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New York's Q104.3 has a Minor Alps interview and performance available to view or download.

The final(?) batch of review links for the Minor Alps album:

It could have so easily been indulgent and small but Get There is bursting with energy and ideas.

Gary K, The Digital Fix

Then there’s the formula factor. Minor Alps seem content to peddle pleasant but not particularly memorable pop-rock. Quiet verses lead into louder choruses with big drums and whitewashed guitars as Caws and Hatfield repeat a phrase that, depending on the song, becomes either more meaningful with each cycle (e.g. “Lonely low”) or collapses under the weight of repetition (e.g. “I don’t know what to do with my hands” and “If I wanted trouble I could find it”), 4.9/10

Joel Oliphint, Pitchfork

There are lots of intimate lyrical moments like two lovers exchanging thoughts and memories. We’re lucky they have let us in. We’re all very lucky that they went through so much for us. Start with the rock radio tune then work your way inside their heads and like us we’re already looking forward to the next set of tunes.

David Urbano, Review Stalker

For Minor Alps’ Get There has not one peak, as might one such enumeration, but instead several.

Josh Holliday, Dots and Dashes

Get There suffers from a similar state of limbo to that of a love-stricken teenager. For the most part it wants to be a charming collection of indie-pop songs that are easy to relate to, but still yearns to occasionally break out and start making noise. It feels that in an attempt to control those urges, Hatfield and Caws have made a record that, whilst it has its charm, lacks in any real excitement, 4/10

Robert Whitfield, The 405 Reviews

“We’re not reinventing either of our wheels, but it does go in a slightly different direction than places I’ve been in the past,” Hatfield said. “There’s not a drummer on every song but we did more with drumbeats than I usually do. I also played a lot of keyboards, which is something I haven’t normally done – that was really fun for me. I studied piano for many years, so I was like, hey, I remember the keyboards. But it was more because some songs cried out for instruments that weren’t stringed instruments – like this feeling or vibe where a mellotron was needed, or we could mess around with something else.”

Taken from a feature on Minor Alps at The Patriot Ledger.

There's a further piece behind a paywall at The Boston Globe.

“We’re doing a lot of singing in unison, it’s really cool, it’s fun,” says Hatfield, her voice picking up pitch and speed. There’s a genuine expression of excitement to her tone that seems to catch her off-guard. It isn’t surprising, though–even in the more dour moments, it sounds like Hatfield and Caws are having a blast.

“For me, that’s the best part,” she says. “It’s natural, it’s not having to try to very hard or to force it. We just blend really well and it’s really easy to harmonize, which is great because I rarely ever sing with other people.”

Full article at Dig Boston.

You can hear a live session with Minor Alps at The Current.

Juliana and Matthew are interviewed and perform Maxon, If I Wanted Trouble and I Don't Know What To Do With My Hands.

More reviews. Hope you're keeping up.

Think Jim Reid and Hope Sandoval on The Jesus And Mary Chain’s ‘Sometimes Always’ – sugar-sweet voices destined to be together. As Minor Alps, Hatfield and Caws have made a gorgeous debut that sounds as if they’ve recorded it in each other’s pockets, their tones exquisitely matched, the songs intimate. 7/10

Matthew Horton, NME

For the most part, Get There tries to find center ground between the worlds of Bon Iver and Death Cab For Cutie. Every so often, as on “Mixed Feelings,” the pair let loose and indulge themselves in the fuzzy, energetic punk-pop of the early 2000’s.

Angel J Melendez, fuzzyheadphones

Ultimately, there is a bulging gap left via a distinct lack of, well, songs, and there are moments that are uncomfortably dull and so ordinary it just becomes tiresome. 5/10

Daniel Dylan Wray, Loud and Quiet