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TOY

TOYBest TOY Albums Ranked

7.6

Avg Score

8

Opinions

5

Albums

5

Reviewers

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About

Summary from 8 ratings

On Wavelength, fans have rated TOY's catalog across 5 albums from 8 opinions, with an overall average of 7.6/10. The top-rated TOY album is Happy in the Hollow (2019) with a 7.7/10 average from 4 ratings, followed by Clear Shot and TOY. The discography on Wavelength spans 2012 to 2019.

Happy in the Hollow

Happy in the Hollow

thelineofbestfit
8.5

TOY return in revitalised form on excellent new LP

Happy in the Hollow

Happy in the Hollow

pastemagazine
8.4

TOY have always dabbled in the sinister, but the quintet’s fourth album, Happy in the Hollow, is their most wholehearted embrace of ominous murk. If their last LP, Clear Shot, was a moderately dark album, then Happy in the Hollow is near pitch-black with just a small lit torch to navigate through the darkness. While their previous albums leaned on a mix of psychedelia, krautrock and shoegaze, thei

Clear Shot

Clear Shot

exclaim
8.0

As a third album, it's an interesting station on the way to potential greatness, and it will definitively put the group on more than a few radars. Above all, on this album TOY makes us feel really excited about Brit-pop again, which itself is no small feat.

Songs of Consumption

Songs of Consumption

loudandquiet
7.0

What became of the early 2010s British psych revival? Not, it would turn out, a great deal at all, and for a time Toy seemed destined for the same lacklustre, mushy shoegaze fate as their other half-forgotten contemporaries. That was until this year’s Happy in the Hollow, a bolt from the blue that saw Toy discover a menacing pop sensibility that didn’t ever seem to be previously present. This is c

Happy in the Hollow

Happy in the Hollow

loudandquiet
6.0

It’s growing hard to remember when Toy and The Horrors were considered kindred spirits of gothic krautrock. While the latter have drifted towards ’80s synth rock, Toy have increasingly set the controls in the direction of the sun. This journey continues on the Brighton quintet’s fourth album, although it sounds like they’re in danger of losing their way. The first three tracks alone take in baggy

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