“When you’re a big band prone to layered harmonizing, adopting “The H & the H” template for your name is shortsighted. But that’s
about all that’s wrong with this splendid group, whose new album sounds like a richly dynamic milieu of Menomena and The Negro
Problem, with an infusion of Ben Folds-iness for accessibility’s sake.”
--Seattle Weekly
"The Horde and the Harem have pretty four-part vocal harmonies, a piano in the mix, and an apparent hard-on for Neil Young. (You
can't sound like relaxed folk-rock, and have an album named Harvest and a single named "Gold Rush," and not conjure up Neil Young.)
Their latest EP, Light Rail Sessions, walks the same path as their earlier work. It sounds like the kind of music that would accompany
a scene of Michael Cera riding his bike down a suburban street, looking innocent and bewildered, maybe to the lyrics of this song off
Light Rail Sessions: 'Hosanna/I love your summer dress/I love the way you dance/when you think you're all alone.'"
--The Stranger
"Residing somewhere between the jaunty chamber-pop of early Decemberists and the folk-rock of Or, The Whale, Seattle’s The Horde &
The Harem trades in uniquely pastoral urban folk. The band’s keenly observed songwriting evokes that sense of longing that the best
indie-pop conveys. With just five players, The Horde & The Harem manages a much larger sound than the instrumentation would suggest,
thanks to the male-female harmonies and the band’s well-wrought arrangements. After releasing two EP’s online, The Horde & The Harem
are hitting the road to preview their first full-length album, which should be a release to keep an eye out for."
--Santa Cruz Weekly
"The Horde and the Harem is a band whose music continues to propel itself entirely on the enjoyment of playing. It is evident in the
lyrics and the way in which they're sung, in the instrumentation and the way the musicians play, and it is evident in the quadratic
core of four-part harmony present for the entirety of each song. If the dodging dirge of rhythmic mathematics could ever let you down,
the drummer in this band certainly won't. He lets out gut-busting cadences that drive the whole thing down the street like a
slumbering elephant, teetering to the brink of disaster before choreographed turns take him in a new direction."
--Citysbest.com
"The Horde and the Harem craft a melodic, keyboard-driven brand of softish indie rock. With their liberal use of two, three,
and even four-part vocal harmonies, The Horde and the Harem set themselves apart from the countless other middling piano-rock
bands out there right now.
The folkish warmth of keyboardist Aura Barr's voice intermixes perfectly to create that coveted
male/female vocal dynamic, rounded out by melodic guitar leads and major-chord piano progressions that change and develop
through the course of each song.
It's not all dreamy, rainy-day pop either, as their rhythm section isn't afraid to kick it
into high gear for some more upbeat jams to keep things interesting. Just don't be fooled by their name, which sounds like it
would be better suited for like, a Viking-themed metal band or something."
--Ear Candy
"Seattle’s the Horde and the Harem has the rare gift of being able to create music that propels itself on sheer enjoyment. The four
bearded dudes and one non-bearded dudette who make up the band remind me of local favorites Church, but with a sloppy kineticism
that moves its songs forward like a shambling caravan of gypsies. With an EP, nascent full-length, and headlining regional presence
all created within its first year of existence, it’s clear that whatever the Horde and the Harem is packing is infectious to the
extreme."
--Shane Danaher
Willamette Weekly