The album opens with the track from which this phenomenon is based, a love story that plays out between the hours of dawn and dusk. Its synth lines and the whispery vocals from Rachael establish a curious atmosphere that matches the backdrop of the Pink Silence sky wonderfully. The instrumentation is written in such a way that it leaves the listener wanting more - Cloth are keen to not show their full hand just yet. It’s clear there is something coming but we aren’t given any indication as to what that is or how it will make us feel. As the song progresses, new textures and sounds are brought in. Distorted guitar lines, harmonies and a bassline that comes closer to the front give the track a real sense of intensity and urgency. (…)

A real highlight emerges in the halfway point of the album, ‘The Cottage’. It marks an audible shift from everything that comes before it and in many ways acts as a way for both Cloth and listeners to pause and just breathe for a second. (…)

Several tracks feature string orchestrations from Owen Pallett. The aforementioned ‘The Cottage’ is a favourite from Rachael and Paul but I particularly enjoyed the features on closing track, ‘Write it Down’. A bringing together of everything, it was always going to be the last song on ‘Pink Silence’. The instrumentation has a real sense of finality to it and the lyrics tie up any ends that had been left. A kind of continuation from ‘Burn’, the penultimate track, it explores the process of moving on from criticism to a place of acceptance. (…) Listening to the track several times over and over, one could suggest that the strings are a musical representation of the message that underpins all ten tracks on the album: that it’s okay to let go. An audible reminder that they can let the music speak for itself. It’s the perfect last song. 

(When the Horn Blows)