- Critic score
- Publication
- By date
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Entertainment WeeklyThe sweetly pained vocals sound darn similar to Beth Orton's. [25 Apr 2003, p.151]
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UncutIt's almost disturbingly accomplished. [Jul 2002, p.103]
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BlenderOffers a twisted melancholy David Lynch would applaud. [May 2003, p.120]
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Alternative PressWhile her songwriting is strong enough, it's Hayes' love of smeared guitar noise and other wordless joys of progressive production that are really on her side for this album. [June 2003, p.96]
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FilterThe split personality of [Night on My Side] begs the question: which is the real Gemma Hayes? [#5, p.91]
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She doesn’t attempt to emulate the pedantic attention to detail of Kevin Shields, largely avoiding the dreamlike wooziness of Loveless, but rather builds on the cathartic emotional impact that feedback and noise can lend to melancholic melodies.
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Hayes gives us six really good songs and six ordinary ones, but the better songs are good enough to make this album a very worthwhile listen.
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There's an innocence that's like slow dancing at twilight that sets Night On My Side apart from all the rest.
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If Hayes had let her disparate styles duke it out a little more, some of the material that tends to run together might have been thrown into sharper relief and become more memorable for it.
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Q MagazineNight On My Side is undeniably flawed... but there's enough here to suggest a future that's far from bedroom-bound. [June 2002, p.116]
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This clash of sweetness and discordance can be irritating.
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Somewhere, though, this Irish girl's crisp pop debut went awry.