I heard Milo’s song Look Away and immediately was transported to another musical era.  I’ve since realized this was by design, and have really enjoyed myself listening to the lovely details. Look Away, it’s all the best of k.d. Lang’s adventurous album Ingenue, with a dose of Philly soul and maybe Burt Bacharach hovering in there as well. Enchanté Monsieur is the same, except that I’m thrown into a 60’s Malibu (or is it Monaco?) beach scene. Totally fell for this one halfway through first listen!
— GEORGE MERRILL, Boy Meets Girl, songwriter for Whitney Houston
 
There is a genuine grittiness to Milo Starr Johnson’s music, the sort that is not manufactured but rather one that is honed from life experience. That said ‘Look Away’ exposes Milo’s soft underbelly in the sweetest of ways. This is considered dream pop, the sort that St. Etienne used to drop at will in their heyday. The instrumentation weaves in and out of beautiful consciousness so that the listener can focus on a voice that squeezes every ounce of passion from a performance that levitates. This is absolutely gorgeous, a break from the incessant noise of modern life and is a recommended tonic for anyone who has paused in delight at the sound of an unknown piece of music.

Vampire Daddy’... is a song imbued with a classic sense of self... a confident bluesy number that would cut through the idle chatter in any venue.
— KEVIN HUGGER, music blogger, record label owner, PR executive
 
(Vampire Daddy) Waves of distortion and a suavely confident vocal delivery makes this track enticing from the get-go, with the fuzz-friendly guitar lead and bluesy ferocity making for a good one-two punch in regards to the instrumental arsenal. I dig the choice to keep the vocals mostly nonchalant and back in the mix, allowing the bluesy distortion to fully envelop the soundscape. The “goooone” effect around 02:25 is a great touch as well! The track has plenty of charisma, showing Milo Starr Johnson as an act full of potential.

(Family Album) Stylistic approach - playful and narrative lyrics alongside brisk piano-led pop progressions - reminds me of Squeeze, and fondly so. Great use of backing vocals throughout, with some really great piano flourishes... This track is enjoyably understated from a stylistic point, but certainly shows an artist I’d love to listen more of.
— MIKE MINEO, founder/editor of Obscure Sound; music PR professional
 
(Look Away) Much to like here. Vocals are lovely and on point... intriguing and charming, and I’d love to include it on shows and playlists.
— ANDREA YOUNG, artist development agency, record label, new music radio show
 
(Look Away) ... cool cabaret-flavoured song... seems to be a 60’s vibe to it - I kept thinking of music by Nico, Marianne Faithfull and Dusty Springfield as I was listening, but there’s more contemporary inspiration afoot that reminds me of Martha Wainwright or solo stuff by Tracey Thorn of Everything But The Girl... great voice with some raw edges, and I love how horns are making a ‘comeback’ of sorts and sound great here.
— BILL SMITH, Toronto's music blogger BILLCS Music Blog and the BILLCS Top 30
 
(Vampire Daddy) ...definitely had me hooked from its down ‘n’ dirty, swamp- blues sound... sweetly ripe, seductive vocal delivery. Love the zig-zagging rock ‘n’ roll guitar reverb, punchy drum beat, and sharp lead electric guitar line - all very The Cramps-like - along with ... alluring vocals and amusing, story-telling lyrics about a ‘vampire daddy’ who “...goes to sleep at dawn / Four am / Don’t even yawn... I felt like I was listening to the audio track of and soundtrack for a campy, Rocky Horror Picture Show-like film! And that’s a very good thing. But I also enjoy... the more traditional swamp-blues sonics of fiery guitar distortion and drum beat stomp. Well done!
— JEN DAN, music reviewer and artist interviewer at The Big Takeover, Stereo Embers Magazine, Rebel Noise
 
(Family Album) ... crisp, clean, and well-mixed. Same goes for the lyrical content—it’s quite a story to tell. I think it’d fit well among folk songs of the late 60s. I could imagine it on a compilation with Peter, Paul, and Mary and CSN&Y, perhaps. Nice job on this one.

(Look Away) Love the production quality of the recording. Really evokes the 60s and 70s vibe you’re going after... plenty of talent and experience in this song.
— WILEY KOEPP, owner/editor, Coyote Music
 
Very nice production, the playing is excellent… fun and quirky songwriting. (Milo) does a really solid job, she has a soulful voice and sounds at home on the jazzy-leaning numbers. I liked Look Away, Bad Dream Blues, Family Album, The Waiting Song, and Melt quite a bit.
— DONDI BASTONE, music supervisor (Descendants, Sideways, Election)
 
The CD is fabulous. The whole thing from start to finish. Milo did a fabulous job, everyone is playing beautifully. The songs are fresh and original. The arrangements—everything—it really works on every level. It’s just awesome.
— RAZ KENNEDY, performing artist, producer, vocal coach to Counting Crows, Todd Rundgren, Lavay Smith, Jerry Harrison (Talking Heads)
 
(Milo Starr Johnson) “write(s) well. (Her) songs have color and brilliant ideas.”
— ANDRE PESSIS, songwriter for Ben E. King, Waylon Jennings, Bonnie Raitt
 
On “Vampire Daddy” by Milo Starr Johnson, the listener is treated to three-and- half minutes of blues-soaked rock in the spirit of countless bands that have come before, but perhaps most immediately recalling the work of The Black Keys. A strong female lead vocal is the true source of power behind “Vampire Daddy,” giving the song an authentic grit and lyrical sincerity that is not always found in the blues-rock genre.
— LEKS MALTBY, Aside/Beside