Paris Motel

"Another fine gem cleverly hidden in the Cabinet of Curiosity, a classically-trained, London-based Amy May recorded all 6 songs here at her home in her imaginary town, changed her numerous line-ups, musical instruments and beautiful clothes. The result was "071", a collection of lush, dreamy and heart-melting songs. Each track tells the story that is hurtful, lonely and longing. "I Lost My Heart" bridged to "Philippe, Philippe" hinted us the artist's name and what she has been through. Title track and "Static Song" are the perfect songs catchily enough to walk through the park that fond memories.. Paris Hotel music is not shy away from Joanna Newsom, Bad anorak 404, Evie Sands, Virginia Astley, Gillian Welch, Innocence Mission, Kirsty MacColl and Bridget St. John. Even though this concluded in less than 20 minutes, but you can feel an amount of precious times she spent handcrafting this music." - Esquire (Thai)

This sublime mini-album combines lushly orchestrated chamber pop with an underlying melancholic twist. It is the brainchild of the classically trained Amy May, whose laconicvocals prove irresistible. The band will be enlisting local musicians at SxSW and will surely prove to be a highlight. - Music Week

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This stunning six-track debut from the classically trained Amy May and her ensemble is a gem of dreamy sounds, which combine etherial ane cinematic cadences with charming pop sensibilities. It's one of the most stunning and intelligent DIY releases for some time, and they're dazzling live, too. - the Independent

A beautiful slice of archaic chamber pop that lifts you somewhere more sublime... - NME

Paris Motel's debut EP shouldn't have been born into a world of iPods and file-sharing. The ethereal masterpiece, created by classically trained Amy May, would be more comfortable echoing from a dusty hotel room. It's a beautiful slice of archaic chamber pop that lifts you somewhere sublime, and from 'Mr Splitfoot''s Victorian freakshow of twisted strings and demonic organ to '071''s courtly guitar picks and breathy whispers (the most beautiful song ever written?), the only downside is that after a meagre 20 minutes it drops you back down on your arse in the real world. 8/10 - NME

Paris Motel are the brainchild of classically trained star-in-the-making Amy May, and 071 is a home-recorded bolt from the blue. The heavenly vocals and plucked strings of opening track "I lost my heart/Philippe, Philippe" shimmer like "moon River" while the a capella "parting is such sweet sorrow" is almost like a chain-gang spiritual delivered by a cut-glass British accent - impossibly lovely. A fully formed slice of orchestral pop. - Independent on Sunday

Metro is red and black. Being inside this place is a little like being a character in a Nick Cave nightmare. All to the good then that, after an assortment of inoffensive indie acts cleared the stage, headliners Paris Motel, the construct of singer-violinist Amy May, took to the stage and before long were paying homage to the greatest Australian ever to live in Sydenham.

Paris Motel is utterly unlike any other act you'll see in a venue like this. Occupying a precarious fencepost between contemporary classical and acoustic indie pop, Amy May's music is unlikely to appeal to anyone obsessed with this week's 465 new, must-have spiky guitar bands. This is music for connoisseurs of something rather less ordinary.

But first there was time to drink in the sight of a band that was really more of an orchestra. Around May - looking both ravishing and in effortless charge - was possibly the largest band she could fit on the Metro's stage. She's been known to run to 45 piece orchestras already in this early stage of her career, but tonight something like 13 seemed like a lucky number, with all the strings represented alongside a rhythm section and keyboards.

Opening with a montage of I Lost My Heart and Philippe, Philippe, both from well-received debut EP 071, May's music was in stark contrast to the inoffensive yet scarcely captivating indie wannabes who'd occupied her stage earlier in the evening.

Cave's biggest hit, much to his horror, was his top five duet with Kylie, Where Wild Roses Grow. Tonight the song was May's own and Metro has surely never heard anything so sublime. Expressive strings and May singing Kylie's part in duet with her guitarist made for a beguiling experience. It was plain this was not a novice band. Clearly, everyone on this stage were consummate musicians in their own right. That May has harnessed them all in her project is testament, surely, to her talent and vision.

When her own material returned to the fore the influences were obvious. Mr Splitfoot is her very own Red Right Hand, and it's clear that here is a lady who has a thing for Mr Cave. May's voice, though, brings out none of the horror of Cave's - rather her instrument has a woozy, Sunday breakfast feel to it. Homely, even. Red Right Hand sung like it's a lovely song for all the family? That's scary.

Next, May let slip more of her influences. We were treated to a Medley of I Get Along Without You Very Well (Billie Holiday), Building On Fire (Talking Heads), Waltz No 2 (Elliott Smith) and May's own Mr Blue. It needs to be noted that a full set of her own material would be expected had there been an album in circulation, but May is still working on that debut delivery. In the meantime, it seems she's having fun with her favourites.

The set headed towards conclusion with the wispy if peculiarly titled 071, and Parting Is Such Sweet Sorrow, complete with strings flourish. The audience brayed for more. The trouble for Amy May right now is, she's set the bar sky high. With performances as captivating as this one, she's going to have to produce more original material, and soon, to satisfy her growing number of admirers. The good news is, she's exquisitely capable of doing so. Roll on the album. - Music OMH

Sublime chamber melodies from a orchestra in thrall to Amy May, a torched singer who's stepped intact straight from the '30s into the modern day. It's as if Brian Wilson was writing songs for the Weimar Cabaret. Quite how someone with a voice as luxurious as Amy May's has turned up in 2006 is a mystery, but one to be grateful for. Perfect for Jenny Lewis or Cat Power fans, in other words anyone with ears. 8/10 - Ceefax

...nobody remains heartbroken forever. And if there's a soundtrack to ease you out of despair, we can't think of a better one than London's Paris Motel. They're Serge Gainsbourg! They're Belle and Sebastian! They're the sound of long slain noble knights rutting with the ghosts of fairies in Scottish castles. They're the sound of romance. See their website at www.parismotel.co.uk. Then catch them at Bush Hall on April 13th. They'll make it all better. Promise. - NME

Another one of those floating combos/open marraiges that seem increasingly to be the flavour of the day, Paris Motel are in fact London based singer/songwriter Amy May along with various friends. Among their influences they list Steely Dan, Nick Cave and the great contralto Dame Clara Butt! - Word Magazine