Lorin Reid, Journalist

This record’s a slow burner that slips into the background of your consciousness over time, and once there it will find a reason to stay lodged for a long while.

With no hint of an encore, the UniBar proved a timid audience and it was an intimate show for the rising stars. As a credit to Gold Fields, they made it work.

The Long Time is a rounded and complete effort compiled from the flowing and orchestral influence of Wheeler’s experience shaping film scores, but with the added pull of modernity, electronica and beats

It’s an album you can’t place or date; it’s universal, floating through space a cut above the rest.

The great thing about this album is that it doesn’t surrender and lay down in front of you; rather it demands a bit of work from the listener and is rewarding if you’re willing to put the effort in.

The intrigue is so strong that this album, although very experimental, leaves a strong imprint on the memory. It evokes a perfectly acceptable sadness and reflection that needs a few listens through to sink in.

Mark With The Sea has an accomplished, deep, round the campfire growl and some nice guitar accompaniment but he’s taken on too much with additional instruments and his songwriting needs a bit more time to ripen

A no nonsense and humble yet electric set from a band who are about to make a lot of noise, Buchanan played it cool with the mantra, “let’s get on with the fucking show,” and through the cacophony of chatter and clinking schooners, they did.