids all that Tunng-style folktronica business thanks to its strained and unhinged vocal - and the rather lovely 'Come In From The Cold', another swirl of guitars, screeching synthesis and that strangely compelling, warped voice. Boomkat


While other shoosh compositions come across like a space-age version of Pink Floyd, “Elastic Soil” finds them exploring a different plain altogether. Carlill’s vocals immediately pique the interest with its multi-tracked and warped out of shape tone. These are cushioned by a galaxy of spectral drones and superb Spanish guitar work to create this highly inventive piece of music. Angry Ape

Shoosh's Elastic Soil features flamenco guitar and woozy, processed vocals stumbling around in a sweetly acrid haze. The Wire

Of more interest, I thought, was the music of Shoosh, a three piece group of Ed Drury (guitars), Neil Carlill (vocals and lyrics) and Craig Murphy (synth, programming). In 'Elastic Soil' they sound like an electronic version of Current 93, with a strong similarity in the vocal region. In 'Come In From The Cold' things turn even more down and moody, with sparse electronics, ending in total ambiance. Vital Weekly

Shoosh is definitely more leftfield. Their two tracks explore a psychedelic world. ‘Elastic Soil’ begins with Spanish guitar before some warped vocals convey an evening of stoned abandon in Madrid. Leonard's Lair

The guitars are Iberian and the wooze is warm and writhes like animated spaghetti. It's quite a nifty little late night stoner track, phased vox n all, would be very much at home on any number of old Tyrannosaurus Rex albums. IS IT ANY GOOD? Yeah, it wont be featured on a chart show near you, but that's not the point, is it? Unpeeled