very well by fans who were aware of the song "Starseed". The rhythm section of the band, the diversity in the band member's musical backgrounds and Raine Maida's "hauntingly provocative" lyrics were all praised by critics. Many critics also believed the album could serve as the bridge between Grunge and the next big thing. Bob Remstein of the L.A. Village View noted how the album grooved "with insistent, seductive beats" and called the album "perhaps the best hard-rock album of the young year [1995]." Ken Wilson from the Cincinnati Post gave the album a B+, saying, "The impressive thing about this sassy debut effort is that Our Lady Peace members share equal parts in delivering this seductively hard and interesting set." Jennifer Crocker from Pitch Weekly in Kansas City, MO called the album "damn good" and that "the compelling sound produced by this four man faction of musical ingenuity will wind you so tight, you'll spin on to track eleven with nary a notion of what's going on around you." Tom Sinclair of Entertainment Weekly called the album overwrought and derivative but gave the album a rating of "B" saying that it "ought to leap onto the charts faster than a stage diver on steroids." Later on, MacKenzie Wilson of Allmusic called the album "a stunning debut" as well as "a decent introduction to the band's spirituality." She gave the album three out of five stars. Packaging and design The band's logo on the album cover varies across the American, Canadian and European releases. The American version, released on the Relativity label, features a larger and bolder logo while on the Canadian version, 'Our Lady Peace' is displayed very small and in regular font with a brushed texture. The European release on the Epic label is the same as the Canadian version, but the band name is much larger. When re-released in the U.S. in 1997 by Columbia, the logo was slightly enlarged from the original U.S. release. The album cover is the first to feature art model Saul Fox, who the band had met and befriended in 1993. On the cover, he is seen posing like a statue without a shirt and covered with pigeons, representing The Birdman. The rest of the packaging follows this theme. The photography was done by Andrew MacNaughtan. Following the somewhat Middle-Eastern themes on the album, a line of Sanskrit writing, designed by Margo