“...Instantly drawing comparisons with The XX, Velvet Underground and John Lennon, Sugarplum Fairies are in good company. Dubbed 'dream pop', the band do experiment with genre throughout The Images We Get, and deserve our admiration for their efforts...Songs such as "Waves" and "Jump The Gun" are excellent, strong, hazy tracks with prominent vocals; indeed, the vocals throughout the album are excellent." (Glasswerk.co.uk)

“Hailing from Vienna but living in Los Angeles, Sugarplum Fairies create a dreamy blend of indie-pop that reflects both locales. Relying less on thick reverb and effects pedals than most dream pop bands, the music on The Images We Get never loses sight of the ground even when it’s floating through the ether…The album’s standout track ‘Jump The Gun’ has sinister leanings that threaten to explode at the end of each verse but the band coolly holds back. There’s just a touch of American roots music inflecting ‘Jump The Gun’ in the same way Black Rebel Motorcycle Club incorporated it on recent albums.  On ‘Hurricane’, the music fits alongside European exports such as New Found Land and earlier releases by The Concretes before ‘Moth’ pulls the music back towards mandolin-era R.E.M..." (Sun On the Sand)

"This amazing, haunting, chilly, beautiful voice sounds more like that Blue Angel who will entrance then destroy you than a sugarplum fairy that will pleasantly dance in your head." (Roctober)

"...Los Angeles-based indie-pop duo The Sugarplum Fairies play the sort of cinematic dream-pop that drifts down from the dusty rafters and unfolds before the listener like the ghosts of 1000 Hotel California hangovers. The country cousin to Mazzy Star and Portishead, their songs are glimpses through tightly drawn curtains, vignettes of men and women in constant peril of being swallowed up by the vastness of their surroundings; the endless highways, the distant horizons, the wasted lives..." (My Old Kentucky Blog)

"...The Sugarplum Fairies win big with the early morning dream feel of Chinese Leftovers, a collection of "pop songs" that improve on said label. The record features layered playing from numerous side players and lead musician Ben Bohm, along with the sugared whispery vocals of Silvia Ryder.

Vienna natives Ryder and Bohm have created something that is low-key and gratefully high strung in the emotion department. Its sound shadows Mazzy Star, but is far more melodic and larger in scope. Chinese Leftovers is filled with ambiance, traditionally so, and is folksy and airy...Chinese Leftovers feels like those moments when something has just ended or something fraught has occurred in a person’s life. It’s casually sad and absolutely beautiful." (Performer Magazine)

"...The icy European glare of Ryder’s downbeat vocals have a self conscious theatricality about them, which make the finest moments on this album, the wonderful ‘Head or Tail’ in particular, a delectable mixture that is part Emma Pollock’s resigned pop sensibility, part Hope Sandoval’s pretty sullenness and part shimmering Cardigan-esque pop.

Their most epic moment ‘Hold On To Me’ (lighter-waving sway, big simple chorus, swirling sad strings and guitars that build into a blustering crescendo...it’s something like The Delgados at Wembley Stadium) has already been featured in TV’s Grey’s Anatomy which is surely the green light to mega sales and exposure. However those that do go on to investigate this band further will be treated to far greater rewards." (Americana UK)

"...By the third track, "Head Or Tail," I braced myself for a heroin-chic album that would provide minimal originality, but tons of '90s nostalgia. I mean, it was all there: Mazzy's tambourine, Belle and Sebastian's xylophonic sounds and vocal harmonies, and Cowboy Junkies' vocals. Yet, instead of sticking exclusively to the sounds of bands on the Lilith Fair's invite list, the album branches out musically as it progresses. By the midpoint, it's safe to call it pleasant and enjoyable. Chinese Leftovers begins throwing all kinds of Americana music at you; from New Orleans brass and accordion sounds to traditional American slide guitars and Southern twang, the musicianship is layered and bold in its stylistic adaptability. There might even be some Tex-Mex brass in there somewhere..." (Redefine Magazine)

"You won’t want to listen to this on your own. Trust me. Get on the phone or log on to your favourite internet social network site and gather up a bunch of friends and head to the beach or the park or something and pop this cd in the car stereo because this is the kind of album that’s so charming, you'll want it to be the soundtrack for your next fond memory. Honestly, it’s so lovely, it’ll give you the same kind of warm glow you get when you flick through an old photo album...This is such a beguiling record, it will really cast a spell over you, so get your friends together and go out and make 2009 a year to remember because if you do, Sugarplum Fairies will never let you forget it. Bless them. Highly, highly recommended." (Incendiary Magazine)

"Comprised of Vienna natives Silvia Ryder (vocals) and Ben Bohm (guitar, background vocals), the Sugarplum Fairies draw influence from French cultural icons such as Francoise Hardy, Anna Karina, and Jean-Luc Godard, as well as the Velvet Underground, John Lennon, and Lee Hazlewood. The thing is, they sound like a bit more chic and upbeat version of Mazzy Star meeting Ivy on the left coast for some beatnik bluesy fun. It's fabulous pop that even has an accordions in it, which kind of makes sense w/the whole French influence being prevalent." (Pop Stereo)

"The recent success of The Bird and The Bee may very well have set the stage for the future success of Los Angeles, California's Sugarplum Fairies (Bird and The Bee bass player Gus Seyffert even plays on this album)...Nevertheless, since we last heard from this band they have managed to accomplish a lot. Various hefty sources have begun covering their music and a song was even featured on the television show Grey's Anatomy. Chinese Leftovers finds Silvia Ryder and Ben Bohm (the two main individuals in the band) in fine form. The songs are, once again, strong and resilient...and the nice slick sound suits the band well. This eleven song album is bound to connect with the band's fans as well as bring in legions more. Cool, smooth tracks include "A Story, " "Head or Tail," "Mercy," and "Polaroid." Good stuff. (Rating: 5)" (Babysue)

"...A couple of listens reveals a beguiling mix of ingredients: woozy melancholic folk predominates, but with a bit of jangly indie pop, an undertone of shoegaze and an occasional dollop of country-noir.

There are a couple of tracks that instantly jumped out at us, the title track itself and Head or Tail are both excellent, leaving you feeling like you should be laying under a tree half-watching the sun filter through the branches, not sure whether you're asleep or awake." (Mad Mackerel)

"...Made up of the LA by way of Vienna, Austria, the duo of Silvia Ryder and Ben Bohm, along with their revolving coterie of musical talent, have gotten pretty good at making the hazy dream pop that they’ve been crafting for several years now. This time around, the additional players include the talents of Joey Waronker on drums, Gus Seyffert on bass, and Jebin Bruni on keyboards, amongst many others...Constructed primarily from a base of slow chiming acoustic guitars and Ryder’s whispered, almost hypnotic lead vocals, the band keeps things down tempo and to an extent low key as well. For me, the first listen conjured up images and memories of when Mazzy Star and Luna were on top of their game back in the 90s. Subtlety seems to be the name of the game here, in both the composition and arrangements of the eleven tracks that make up Chinese Leftovers to the way that this album seems to sway from one song to the next." (Striker Bill)

"...If the Cowboy Junkies and the Raveonettes were locked together in a cupboard with nothing but an acoustic guitar, a bottle of cheap wine and a well thumbed copy of the Belle & Sebastian biography they'd end up as the Sugarplum Fairies." (The Devil Has The Best Tuna)