I Thought It Was Us But It Was All Of Us Saltland

"Crafted with immense care, Foon's recording eschews dramatic dynamic contrasts for a subtler brand of entrancement and features music of integrity refreshingly free of affectation or trendiness. The album's natural tone manages to feel both intimate and epic." – Textura

"You may hear more immediate LPs this year, but few will likely surpass the beauty Foon and friends have created here. Blending lo-fi analog intimacy and judicious electronic elements, Saltland teems with lush textures that conjure all manner of dream states in an LP made for late-night listening. Foon’s cello plays a key role throughout via its adaptable sonority, one comprised of a commanding percussive presence as well as its better-known rich and melancholic indigo tone. But it’s by no means the limelight-stealer. Thompson’s beats and percussion, and the signal processing he and co-producer Marc Lawson (Arcade Fire) apply, saturate and refract (often simultaneously) the sonic atmospheres to marvelous effect." – Blurt

"An intricate, ghost-thin spider-web that fuses many different musical genres into one – the only element they share is they all fall under the dark of night. Beautifully arranging the musical strands together with caring fingertips, Saltland effectively link these many stylistic thoughts until they are left as one, dark entity living amongst the corners of thin, silver threads... I Thought It Was Us But It Was All Of Us sparkles with an amazing amount of courage." – Fluid Radio

"Hallmarked by swirling, reverb-soaked strings, à la Set Fire To Flames, and dreamlike, filmic chamber movements reminiscent of early Silver Mt. Zion and Esmerine. Foon's voice [is] an instrument of somnolent, gossamer allure which floats gracefully amid the eddying, amniotic music." – Mojo (4/5)

"An intricate and understated approach, blending soft, tender vocals with strings, drones and electronica... which showcase Mark Lawson’s masterful engineering. Foon’s hypnotic vocals are intoned against a backdrop of seamlessly-mixed live and electronic percussion, delayed guitars, and droning strings; the whole merges dreamily into a single horizon, recalling the lush textures of Tara Jane O’Neil." – The Skinny (4/5)

"A really beautiful album which marks a recent high point in Constellation’s output, which is high praise indeed. It is an album that is far more than the some of its parts, bringing together elements of folk, jazz, chamber, and (post) rock. It is a record that will charm you, relax you, encompass you, and maybe even disturb you." – Backseat Mafia

"The successful combination of ghostly vocals, elaborate strings, and raw percussion on I Thought It Was Us But It Was All Of Us evokes a vastly unique natural world, for which the album art is a perfect match. Undeveloped, sparse, and somehow beautifully desolate, the album’s environment is nature uninhabited, mysteriously captivating in an unnerving and exciting way." – Redefine Magazine

"The compositional style may be classical, but the delivery is modern and mesmerizing... Foon turns out to be a surprisingly sweet singer, one whose voice itself is a lozenge. The most effective tracks offer a balance between voice and cello, with neither overshadowing the other." – A Closer Listen

"There's certainly a menace to I Thought It Was Us But It Was All Of Us, but it's a subtler one than anyone familiar with Foon's previous work will be used to. The shadows here are cast by way of juxtaposition, talk of things that 'echo through the darkness' as on 'ICA' made ominous only because the song it sits within is actually a rather gentle, almost catchy little number…The album's trump card is its ability to transcend folksy drone by dipping its toes in to metronomic percussion, electronic programming and signal processing." – The Quietus

"With Foon's hushed vocal tones and the layered production, there is a dreamlike aspect to the sound and a familiar quiet melancholy, but the subtle details and breadth of instrumentation give a satisfying depth and texture, and the dynamics of tracks like 'I Thought It Was Us,' featuring the squalls of Colin Stetson's saxophone, and the rousing vocal-led 'Colour The Night Sky' lift the album to a flowing strength." – Rock-A-Rolla