Review from All Music Guide:

An immediate comparison to a soft-spoken act such as Belle & Sebastian will come to mind when listening to the debut from the Fairline Parkway. And though both bands share a love for season-changing chamber pop, the Fairline Parkway pull it off with just two core members. Zachary Okun (guitar, bass, drums, keyboards) and Raj Gadhia (guitar, vocals, keyboards) fill out the record with daydreamy {folk-rock} that could easily be the soundtrack for a lazy summer day in the open fields or a walk in a winter wonderland. "Street," the first track, comes on a little strong, but it's smooth sailing from there. The piano trickles, percussion is gentle, and vocals are whispery through lovely tunes such as "Bores Me" and the drum machine-assisted "Epilepsy." Slide guitar (along with guest vocals from Kathryn Anderson) brings to mind early Mojave 3 on "Threadbare." A very nice addition to Atlanta-based Lazyline Media.

Review from "In Music We Trust":

The Fairline Parkway's self-titled full-length is a subtle, non-intrusive indie-pop basking in a quaint, mystical lo-fi beauty, a well-composed, sparse compositional style that has each part awkwardly crawling to the finish line, including the vocals, though together the sum is truly greater than the sum of its parts. This is a rainy day anti-depressant, the kind of mope-y, hushed pop songs that have enough bounce and hooks to somehow uplift you and help you get on with your day despite life's obstacles.

Review from "Freakout Online" (in Italian):

Una sera d'estate in città. Vi hanno detto che avrebbe fatto caldo, che l'umidità avrebbe peggiorato le cose ed è tutto vero. Siete riusciti a togliervi le scarpe incollate ai piedi, a prendere qualcosa dal frigo, accendere lo stereo e crollare sul divano.

La musica dei The Fairline Parkway è esattamente quello che vi serve per dimenticare: tutto, che siete rimasti a casa mentre il mondo intero è in vacanza, i debiti morali e materiali, l'amore e il cuore. Il duo formato da Zachary Okun e Raj Gadhia, Atlanta, insieme a qualche ospite (tra cui la voce di Kathryn Anderson) ha registrato un album che suona come una session tra i King of Convenience, gli ultimi R.E.M. e i Tortoise. Delicato, minimale, scivola via che è una bellezza: alla fine dei quaranta minuti sarete sufficientemente rinfrancati nel corpo e nello spirito per decidere cosa fare di voi per la notte che sta arrivando.

Review from "Opus Magazine":

With the recently announced death of the Elephant 6 Recording Company, the future of Georgia's indie rock seems to be on as shaky ground as any time in the recent past. No doubt, an R.E.M or Olivia Tremor Control are probably lurking around the proverbial corner, waiting to spring from the fertile soil of one of America's undeniable homelands for independent music. Still, 2002 was a notably slow year for the bands of the region, with few truly memorable releases or debut entries making any relevant artistic waves. In fact, we could have used a lot more releases on the same level as The Fairline Parkway's debut.

Although hailing from Atlanta, which technically lies a bit to the south of the much-lauded Athens, the duo of Zachary Okun and Raj Gadhia adds a shade not terribly prevalent in the Georgian indie pop continuum. Featuring neither chiming guitar nor psychedelic pretensions, the band relies on soft melodies wrapped in expertly layered arrangements that shift between the dynamics of tension and release.

Belle & Sebastian have been singled out by many critics as a reference point, but such comparisons ultimately seem a bit misleading as most of the tracks feature little of the obscure references, fey wit, or preciously constructed instrumental textures associated with the Scottish band. The Fairline Parkway seems more comfortable exploring sonic moods, displaying a steady hand in creating carefully constructed (generally repetitive) structures.

Whether employing a solitary piano line to carry out the solemn melody of the arrangement in the opening "Street" or riding a slinking bass over atmospheric synths in "Road on Fire," the band uses deceptively simple arrangements to create subtly enduring hooks. The two-chord groove of the rising and falling "Bores Me" is reminiscent of the more restrained early work of Elliott Smith, before the songwriter traded his career in sadcore for more lush arrangements. Similarly, the delicate acoustic guitar and softly wafting vocals of "The Console" and the beautifully tinkling keyboards of the pristine "This Kid" achieve a level of complexity and accessibility common with the better strains of modern chamber pop.

