“if Beth Gibbons and Joanna Newsom could make a baby it would sound like Caroline Weeks” Noripcord, Independent Film and Music Magazine, 2009

“A cursory listen to this album will have alt-folk fans muttering the names Josephine Foster and Joanna Newsom under their breath. Foster may not be very well known over here, but Newsom certainly is and the parallels are striking. Virtuoso female multi-instrumentalist (tick), complex musical arrangements (tick), searching lyrics (tick). All that is missing is the presence of Van Dyke Parks.” Music OMH, 2009

“Caroline Weeks is a fine exponent of an otherworldly Baroque Sound” The Skinny 2009

“Weeks is hopeful and beckoning… yearning… and actively creepy” Line of Best Fit, 2009

“Songs For Edna is intriguing and sophisticated, a well conceived idea brought to life” Sounds, 2009

“…Caroline Weeks has me positively glowing. This nine song collection uses the poetry of Edna St. Vincent Millay as the lyrics, turning these already beautiful expressions into glorious and heart wrenching elegies for the human spirit. It’s a sparse work that often features nothing more than Weeks’ sweetly warbling voice and an acoustic guitar, but by using such meager methods, the focus can stay, as it should, on Millay’s words. This record emanates warmth, like a fuzzy creature curled up into your side.” The Voice of Energy, 2009

“Songs for Edna is in short – exquisite.

Nine tracks from out of which Weeks has woven something quietly tender and feint, sometimes ghostly always bewitching, these fragile folk fancies find this talented multi instrumentalist in intimate settings awakening her inner rustic muse. Best appreciated in solitude preferably in the still of the nights dead air or more appropriately as dawn breaks. Within ‘Songs for Edna’ there exists a spectral majesty that, agreed at first hand occupies the rare tonalities once ventured by Karen Dalton and more recently re-acquainted and re-discovered by Vashti Bunyan, that sense of something unworldly, pure and thought lost in time. Likewise it could be argued that the spectre of Nick Drake looms closely through the grooves, Weeks capturing perfectly that detached faraway feeling of seduction in solitude and that alluring at one with nature artistry (best evidenced on the intoxicating clarinet invested ‘oh, sleep forever in the Latmian cave‘). Yet tarnish the surface and scratch away at the silver foil sheen and there’s a kinship with both Serafina Steer (as on the opening ‘see where Capella with her golden kids’ with its twinkling and creaky willowy-ness casting an almost supernatural aura to proceedings) and Beth Jeans Houghton at work here. From the sheer disarming beauty of ‘wild swans’ with its ethereally evocative wide eyed rushes and cantering ripples) to the closing lonesome threadbare and dustily drifting blues like dreaminess of ‘elegy’ with its John Fahey like bespoke aridness, ’songs for Edna’ makes for a deeply alluring listening pleasure

Simple, frail and fragile though intricate and gracefully demurring despite its minimalist dressing and pastel shadings there‘s a becoming lush and lavish tapestry being woven here. Weeks embarks on a pastoral journey, the melodies crisp and vivid sway breeze like amid a cortege of sepia dappled rustics, lilting lullabies and shyly sleepy headed spell charms that gather together to softly stir, enchant and invite whilst creating an idyllic patchwork that simultaneously threads together to its core musical landscapes previously envisaged by Paul Giovanni and Magnet’s ’wicker man’ soundtrack (see ‘renascence’) and ’parsley, sage, rosemary and thyme’ era Simon and Garfunkel – best viewed on the measured floral shanty like detail of the eerie ’the return’. The vocals stressed and purring with a carefree, thoughtful and somewhere else translucence quiver and swirl with a siren-esque beckoning which you cannot help but surrender and be beguiled by.” Losing Today Reviews, 2009

“Caroline songs are full of insight, sensitivity and intimacy and do justice to a poet whose love sonnets are undeservedly slighted in our day.” Alt Sounds, 2009

“Caroline’s music is equally as stripped as her erstwhile accidental namesake. With a nod to the lo-fi alt-folk of Little Life-era Josephine Foster, Songs For Edna adds fingerpicked Spanish guitar motifs and subtle washes of clarinet and piano to Caroline’s simple, unadorned phrasing, sweetly lulling and cajoling the brain into a hazy state of bliss. The Edna of the title refers to Pulitzer Prize-winning writer Edna St. Vincent Millay, literary queen of bohemian Greenwich Village in the 1920s, whose poems make up the lyrical side of the album’s nine songs. ‘Elegy’ sees the album take its seductively ethereal bow, sauntering dreamily along towards a final flourish of chimes. Beautiful stuff.” Wears the Trouser Magazine, 2009

“Caroline Weeks had Spaceland sitting cross-legged on the floor with hands politely folded in their laps… To enter a room in the throws of Caroline Weeks was a riveting, awkward moment worth cherishing. It’s rare you walk into a concert and feel like excusing your tardiness to the tea party.” LA Record, Review of Spaceland, LA Show, Aug 17th 2009

“Her debut solo album is an indie folk affair and very much leans towards the avant garde. That is to say that it certainly won’t be everyone’s cup of chi. Good thing too. Wasn’t expecting anything less really. She has a unique yet distinctively English voice that floats through the recording whilst establishing it’s presence beautifully throughout, but never more so than on the delightful song entitled ‘The Return’. Dreamlike and sensual, this is a must have for fans of the genre and newcomers alike.” Vainzine 2009

