Sierra and Bianca Casady's songwriting and approach matured in the three years between Grey Oceans and The Adventures of Ghosthorse and Stillborn. Even though it still sounds like Ouija boards and wax cylinders are vital pieces of equipment for them, these songs have a more expansive and polished sound than any of the sisters' previous work, and they don't try to fill each song to the brim with sonic doodles. "Trinity's Crying" begins the album by proving that CocoRosie sound as witchy as ever with its mix of odd samples and acoustic instruments, but as its coolly hypnotic vibe unfolds, it's clear that it was made in a more professional setting than, say, a Paris apartment. "R.I.P. Burn Face" also shows how far the duo have come since Ghosthorse and Stillborn, fusing warbling synths, wandering beats, and a delicate melody into a song that is equally sophisticated and ethereal. Grey Oceans' arrangements and instrumentation are also among CocoRosie's finest. "Lemonade," for example, captures summer's idyllic beauty by melding a melody that sounds like it could be from a long-lost Broadway musical with trip-hop-tinged beats, electro synths, and brass. At their best, the Casady sisters' music borrows from folk, electronic, pop, world, jazz, and whatever else suits their fancies with innovative boldness. Not all of Grey Oceans' experiments and changes succeed, but enough of them do to suggest that CocoRosie can gain a wider audience without sacrificing their essence. ~ Heather Phares
Billboard (p.41) - "[T]he album is primitive and ultra-modern, dark and enchanting, tranquil and energetic."
Mojo (Publisher) (p.99) - 3 stars out of 5 -- "Throughout, the sublime battles the wilful as the sisters proffer a smorgasbord of hip hop, electronics, piano balladry, opera and pan-global folk..."
Uncut (magazine) (p.83) - 3 stars out of 5 -- "The title track recalls Baby Dee while 'Lemonade' suggest Joanna Newsom gone trip hop....One can only applaud this ambition."