United Kingdom

“…Vacabou manage to sound like a missing link between Air, Ennio Morricone and The Beatles (...) This is a debut with a subtle charm and low-key magic that’s infectious.(...)an air of mystery and otherworldliness.”

(Mike Bond, UK Music Search. September 2005)

“The album is exceptional (...) There is an unsettling nature to each piece that will submerge you to an almost somnabulant state(...) inviting the listener to become reacquainted with their personal memories(...) Strange and beautiful.”

(Martha Whatley, Disorder Magazine. August 2005)

“There are times when the production makes you wonder i the rest of the world was ever meant to actually hear these songs (...) moments of sheer aural wonder.”

(, September 2005)

“It’s glacial chanteuse vocals capturing a distinct, confident power. It’s medative and melancholic but with an optimist’s tilt.”

(Skif. Vanity Project. August 2005)

“...The album shows more warmth and bravado that Air and Roysopp. Saravelli’s voice is beautifully effortless and thankfully free of ego, allowing Feliu’s meandering but devastating production space to breathe. (...) Easily out-manoeuvering any of the most recent releases by the big European names.”

(Ross Breadmore,, October  2005)

United States

"...To forever be floating in an eternal universe of music is like what Vacabou's debut album (...) seems like.(...) a warm blanket of security wrapped in sense of permanence. (...) After listening to the album, it is almost painful to think about the end to the Vacabou. (...) creates a soft lullaby that will soothe and tuck anyone under the covers.(...) graceful, dense and expansive. Vacabou is a siren song that never lets go the ears of those who have been lulled into its placid trance.”

(Paul Bozzo, March 2006)

"...It is a phenomenal album! (...) This disc is transcendent. (...)I simply cannot imagine that there are going to be five releases this year that would overtake this one. It exists on a somewhat dream-like plane. (...). Singer Pascale Saravelli's voice feels like audible love, it is gorgeous and unfettered by pretence.(...) This album is so much more complete than anything I have ever heard from Portishead.(...) I am not sure how much more praise I can heap onto this outstanding work. (...) This album does change me, as did OK Computer (...) I do think it will affect you. Again I implore you, buy this album.”

(Jeff Johnson, March 2006)


"…melodies like cotton-wool which embrace your brains (…) But to compare female singing only with that of Björk is a reductionist act. Because it has a more spellbinding character which rocks you neurones (…) Adding their stone to the building of the trip-hop while preserving their independence is a very rare feature nowadays. »

(Fred Cisnal, Body Board. December, 2005)

"...genuine  atmospheric, bucolic and complex wonders (…)Vacabou is far from the suffocating and lascivious topics of  trip-hop (...) As if seducers Lee Hazlewood and Nancy Sinatra had taken off their cow-boy boots to put on some moonboots.”

(Benjamin Montour, Les inrockuptibles. Octobre 2005)

"...This Franco-Spanish UFO has made the exploit of publishing an incredibly rich album (...) the miraculous distribution of all the elements that form Vacabou, making it so charming(...) Wow, what a discovery made by the label All Saints.”

(Philippe Sandre. D-Side nº 31. November-December 2005)

“...a miraculous encounter between an inspired electro musician and a voice with an immediate charm (...) Vacabou achieves a first round album (...) the duet can legitimately seek for a privileged place among Air, Royksopp and Goldfrapp.”

(T.S. À Nous Paris. November 2005)

«  ... A breeze of refined air, giddiness, folk and soft at the time, with that little something that makes this album unforgettable. (...) Pascale Saravelli, whose voice shakes you (...) « Everything sounds similar this year ? » Stop searching, visit to listen to it. »

( October 2005)

« doubt, one of the most beautiful surprises after the summer holidays(...) The Franco-spanish duet makes it, with determination, and  enters the electronic-music-with-vocals market. (...) Seducing with their grip and their variety of solid references.”

(Franck Bolluyt. Trax France. October 2005)

« ...This music goes beyong earthly limitations (...) gliding gloom and celestial blues disolve and expand here in light waves.”

(Zdenek. Krinein Musique. Séptember 2005)


« What makes a record different to others? What defines talent? I think about all this while, moved, I listen to Vacabou’s debut album. »

 (Jordi Turtós, Efe Eme magazine, March 2004)

« A work able to combine from the first to the last synonymous of the adjective beautiful »

 (David Morán, Rockdelux, April 2004)

“…Four years ago, Vacabou released an album with which they became one of the best new Spanish band o f the year (…) it was published all around through different labels and won international awards (…) The apparent lack of references in the music of this Majorcan duet is opposed to the amount of variations that appear in a four-minute track or the wealth ness in textures and tones brought by Joan Feliu; all this is a real challenge for the critique and the industry, from day one (…) “Twelve songs inside” is even more challenging; a collection of juggling which bring you beyond trip-hop, spatial pop or ambient music. This is Vacabou and period.”

 (Ramón Llubía, Rockdelux, December 2007)

“We have, here in Majorca, one of the most solid bands of the international music scene. Inexplicably, the Spanish press – not to mention the Majorcan – hasn’t paid them the attention they deserve. But what can we expect of a country with no Age of Enlightenment? (…) They are a step ahead in style. I listen to their songs and there it is, the solitude of a contemporanean city solved in a snowy screen of pixels (…) Good luck, Vacabou. You play in a different league.”

