“The first reports of the project in 1990 promised an album of ‘just acoustic guitars and lots of harmonies,’ and when that material was absorbed by Crowded House for Woodface, it was proven that the team was capable of making near-perfect pop. Those expecting Woodface Part 2, however, are in for a surprise — Finn is a moody, atmospheric” (Woodstra) and “quirky” (half.ebay.com) “album that shows a more spontaneous and experimental side with the brothers playing all of the instruments, including ukuleles, Chamberlain keyboards, mellotron, and tea chest bass” (Woodstra). This “is a modest, understated album that successfully combines the conventional beauty we've come to expect from Neil's melodic work with Crowded House and the eccentric charm typical of Tim's edgy post-art rock Split Enz” (Sarig).

“Producer Tchad Blake helps lend an eerie, dark, yet spacious quality to the tunes” (half.ebay.com). “Neil's voice is richer and deeper while Tim's is thinner and higher, which makes for harmonies as perfect as Lennon and McCartney's” (half.ebay.com). Only Talking Sense “succeeds in combining Tim’s angular minimalism with Neil's plaintive croon” (Sarig). In regards to the latter, Last Day of June is “the only song penned by Neil alone” (half.ebay.com). “The piano balladry of Where Is My Soul reeks of popster Neil” (Sarig) while “the warbling synth of Eyes of the World is all new wave Tim” (Sarig).

“Just when we begin to think we've heard it all before, the Finn brothers give us the bossa nova bounce of Mood Swinging Man and the tango sway of Paradise--evidence, perhaps, the lounge revival has reached down under” (Sarig).

“Though most projects of this nature get hung up on the ‘concept,’ this one succeeds because the Finns' pop songwriting sense allows the songs to come first…the material on this album is among the pair’s finest, together or apart” (Woodstra).