Of course, many such arrangements ultimately run the risk of becoming so understated and laid-back that they leave little lasting impression on the listener, with melodies that only lazily rub up against you instead of worming their way into your head. For the most part, The Fairline Parkway avoids the worst implications of this conundrum, although one's attention may occasionally wander.

In the end, few bands have so skillfully connected the aesthetic dots between sadcore and chamber pop. Even as most of the songs feature fairly similar melodies, and the textures, while pleasant, tend to repeat themselves a bit too much, the totality of the album is generally successful. Most likely, their abilities to craft memorable melodies will become further refined and on future releases lose a bit of the meandering quality that keeps the songs from taking on a dynamic presence entirely their own.

Similarly, the band could be expected to display a bit more personality, either in performance or lyric, on their next outing. Until then, they've given us more than enough evidence that their strengths will carry them on to their next level of progression, with their debut providing an impressively resilient primer. Who knows? They could end up leading the next wave of breakthrough bands out of Georgia.

Excerpts from a review published in "The Georgetown Voice":

"The Fairline Parkway's self-titled debut album off Atlanta-based Lazyline Records is meant for autumn. It is a "comfort album" for when the weather starts to get chilly and the schoolwork starts to pile up. Like an overcast day, The Fairline Parkway makes you want to turn off the heat, curl up and contemplate the mysteries of life with your closest friends ... well, for 40 minutes at least.
Some albums command attention right from the start; they either command your respect or repel you after only a few tracks. The Fairline Parkway is not one of these, its charm lying instead in its unassuming seductiveness. What starts as floating, atmospheric sound slowly sneaks to the foreground before you even realize how much you were enjoying it all along. The duo of Zachary Okun and Raj Gadhia have put together not just a collection of songs, but a true album, best enjoyed in its flowing entirety from start to finish, not just select tracks.
Refreshingly, The Fairline Parkway does not attempt to preach, or even to make you think, but has merely created music for the sake of beauty -- to have something pretty and intelligent to listen to behind your life."

Review of The Fairline Parkway from "Babysue Magazine":

Super soft moody pop. The Fairline Parkway sound something like Donovan if he had started making music in the twenty-first century. The band is actually the duo of Zachary Okun and Raj Gadhia. The obviously titled S/T has all the ingredients of great home recorded pop. Okun and Gadhia present seemingly loose compositions that are held together by some marvelously subtle melodies...and vocals that will make your heart melt. The breathy, almost whispered vocal approach works wonders for this band's strange style of light progressive pop. Accidents are left in the mix, giving the impression that overall intent took precedence over trying to get things exactly right. If you ever liked the aforementioned Donovan...but want something a bit more mature sounding...chances are that you will go apeshit over The Fairline Parkway.

Review from "Sympatico.Ca":

The gorgeous sound of the Fairline Parkway’s self-titled album will hit you as immediately as a Belle and Sebastian record does. That isn’t surprising, as the Scottish pop machine’s influence is felt throughout this indie rock gem. Soft, delicate vocals barely delivered above a whisper are common here, sung over a multitude of noises. The hypnotic "Threadbare" is paced by a steady beat and lifted by the jangle of bells and female backing vocals. "Bores Me" has tender vocals sung over a light snare, loopy bassline and pretty piano twinkling. Influenced by the best the indie world has to offer, Fairline Parkway show an obvious talent for creating lush, ear-pleasing sounds to make any music fan melt.

Review published in "Dusted Magazine":

Given our age's predilection for genre-creation, it's surprising when a few readily identifiable subgenres somehow escape being named. In a world where IDM, drum-and-bass, and slow-core exist, how is it that some types of music simply float in the ether, without any kind of tangible reference? One such genre is that which would include, in my mind, Portastatic, American Analog Set, and the Kingsbury Manx, to name just a few. Although these bands draw from the same pool as many other indie bands (Galaxie 500, the Velvets, Aussie pop, the Pastels), they have managed to carve out a niche for themselves, but one which has remained elusive, passing just slightly under our collective musical radar. Whether or not this genre is eventually named (shuffle-core, passive pop?) is beside the point, but it says something interesting about these bands' music that they've remained elusive in this way.

