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"Truly endearing folk-pop from a new sugary Melbourne outfit sees the perfect summer EP to get you through winter. Jangling guitar lines and strong organ harmonies on the title track and "Bus" nod at the American indie-pop school, while the stomping percussion on the latter not surprisingly beats out the familiar spritely territory of the Lucksmiths. *8/10. " Juice Magazine

"This is lighthearted indie pop that has both idiosyncratic charm and a sense of deliberation. Though the buoyant bass and drums, gay keyboard chords, and indie-kid vocals may suggest a throwaway bedroom pop feeling, there's far more substance to Mid-State Orange than that." Inpress Magazine

"Though they've recorded in London, Mid-State Orange are very much an Australian band. Formed by Louis Richter and Ryan Merry, and supplemented by a changing cast of band members, Mid-State Orange can best be explained by Australia's national fascination with Abba.

Not, mercifully, that Mid-State Orange sounds anything like Abba, but both are as shiny and reliable as that other Swedish export  Volvos. Mid-State Orange specialise in slick, poppy indie a la mode of (excellent fellow Ozzies) The Lucksmiths. Not particularly edgy stuff, but they can be convincingly woeful and unapologetically upbeat by turns without ever sounding glib. To their credit they understand something which eludes too many indie bands  that good music can be nice and approachable as well. Abba grasped this perfectly, churning out impeccably produced and intensely hummable songs; songs that sound happy even when their lyrics tell a different story. Mid-State Orange adopt this ethos, and while it makes for comfortable listening you may begin to wish, after a few plays, that there were a little more to sink your teeth into." Pennyblack music

"This Melbourne-by-way-of-London combo's debut domestic release pairs bubbly organ-pop with politely chiming guitars, resulting in what Stereolab might sound like had they a fixation with late-period Wedding Present. Strangely enough, Stereolab keyboardist Morgane Lhote has even been a live collaborator with Mid-State Orange. Occasionally, they threaten to wander into twee territory, but their creative muscle is just potent enough to resist the temptation. Enthusiasts of Slumberland Records bands, not to mention mildly cracked indie-rockers such as Beatnik Filmstars and Boyracer are sure to latch onto this five-piece." The Big Takeover

" The title song to the Melbourne group Mid-State Orange's Flag Festival EP is an organ-led upbeat pop tune with a bouncy summer-vacation feel. Yet there's more confusion in the song's emotions than the sunny tone indicates, as singer Louis Richter ponders a relationship that's insincere and not necessarily going anywhere, but still sort of makes him happy. The other four songs similarly wed perfect, bright pop tunes with feelings of self-doubt, nervousness and confusion. There's also a second version of "Flag Festival" which sounds like the underwater-dance remix. Picture a crowd of young lovers on American Bandstand, dancing with gleeful abandon while discreetly wiping tears from their faces." Erasing clouds

"Superbly written pop songs that capture the goodness of their guitar jangliness & bah-bah-bah's. Traversing through 80s anorak pop, 60s psych-pop, 70s disco grooves & 90s electropop to bring you a charming record." Traffic Sounds

" "the aesthetics of denial / put a smile upon your dial" as for mid-state orange, don't believe anything you may have been told - for the stereolab template is mostly way off the mark - instead imagine the sort of febrile mix of indie-pop and good-time keyboard driven swingin' alt-country you would expect from a combo who appear to have divided their time between melbourne, australia and london, england. louis richter's ├╝ber-c86sy vocals work best ("rain club" really hams up the feyness) when they stray away from harmony: there's plenty enough of that in the keyboards on these largely uptempo, 60s-hooked numbers.

"flag festival" is a breezy and bright pop song - it derives its flavour from its harmonising and keyboards, but the key to it is the tried and trusted chord sequence and the pace, which falls somewhere between brisk trot and mild gallop. elsewhere things can get a little too quirky - so the jew's harp and cheerful faux-c&w twang of "so hard" grate with a passion - but otherwise, we admit to giving in to the swirl of it all. if you're desperately hunting for comparisons, i suppose we could start with the keyboard laden bliss of victoria's own pencil tin, or the 'eighties english guitar jangle of the mayfields' ilk: either way, you can't go too far wrong. " In Love With These Times

"I'd not heard of this band before, and knew absolutely nothing about them. So when I put this in and was treated to the wonderful, extra-bouncy title track right away, I got the nicest surprise I've had all day! Full of farfisa, jangly guitars and excellent male vocals, they're reminiscent of Holiday or the Salteens. And it doesn't stop there: the rest of the album is just as great! The rest of the songs are similarly styled, except "So Hard", which is quite Beatles-ish (Sgt. Pepper-era). Though originally from Melbourne, Australia (this cdep was co-released with Lost & Lonesome, which is Mark Lucksmiths' label), the two key members now reside in London, where they found some new members, and recorded most of this cd. MTQ=6/6 " Indiepages