(Agustín Fernández Mallo, writer and author of “Nocilla Dream”, El Mundo, 10/11/07)

« Vacabou draws one of the cardinal points on the map of the best pop made in Spain during this now-ending year (…) Perfect melodies of dreamy appearance, endless harmonic details (…) Vacabou, the record, reveals itself with emotion, just like what it is, a monumental and beautiful album. Marvellous! »

(Blas Fernández, Diario de Sevilla, Granada Hoy and Huelva Información, December 4th,  2004.)

« Amazing compositions that leave you breathless, nearly frozen (…) Vacabou’s music gives off a worrying halo of mystery (…). The result is truly exciting. »

 (Toni Rubies,, March 2004)

« A work that overflows with warm tones and sensibility (…) Transparency, brightness and immaculate moments always emerge from albums like this one. » 

 (Félix Ruiz, Supernova Pop, February 2004)

« A new pillar in national pop (…) Round in its conception and precious in its presentation (…). This work overflows with fragility and good taste. »

 (Iker,, February 2004)

« One of the most exquisite bets, thought, worked out, and signed that I’ve discovered in a long time. »

 (Pepo Márquez, El Cactus Radiozone, April 2004)

“We may talk about intimism, Björk, Portishead, but none of these comparisons fulfils to describe these beautiful and strange pieces. »

 (Sandra F.Molina, Shangay Magazine, January 2004)

« A wealth of nuance which does not admit neither classification nor cataloguing. A dream? »

 (La Gaceta de los Negocios, January 2004)

“Four years have passed since Vacabou popped in the musical scene with an unusual force and a sweeping personality (…) With no hurries and a goldsmith’ dedication, detached from the world outside, they have ended up shaping this second album (…) The definitive assertion of their talent and their style that no one has been able to classify (…) fresh and genuine as the first day (…) An essential album in all record collections.”

 (Rubén García, Diario de Ferrol, November 11th,  2007)

“… I discovered a music that sounded unknown to me, glacial as a block of bluish ice but, at the same time, pierced by a subterranean current of beauty and emotion.”

 (Eduardo Jordá, Diario de Mallorca, September 2004)

« I wonder which will be the new label we’ll have to make up soon to describe their beautiful, nostalgic, electronic, evocative, pop songs. »

 (Yayo Alvarez, Diari de Balears, February 2004)

« With an envying modesty and originality as the main value, the album moves forward from one surprise to the other (…) they succeed in being different without even intending it. »

 (Josep Martín,, February 2004)

« Light electronic pop, sharply complex and blessed (…). A combination of textures slippery as ice and neutral as the lack of colors. »

 (Albert Alcoz, Mondo Sonoro, March 2004)

« Impossible to classify their music, the only things we feel are images, landscapes, dreamed spaces (…). It is one of these works that you specially keep with loving care in your discotheque. »

 (, March 2004)

“This delicate and evocative duet sets up a complete discovery for the most intimate indie  profane (…) Its second album confirms Juan Feliu and Pascale Saravelli’s talent (…) Many praises for this band who conquered us with “Meditation Park”.”

 (El Correo Gallego, November 9th,  2007)

“..What hasn’t changed is the delicacy when tackling music. It’s here where the album acquires the high standard it contains. Joyful and elegant at once, the result touches everyone. And there is something very outstanding and rare in this kind of music: lyrics combine perfectly with melodies and voice.”

(Nacho Sobrado, Muzikalia, December 3rd, 2007)

“Twelve songs inside are 12 songs produced in an exquisite, spoiled and optimistic manner, knowing how to obtain the best of the most sweet electronics and half-finished melodies of “bedroom pop”.”

( Javier Ruiz,, January 2008)

« A captivating album from the first hearing (…) Its sound is difficult to describe; cold landscapes and minimal textures, voices that seem to inhabit a distant land (…) Dreamy and disturbing electronic pop, that you cannot miss to hear. »

 (Patricia Catalá,  Era Magazine, March 2004)

« Intimism and melancholic pop, with an electronic touch, that, nevertheless, doesn’t show easy referents; neither Björk, Beck, Morcheeba nor Portishead. And then, who do they sound like? »

 (Txus Troll, Mondo Sonoro, November 2003)

« Vacabou has driven the critics crazy with their debut. Crazy with regard to the incapacity of defining their music using recurrent labels. And mad of praises and enthusiasm facing an album that’s been thought and released in Majorca (…) Suggesting, stimulant, precious and reflexive, Vacabou’s sound begins to stand out with a promise of flying high and to revolutionize the 20th century pop music. The freezing landscapes of their music melt down all those who visit them.  »


(Marcos Torío, El Mundo/El Día de Baleares, January 2004)

« The emotion that inspires their images uses these down tempo rhythms, where the electronic forgets about dancing to shake up the hearts, a perfect equilibrium. »


(Ginés Alarcón, Trax  magazine, February 2004)

« The electronic textures exude a luminous urban appearance that refers us to a freezing distress and a glacial solitude that invade the cities in the wintertime. »

 (Alberto Torres, Tendencias Magazine, February 2004)

« Beautiful compositions, pop and evocative gems of delicious moments and magic places. Mysterious melodies that seduce and cheer up (…) 45 minutes of music in capital letters. »

 (Toni Rubies, Suite magazine, May 2004)


“... an unrepeatable musical event (...) a disparate sonority that comes together in an exceptionally special sound (...) this disc is a mysterious object; to lose it would truly be a crime. "

" (...) an extremely original structure of To Russia In White, magnificent electronic inserts in Life As Interference and Plain (...) an incredible combination in Barunka Left and Angel Of Night. (...) perhaps we have taken another step forward. "

(Bizarre, Revista Blow Up, December 2005)