Here is Graham Lee Brewer’s review of the album:
Two years in the making The Separation’s first full-length album has finally surfaced. The self-titled affair showcases just how much the songwriting of frontman David Hoffner has matured over the past couple of years with its multitude of nuances and layers. The album is swollen with the influence of co-producer Allan Vest of Starlight Mints. This can either be a good or a bad thing depending on whether or not you’re a fan of the Mints, but as far as this writer is concerned Vest’s touch tends to be very complementary. This album is no exception.
The Separation have carved out a niche for themselves with their own brand of gleefully exuberant pop-rock, and with the detailed and angular styles that fill the album it’s evident that while they might not be too eager to venture into new regions of the soundscape The Separation are at least producing comfortably from within the valley of their influences. When listening to songs like “Henny Penny” that bathe in the band’s signature stuttering rhythms you can almost see bassist Matthew Robertson’s towering frame shifting rigidly to the beat. And even though the album may not be an act of incredibly defiant songwriting it is still a wonderfully progressive and eclectic approach to pop.
All of the songs from the band’s previous release, National Razor EP, make an appearance on the album in new, polished recordings. Stand outs include “Daniel With The Headaches,” a swirling and dramatic mini-musical and “Invisible Band,” a song that transitions back and forth from the sweet serenade of a banjo to the up-tempo side by side guitars of an early 90’s Built To Spill album seamlessly. The album is at times both epic and subtle, busy and simple, and entirely accessible.