It's certainly not for lack of production, as bands like Portastatic and AmAnSet have released several stellar records, cleverly melding their influences and quietly producing some amazing pop. The elements vary, but almost always include acoustic guitars, garage electronics, and a wistful, melancholic sense for melody. If this genre had been named, we would probably regard it as having entered its second wave, with its musical language fully absorbed into the lexicon and bands like Portastatic making Brazilian-influenced records. Fairline Parkway, hailing from Atlanta, have clearly heard the above bands, but have also managed to push the genre a few steps further with their self-titled debut.

The album opens with "Street", using familiar elements: hushed, mumbled vocals, slightly off-kilter drums, and open, airy piano. It's a good beginning, and quite a beautiful song, but the album really starts with "Same Cigarettes", possibly one of the best songs to see release this year. Built around a curling guitar line and some lovely singing about repeating your parents' mistakes, it takes all the familiar elements of the genre and turns them into a stunning pop song. Humming organ, hints of slide guitar, gently propulsive drums and a weird electronic coda swirl together as the song worms its way through an arrangement that's off, but somehow just right. "Bores Me" and "Epilepsy" display this same fine pop sense, the former with AmAnSet-like acoustic shuffle and the latter with electronics and well-placed boy/girl harmonies.

Fairline Parkway consists of two main members, Raj Gadhia and Zack Okun, who have been playing basements and small shows for a few years. This has clearly influenced their sound; it also seems to have refined their sensibilities immensely. This debut reflects an intriguing moment in pop. Bands like Portastatic, initially conceived as offshoots and defined as alternatives to certain sounds are now sounds in their own right, wells for other bands to draw from. Perhaps then, this kind of music will continue to go unnamed since it seems to suggest in its very execution a sense of quiet indifference to how it might be received or perceived. It simply flows out of the speakers, in an unpretentious and unassuming way. Fairline Parkway's album unfolds in this manner, and after a point, it becomes less about individual songs and more about the long, unraveling arc of the album.

Elements like lyrical directness (or comprehensibility) become less important than overall tone and cohesiveness. Many of Fairline Parkway's songs are actually quite complex in their arrangements, but you have to pay attention to pick each piece apart, since the whole flows together so well. And because it does flow, you don't bother to dissect it. It just sounds right. Little phrases and expressions occasionally surface, and they can color the entire meaning of a song. There is a heavy leaning towards a kind of nostalgic longing, but the songs are so beautiful that they transform melancholy into a good thing. Like a gloriously rainy weekend, Fairline Parkway manage to revel in the beauty of regret and sadness, and without resorting to cliché. No mean feat for a debut, and one that might finally puts this nameless genre on the linguistic map.

Excerpts of a review from Indiepages.com:

It's very morose, quiet pop, similar to early Aden, Brittle Stars, and Vitesse. Maybe a touch of Pinback in places, too, in the sound of the production (see "Road On Fire"). The pair seem to handle the instrumentation fairly evenly, which includes guitars, keyboards, drums (both real and programmed), piano, and other assorted percussion. With the exception of a guest on a few tracks, the vocals are very nice, melancholic male vocals. The record has a very warm, atmospheric feel to it; very dreamy.

A review from Flagpole Magazine:

It's quite apparent early on in this album that The Fairline Parkway has a talent for creating lush, pleasing indie pop. There's an accomplished, easy feeling about their debut.

All of the songs are written and performed, for the most part, by Zachary Okun and Raj Gadhia. The story goes that the two met during their studies at a private university, during which time Zach played some of his home recordings for Raj. After the dissolution of their respective bands, the two began playing together, until someone saw them at a warehouse party and asked them to record an album for the Atlanta-based Lazyline Media. The recording was done mostly in Zach's home studio, with guests contributing some guitar and vocals.

The resulting sound is somewhere between Tortoise (only less experimental), Belle and Sebastian and Yo La Tengo. The hushed, understated vocals lilt over the atmospheric keyboards and light snares. This kind of subdued indie pop can get repetitive, but their ensemble of instruments keeps things interesting. There's acoustic and electric guitars, piano, bells and drum machines.

Although the album flows quite well as a whole, there are subtle differences in songs that keep things interesting. "Epilepsy" provides a pretty example, with programmed beats and bells behind accompanying male and female vocal harmonies. "This Kid" is faster and more upbeat than most of the songs on the album, but is perfectly in step nonetheless.

This is music that's perfect for a quiet fall afternoon - natural and unassuming. It may not stick in your head for days, but the 40 minutes will be pleasant.