Generally favorable reviews - based on 18 Critics

Critic score distribution:
  1. Positive: 12 out of 18
  2. Negative: 0 out of 18
  1. Tilly And The Wall are excellent at writing instantly infectious pop songs ("Dust Me Off" may be their best yet), and they've finally corralled a full palate to go with it.
  2. O finds Tilly And The Wall perfecting the art of looking at the world through rose-colored glasses--without losing their inherent sweetness or zest for music's restorative qualities. [July 2008, p.150]
  3. The result is an expansion of the band’s sound, which offers some pleasing diversions into the dark (musically) and profane (lyrically) to offset a tendency that often leans toward the saccharine. [Summer 2008]
  4. Tilly and the Wall stick with their signature combination of half-shouted words and harmony vocals. But the group also breaks new ground with punk rock riffs and percussion that well surpasses the standard of tambourines and Jamie Pressnall's tap dancing.
  5. Clever, joyous and never patronising, O is a half hour bite of summer that’s perfect for fending off the darkening nights.
  6. Twee-sy tiger! Omaha act mix up their newest record with more attitude but still stay true to their original style.
  7. Despite the evolution of their sound, Tilly and the Wall haven't forgotten about what made them appealing in the first place: bright co-ed harmonies, rousing choruses, and their overall open-hearted good nature.
  8. 70
    Yet here they are on their third full-length, and rather than calcify into indie-scene shtick, Tilly's music has gotten funnier and more vibrant.
  9. The Tillys have managed to keep the tap alive by focusing on quality songwriting while at the same time preserving their youthful wonder and elegant sensibilities.
  10. In contrast to the potty-mouthed numbers that precede it, the song's ['Heartbeats'] starry-eyed optimism is contagious and solidifies Tilly & the Wall's status as an indie band with dance-floor aspirations.
  11. On their third album O, the day-glo Omaha quintet Tilly and the Wall spoons some peanut butter into my mouth. After an initial scare with the typically saccharine, non-album single 'Beat Control,' they diversify after all, which doesn't mean more overdubs.
  12. In the end, it's not going to change the world, but it shows that the group is definitely expanding (in a good way) their sound from their early days.
  13. As it stands, this one just squeaks by on the power of some very good songs and their typically energetic performances.
  14. Now mature pop songwriters, the Omaha quintet sounds more like a conventional band on O, favoring rousing sing-along choruses, richly layered pianos and trumpets, and even standard drum kits.
  15. 60
    O resoounds with the lustily imparted vocals of Kianna Alarid and Neely Jenkins, while the band's signature instrumental palette--fizzing guitars, chunky '60s organs--has expanded into a thick sonic cheesecake. [Nov 2008, p.109]
  16. 60
    Their third LP reveal a sweary rock toughness that suits them (surprisingly) well. [Nov 2008, p.120]
  17. It's a heady, exuberant mix, although the mystifyingly reduced vocal contribution of Jamie's husband Derek in turn reduces their uniqueness. [Nov 2008, p.123]
  18. On the album’s strongest songs, the band displays a strong sense of self, infusing their previous sound with unexpected sonic twists and turns. On the weaker songs, however, they betray their core aesthetic, adopting attitudes and sounds that make them sound disingenuous at best and at worst, like self-conscious poseurs.
User Score

Universal acclaim- based on 10 Ratings

User score distribution:
  1. Positive: 3 out of 3
  2. Mixed: 0 out of 3
  3. Negative: 0 out of 3
  1. TimE.
    Jul 12, 2008
    AMG is the biggest hypacrit. They complain when a band sounds the same throughout their career yet they have the nerve to criticize this AMG is the biggest hypacrit. They complain when a band sounds the same throughout their career yet they have the nerve to criticize this amazing record because it's too "angry and agressive." Because the guy in the band doesn't sing any more. Guy/Girl harmonies are all you hear nowadays. That's why they changed to girl vocals. She has a better voice and it sounds best without male background vocals. If you want to hear guy/girl harmonies listern to Los Campesinos or every other british artrock band in the country. This band is about being different than all the rest and to bitch about it like AMG just tells us that they're off their game and they need to get with the times. This album is incredibly diverse and clever it's no wonder why some publications don't get them. The tapdancing replacing drums is beyond brilliant and even catchier than most drummers can play. The harmonies are as gorgeous as the band. Expect this album to be a massive hit. Otherwise you're missing out. Full Review »
  2. ChadS.
    Jun 30, 2008
    "Dust Me Off" and "Alligator Skin" are catchy, Beulah-catchy, like lost tracks from "When Your Heartstrings Breaks" with a special guest "Dust Me Off" and "Alligator Skin" are catchy, Beulah-catchy, like lost tracks from "When Your Heartstrings Breaks" with a special guest female vocalist. Tilly and the Wall have the ability to write propulsively tuneful songs that are substantially weightless. I think they're a band for hipsters who aren't afraid to admit they like Kelly Clarkson's "Since You've Been Gone". In other words, the band doesn't have an ounce of pretension in them. "Potkettle Black" is the standout. Great grrr-ly vocals. They sound like one of those all-female K, or Kill Rock Stars bands from the Northwest. After the quiet opening track, it's a surprise that they rock this convincingly. Full Review »
  3. ErikaW
    Jun 29, 2008
    A great album with a couple key listening-list tracks. An improvement from their last album.