"... it would take a malcontent of the highest order to find many faults with this superb example of modern songwriting. While comparisons can be made to other forward-thinking acts, Au genuinely feels like a blank slate record: it is devoid of many thoughts of the past, instead relying ..ing little, unique pictures with sounds. The whole album soundtracks a stimulating encounter between song and sound. At times haunting and morose, at other times uplifting, Au is a mixed bag with plenty of tasty tricks. Rather than patching things together like a weekend carpenter in a vain effort to make a million things "fit," Wyland employs the skills of a seasoned curry cook, sprinkling in a measured variety of sonic concepts like garam masala into the finest of dishes. Wyland and his Au collaborators have produced an accomplished and commendable album. Dig in and dig often." Tiny Mix Tapes (David Nadelle)

"The sound design on his eponymous debut under this name feels composed by his amplification of the taken-for-granted. His process, unconscious as it might be, leads to an album of free music that is dynamic and serene; songs guided by an understanding of the bucolic that grasps its elegance as well as its occasional tumult… Au is both expansive and accessible enough that it leads listeners to take from it what they feel comfortable with, or to read themselves in his arrangements. For a record so entranced with an en plein air approach to music making, it refreshingly offers the opportunity to leave a unique footprint." Pitchfork (Eric Harvey)

"The swelling orchestrations of Portland, OR's multi-faceted Luke Wyland throb and heave at a steady pace like bruises on the mend… Wyland's arrangement brings the banjos and flirtatious chimes/ cymbal crashes to the forefront, interspersed midway with a raucous drum-thump that might lead one to blissful abandon." Flagpole (Daniel Boroughs)

"These bucolic songs balance between an Appalachian earnestness and Animal Collective's wide-eyed ramshackledness, all in part thanks to Wyland's pointilist clouds of charmed minimalism. With a voice that croons, cackles, and wails as the reincarnation of Brian Eno's 70s pop guise channeled into a post-Devenda Banhart persona, Wyland situates himself as the ringleader to Au's ecstatic escapades which wildly shift from rustic, pastoral atmospheres of cyclical piano flutter and saloon-swooning ditties into a frolicking bluster of cacophonic percussion, guitars, and Wyland's polydactyl piano… While things are probably looking up for Au's future, things already look pretty damn good judging from this release." Aquarius Records (SF)

"…darn if I don't swoon every time I put on Au's newly released, self-titled debut album and give myself up to its eight gorgeous tracks of shimmering, consonant experimentalism. Au manages to erase the high art/low art boundary between American contemporary classical music and American pop music, blending them into a simple, compelling, verse-chorus celebration… (and) is the rare band that can reinvent its songs live and still manage to match their recorded quality....You will not be disappointed." -Cary Clarke, Portland Mercury

"Au's captivating, blissful self-titled debut of gently torn and crumbled pop songs has my ears humming like nothing else Portland's put out this year. Just now, in between this sentence and the one prior, I forgot for a moment I was even writing about this and fell into it like the wonderful dream that Au is. Melodies shake from within ambient fog, folk songs play with their own shape (think a chamber-informed Animal Collective), voices drift and drone--it all happens together, magnificently. I'm smitten. You will be, too." Willamette Weekly- MICHAEL BYRNE.

"This stuff will make you breathless, wisp you away into a strange but beautiful land, and then slam you back into the real world head first…I can't recommend this enough for fans of modern experimental folk." Undress Me Robot – Roman the Fury