"Presenting their take on simple verse-chorus-verse pop songs, Mid-State Orange capture a melodic sound long lost. Flag Festival's bouncing, rhythmic guitar riffs couple with roaming bass lines and slightly dissonant harmonies to form a sound drenched in both sixties pop and a modern, underground indie aesthetic. The formula works best on "Bus"; merging a Ramones-derivative backbeat with a wandering guitar lead and a textured layer of keyboard/organ sounds, this tune is the uptempo pop song Modest Mouse were never willing to write. Flag Festival doesn't throw the listener any curves (which is probably its weakest facet), but by offering only six tracks it avoids monotony. While the band stays musically focused on a central theme, the subtle variations provide the listener with enough breathing room to make the total experience palpable. A longer release would probably require more deviation and development, but Flag Festival's short running time ultimately helps to make it a fun and worthy listen." Tim Lockbridge, Splendid zine

"Mid-State Orange is a five-piece band coming from Australia that makes sparkling, bouncy pop songs with smattering of country sounds mixed in. They meld many elements to try to bring back the happy psych bubble-gum pop of the 60s, much like most of the Elephant 6 Collective groups. The music is normally carried along by some nice keyboard work and occasional distorted guitar solos. Sometimes they switch the poppy formula around and add in some alt-country twang to spice it up a bit.

"Flag Festival" comes bouncing happily out of the gate with chiming guitars and chirping keyboards. The song has a nice laid-back joyous feel to it helped by the somewhat flat lead vocals. It also includes some nice lyrics and the occasional keyboard solo and fuzzy guitar breaks that are executed nicely. "The Boy Who Dropped His Omelette" is a little reminiscent of Stereolab with its soft melody and sugary vocals. There is a very good slide guitar break towards the end that practically makes the whole song.

"So Hard" is the highlight of this disc; it has a wonderful bouncy 60's pop melody with a folk-country spin. They mix both sounds perfectly, and it has an incredible affect on the listener, definitely getting stuck in your head. The vocal performances are wonderful as well and the song is a special treat. "Flag 2" closes the disc, and this is another performance of the first song, but with added effects. The song changes with some effects drenched vocals and swirling keyboard sounds, though nice it is a little inconsequential.

Mid-State Orange try to recreate melodies from the past, and they do a pretty decent job on this recording. But they really shine when they add something new. This EP is alone worth it for the incredible "So Hard" that will make you warm all over after hearing it. The rest of the recording is full of jingly pop tunes, that are nice as well. Some of the other songs on this EP lack originality but still are all very solid and fun to listen to. Sometimes one great song can overshadow some other ones that are very good as well, and that happens here. This is a good recording with an excellent song in "So Hard" and many enjoyable melodies in the others. - Kris" Delusions Of Adequacy

" 6-song EP from an Australian band complete with members of Stereolab. NME says this is what Stereolab would sound like if they tried to make a Top Ten hit. Though I'm not sure I'd completely agree, this EP has a range of influences from Beatlesque brit-pop, Fifties sunny choruses, Sixties grooves, and Eighties synths. Close sounding to Belle and Sebastian. The songs overall are probably nothing you haven't already heard before, but if you're itching for some twangy-indie-pop try: #2, #3. #6 is a remix of #1 but both are indecent." Matissered

"This CD will be released through Jane McCracken and Mark Monnone's Lost & Lonesome Recording Co. very soon. Mid State Orange have been very busy over the last year, culminating with support for Stereolab recently at The Corner Hotel. This six track ep is their debut release.

It begins with the very "Candle Records" song Flag Festival. A CASIO driven pop anthem with plenty of new sounds layered around it. On this song, and some others, Mid State Orange sound like a combination of The Lucksmiths, The Mabels and Weave even down to very similar phrasings ("My Heart's Not In it").

"The Boy Who Dropped His Omelette" continues in a very similar vein. The stand out aspect of this recording being the excellent quality and production values. "The Rain Club" sounds like label mates The Salteens would if they took downer drugs rather than speed; imagine "Bubba Da" in monotone.

On "Flag Festival" the experience of the collective musicians is clear. The recording and mix sound great. The mix is bright and layered without been too busy. The songs are poppy when they need to be and minimal otherwise.
The ep finished with a very interesting re-interpretation of the title/first song." Tom, Oz Music Project