Mit einer Stimme wie der von Jane Penny blieben sowieso nur Dream-Pop oder ASMR übrig, wollte man nicht den samtweichen, an Prefab Sprout und Co. geschulten Pastell-Pop machen, den Tops schon seit einer Weile äußerst versiert praktizieren. "Bury the key" entstand in einem Studio, das laut Aussage der Band den Vibe eines Finanzamts aus den 70ern versprüht, doch scheint dem Album die Sonne so sehr aus jeder Pore, dass es auch mitten auf einer kalifornischen Strandpromenade eingespielt worden sein könnte.

(Plattentests)

Some moments recall the later records that the first incarnation of the group made in the 90s, but the lyrics and performances are imbued with much more desperation and wisdom. It wouldn't be Comet Gain without those two factors present in heaping doses, and almost every song here -- barring the hilarious Fall-inspired "Threads!" -- sandblasts the soul with wild emotional impulses, tears hearts asunder with bloody melancholy, and serves as a call to arms to the true believers. All the fancy arrangements and instrumental flourishes can't distract from the brilliance of David Christian's lyrics and the way he and Rachel Evans sing like every song is the last one they will ever do. They do add something special though, and the overall approach proves a resounding success. 

(All Music)

Their first album in six years, Letters to Ordinary Outsiders, might be the most Comet Gain title ever. It features songs originally released on Bandcamp, now spiffed up alongside a few new ones. The album was conceived as a series of postcards to those “ordinary outsiders,” and this batch of open-hearted janglepop anthems—dressed up perfectly with gang choruses, brass, vintage organs, and references to like-minded fellow cult heroes like Julian Cope and Robyn Hitchcock—doesn’t require membership in a secret club to enjoy.

Adding to the charm are interstitial spoken word missives—almost like reading postcards—between Feck and his bandmates. “Do you know what the fifth Golden Rule of Underground Rock is?” asks producer Sean Read. “Never stop.” Thank goodness Comet Gain have been following this one all along.

(Brooklyn Vegan)

In amongst the group’s uniquely idiosyncratic style there are also faint and subtle echoes - dramatically, schematically and thematically - (to these ears anyway) of contemporaries The Housemartins’ political joie de vivre (‘Honeymoon’), Deacon Blue’s poptimistic dialogues (‘Dreaming of a better day’), ABC’s surface ‘is’ depth pop-sheen (‘Last ticket to Tango’), The Smiths’ escape the doldrums dreams (‘North’), Fun Boy 3’s special s.k.a. (‘Sleeping with the enemy’) and Julian Cope’s wide-screen jerky-pop especially evident on –in true 80s spirit - the superb ‘Club Mix’ of ‘My Town’. 

(Music News)