A review by Greg Weeks that appeared in The Big Takeover, Fall 1998. (I don’t know the issue number and I’m just guessing at the exact date.)

We’re all familiar with how most rock critics view an artist’s sophomore effort.  It’s considered trial by fire or some sort of mystical barrier to be passed through successfully.  The alternative to victory?  To wind up a charred hunk of detrius on the far side, never to be seen or heard from again.  Bunk.  Most artists feel a genuine need to expand upon their style or test new waters the second time out.  The second record often becomes a training ground for the third, so you can see the problem the aforementioned attitude could have on the future of an artist who takes creative risks.

Edith Frost is feeling the effects of such a position.  Telescopic suffers from a sameness which lies at the root of Frost’s songwriting technique and makes the need for inventive production and instrumental accompaniment crucial to her success.  Unfortunately, much of that which is meant to accentuate Frost’s melodies serves only to undermine them.  A fair portion of the playing sounds amateurish and out of sync, made all the more obvious by the record’s subdued atmosphere.  Still, Frost’s angelic melodies, sonorous voice and artistic intent shine through, even on the most muddled of passages.  I recommend this record, but suggest it be taken with a grain of salt.