“Weeks’ gorgeous, quavering voice, complemented by her finger-picked Spanish guitar, frames Vincent-Millay’s poetry in a beautifully haunting way. Though the album is quite simple musically, Weeks has the ability to make the music fascinating throughout. “Elegy” has a stately, yet dark, feel to it, “Wild Swans” is ethereal and soaring, and “I Shall Go Back” has a more urgent edge. While her approach to crafting a debut album is certainly strange, Weeks proves more than capable of handling such an unusual project and creates some amazing moments on Songs for Edna.” Chewing Gum for the Ears, 2009

“London’s soaring soprano Caroline Weeks (Bats For Lashes) has managed to record a moving tribute to Millay that is intelligent in both lyric and sound. Caroline gives every word it proper tribute and showcases it all with her flare and grace on the Spanish guitar. The sound she has found is haunting, but inviting, distant yet warm enough to grab your attention instantly. She has this tangible sense of power hidden below her fragile voice much like Millay’s power that hid beneath her delicate verse.” Orange Alert, 2009

“Weeks sounds like she is singing and fingerpicking in a cardboard box” The Stark Online, 2009

“On the cover of this CD, Caroline Weeks appears to be a healthy, pink-skinned young woman. However, fill your ears with her music, and you will be in no doubt that she is a ghost. And her clarinettist, too. Ghosts! Caroline has been to the other side, and seen things, and now wanders around my auditory cortex in a Victorian gown, lamenting the moment that life’s glories were cruelly wrenched from her grasp. Maybe Caroline drowned in a lake, or caught one of those Jane Austen chills, or fell under a horse, or was cuddled to death by an overaffectionate simple boy cousin. I can’t begin to imagine what happened to her polter-woodwindist. Probably choked on his reed. This is the spookiest music I have heard in a long time. She feels like a sister to SixToes, playing with similar moods, guitar work and larynx-trembling. But much spookier. I can’t help but think of Winona Ryder in Beetlejuice, a morbid teenager rejecting the world from her wilfully glum bedroom. So it’s not a huge surprise to discover that Caroline is also Ginger Lee, colleague of Natasha Khan in Bat For Lashes. Although you can actually dance to some of Natasha’s ditties, there is the moody, brooding moroseness there too. But while Bat For Lashes keeps this in the realm of relationships with sprinklings of dreamy visions, Caroline Weeks takes it to the pure Victorian pre-Pankhurst inner world of reflective femininity. It turns out that all the lyrics are taken from the poems of Edna St. Vincent Millay, an early Twentieth Century American who was the first woman to win the Pulitzer Prize for poetry. Musically, it is very accomplished. Recorded quite simplistically, with a few dramatic reverb effects, the instrumentation has plenty of room to shine. The guitar gently drifts between dextrous, finger-picked, rhythmic regularity and airy pausing in a lovely, caressy, wavey kind of way. But it’s the tender voice that dominates, or haunts, the album. Caroline sings to you. It’s deeply personal, and unwavering in its humourless, sorrowful plea. And there is much depth of feeling and depth of lyric, which I cannot really do justice to here. This is simply music to surrender to. Alone. Dim the lights, let the shadows fall across your soul and be utterly, utterly alone with the ghost of Caroline Weeks.” Amelia Magazine, 2009

“While no longer performing under the nom de plume Ginger Lee, former Bat for Lashes multi-instrumentalist Caroline Weeks takes her former group’s sound to a whole new level of ambient sophistication on her downright lovely solo debut, Songs For Edna, a collection of tunes derived lyrically from the works of early 20th century American poet Edna St. Vincent-Millay. Using a three-quarters size classical guitar, she takes the Kate Bush-by-way-of-Bjork art pop of her Bat for Lashes days and roots it in a more fertile landscape that opens up Weeks’ lush, lilting voice more so than anything she has done. Songs for Edna is a haunting collection of songs that should appeal to both poets and pop fans alike.” Pop Matters, 2009

“While some (female) singers fill up the room with their seeking for personal attention, Caroline does something of the opposite: she fills the air with space, space to breathe and to live, and to contemplate. “Elegy” has a kind of troubadour-like ballad kind of playing, a song of something lost, sung at a point when something important vanished, but where ‘eternal harvest’ through inner peace of expression can make of this moment an ‘eternal freshness’ like spring. Some poetry, especially in this form of music just captures it all. The feeling of ‘eternal moments’ is confirmed by arrangements of thin long lines of flute notes passing by, like the train of eternity calling its whistle. But her voice interpretations show even more emotional variation. On “Pity Me Not” there come additional blues vibrations to her voice, burned in emotion by some content behind the song. Something comparable can be noticed in “What lips my lips have kissed”, a beautiful kind of blues in the voice carried by guitar silken carpets and just a brush of piano, and a small-moss hidden bit of baritone voice touches as finishing touches.” Psychedelic Folk, Five Song Demo review, 2007

“Caroline Weeks’ solo thing is a careful study of poetic forms and their appropriation into her sparse musical styling — without any of the diva dramaturgy of her former band and band leader, Natasha Khan, in Bat for Lashes. Unlike the slick theatricality of the two Bat for Lashes albums Weeks contributed to, her new one, Songs for Edna, is stripped bare of any filigree or flair, instead illuminating the prose of Edna St. Vincent Millay, the highly regarded American poet (1892-1950), and the first woman awarded the Pulitzer Prize for poetry. Millay’s poetry dealt with feminism, friendship, sexuality, and Weeks’ breathy, dreamy translation makes for an intimate consideration of the words and their meaning — no doubt even more illuminating in the patriarchal context of the current music scene. Weeks is also known to perform covers of the Cure’s “The Drowning Man” and arrangements of Emily Dickinson poems (for the London Word Festival), and her adventures in the literary sphere are tempered by her expert understanding of instrumentation and pop performance.” LA Weekly, 2009