The Sunday Times 'Album Of The Week' - "It’s taken Steve Adey six years to follow up his brilliant debut album, All Things Real, and if you told me he’d spent three of those years working on the album’s title, I’d believe you: it’s just so perfectly apt as a description of this man’s music. Back in 1952, John Cage pointed out that the composer’s or songwriter’s job is to come up with something that might be better than silence. Most, let’s be honest, fail miserably. Adey succeeds by — it would appear — running every note of every instrument on every track through the Is This Improving on Silence? test. Every second of his music matters. There isn't a single strum or pluck that isn't giving 110%." Read the full review here  

The Arts Desk  write"The Tower of Silence is something to immerse yourself in when the house is quiet and memories start to rise." Read the full review here

Q Magazine focused on Steve's "downbeat angst" and cited the album is "beautiful in a grandly, foggy kind of way."

UPDATE:

MusicOMH - "A meticulously crafted, sparse and funereally paced soundscape on which every note seems to have to earn its place." Read the full review here

The Skinny - "Beautiful delicate production; unrushed and uncluttered, The Tower of Silence is an album to drink in slowly." Read the full review here

Herald Scotland - "The rich musicianship and bursts of noise beneath the surface recall late-period Talk Talk; for lovers of adult night music, this album is an absolute must." Read the full review here

Music Week - "There's a breathtaking sonic purity to Adey's second album. Stripped down to the barest of bones, the songwriters heartfelt paeans, delivered in his beautifully rich baritone, are up there with the best of Bill Callahan and Bonnie Prince Billy. Seeking solace during these long dark winter nights? Adey's your saviour." 

R2 Magazine - "The core instruments on The Tower of Silence remain Adey's expressive baritone voice and the piano but there is a mass of low-level, background musical 'static' going on that frames and shapes what is happening in the foreground. This detail completely immerses you in his world." *****

Aesthetica Magazine - "Innovative and unique; encapsulates a dreamlike hope reflected in the minimalistic notes." 

Uncut Magazine - On “Laughing”, it’s obvious why he’s compared to Bill Callahan – the baritone, and his ability to keep a song afloat without the need for rhythm.“With Tongues” employs Helena MacGilp’s heavenly voice in a dreamy experiment, but the highlights are the wintery “Just Wait Till I Get You Home” and a cover of Alasdair Roberts’ maudlin ballad “Farewell Sorrow”, which Adey renders as a tremulous reply to Will Oldham’s “I See A Darkness.” With added darkness." 8/10