"Apart from some haunting layering of vocals, Marshall's earthy, sensuous voice remains evocative as ever. The songwriting and arrangements are … steeped in imagination, catharsis and surprise. '3, 6, 9,' for example, conjures the baroque pop of the late 1960s Beatles as if spun through a centrifuge, while 'Real Life' mixes techno propulsion and sung-spoken vocals to hypnotic effect. Several other tracks, including 'Cherokee' and 'Always on My Own,' fuse ambience and angularity in the spirit of Wire's classic second album, 'Chairs Missing.' Marshall's record builds gradually, with a tendency, early on, toward minimalism and austerity, giving way to increasingly bold and dramatic moments as it builds to its climax…. It's with the set- closing 'Peace and Love' that Marshall really abandons herself to her newfound creativity…. Her performance not only demonstrates her knack for the big statement, but does so with the pop-funk panache of a big-time rock star."—Washington Post