“Since 1972, Tim has been creating some of the finest pop music in Australia, whether with Split Enz (Tim was a founding member and led the band for over a decade), Crowded House, ALT, the Finn Bros or solo” (Amazon.com). However, “Tim’s music has often been less easy to swallow than his brother Neil’s classic adult pop, whether adding the sillier edges to Crowded House’s defining album, 1991’s Woodface, or the more angular tunes of his gently experimental solo work” (Fyfe).
“Imaginary Kingdom is an atmospheric and joyous collection of beautifully written songs that embrace the listener with warmth and emotional honesty” (Schnee). Tim is “almost at ease with the world – perhaps with little to prove to it” (Fyfe). “It’s an engaging album from a man finally happy within his own skin” (Fyfe).
“Piano moves back to centerstage again (it was, for the most part, sadly neglected on his two previous solo releases, Say It Is So and Feeding the Gods) and Finn's vocals are a wonder to behold” (Schnee). This “is a return to [Tim’s] melodic roots filled with lush and beautiful romantic pop music” (Amazon.com). When his voice takes flight, as it often does on this release, it becomes an instrument of the angels. It's a stunning thing to experience” (Schnee).
The album was “simply recorded in a backyard Nashville studio” (Fyfe). “The band Tim and producer Bobby Huff (who has worked with Julian Lennon, LeAnn Rimes, Jordan McCoy) assembled for this album included Huff on drums and keyboards, engineer John Painter on bass, brass, keyboards and guitar along with pal Dale Oliver on guitar as well. The sessions were taped in Painter's home studio” (CdUniverse.com).
Finn’s “songwriting is stronger and more focused than it's been in years, every song filled with thought-provoking lyrical images and spine-tingling chord changes” (Schnee).
“Imaginary Kingdom’s main strength is how well the songs fit together as a whole. This is not an album to take apart piece by piece, looking for a hit. This is an album that should be heard as a single piece of art” (Schnee).
“That’s not to say that there aren’t any possible hits here, though” (Schnee). “The South Pacific nuances” (Fyfe) of “the optimistic first single Couldn’t Be Done” (CdUniverse.com) “recalls other great Finn album openers like ‘Hit the Ground Running’ and ‘Fraction Too Much Fiction’” (Schnee).
“Winter Light…is one of the most hauntingly beautiful ballads that Finn has ever written, and his emotional performance is stunning” (Schnee). The “easy guitar swing on Midnight Coma” (Fyfe) and the “delicate piano of Astounding Moon” (Fyfe) show “an Everyman touch he’s usually lacked” (Fyfe).
The latter, along with “the touching Salt to the Sea are in a similar musical vein, reaching out and pulling the listener deeper into the album with each listen” (Schnee).
Still the Song celebrates the inspirational healing of music. Resting (Your Hands Lightly)” (Schnee) and “the lilting Horizon” (CdUniverse.com) “are pure Finn pop nuggets with melodies sent down from the heavens” (Schnee).
“Although Imaginary Kingdom is fantastic, it does have its flaws. Dead Flowers has a nice Enigma-like groove but the melody doesn't reach out and grab you like the other tracks do. Unsinkable does have a great melody but the song doesn't really go anywhere before drifting from view” (Schnee).
“But honestly, there is no perfect piece of art, and the minor flaws will always add to its undeniable charm. Imaginary Kingdom should shift the spotlight back to Tim Finn as one of the most gifted and extraordinary singer/songwriters of his generation” (Schnee).