The Skylar Grey debut full-length record DON’T LOOK DOWN has now been out for its first full week – while the official first-week charts have yet to be fully counted and published, check out a sample of the run of critical reviews published so far!

Find excerpts from several online publications below – click their titles to view the full-length version of each article.

Look Forward, Not Down | The Examiner ::
“….what we do know is that the fifty-four minute fourteen track album, executive produced by Eminem and Alex Da Kid, is an absolute gem. “Don’t Look Down” is carefully crafted with evocative melodies and piercing vocals which will send chills up the spinal columns of all who hear it. The more airplay it receives Grey and her fans will be looking forward to something that will be much deserved. That is serious consideration come awards season in multiple categories including those pertaining to album of the year and songwriting. If this doesn’t occur then chalk it up as a major league travesty….”

4-out-of-5 | Idolator ::
“….Skylar sounds curiously confident and upbeat on the LP, although her biggest priority seems to be guarding herself from an ex who’s resurfaced. Producer Alex da Kid cues sound effects like the Wicked Witch Of The West with flying monkeys: see the tinny, haunted-house effects in introduction “Back From The Dead” and the screaming match and cannon blast in “Final Warning. Grey bares her teeth during these songs — musical tales that could cement comparisons to Eminem’s past, psychotic rap-rants  — only to sing sweeter sentiments later on.

This sort of mood swing feels like suspicious behavior at first, even (or especially) during the whimsical “Wear Me Out” and “Religion, where Grey sounds not unlike Michelle Branch. From this point, it’s hard to shake off the sense that another abrupt change in tone might occur at any given moment on Don’t Look Down. By album’s end, though, Grey does perhaps the most unexpected thing: flaunt her range as a bona fide songwriter.

Grey’s music isn’t “Grown Woman” or “I’m Out”-style invincibility; it’s bombastic pop best listened to when dealing with emotions grows messy, from someone seemingly rough around the edges, but who knows exactly what she’s doing. Swelling electro-pop ballad “Glow in the Dark” washes all memories of “Final Warning” clean, while “Shit, Man!” (featuring an inspired, tension-building verse by Angel Haze) adds a skip to the minor-key emotion Grey wrote into Diddy‘s “Coming Home.….”

Summer’s Surefire Pop Anthems | ELLE ::
“….the Eminem protégé has had every Billboard artist clamoring for her Grammy-winning hooks, and now Grey shows off her own fiery voice. Based on the ferocity of revenge fantasy “Final Warning, it’s one to be reckoned with….”

The Beat Goes On | HitFix ::
“….the singer/songwriter has catchy beats aplenty and often has something poignant to say. The two don’t always intersect, but when they do, they are powerful….

One thing that’s clear from the first track is you don’t want to make Grey see red. Her voice may be fairly tame, but her threats are not. On album opener, “Back From The Dead, she tells of reuniting with an ex-lover, who skipped out on her. Against a rat-a-tat persistent beat provided by Blink-182’s Travis Barker, she objects to his return just when she seems to be getting her life back together. “I’m so confused, I don’t know what to feel/should I throw my arms around you or kill you for real,” she sings, and she sounds like she means it. Big Sean plays counterpoint as the lover trying to worm his way back in….

After this rather dark opening couplet, Grey runs through a gamut of experiences and styles: from dealing with an unexpected pregnancy on the aptly titled “Shit, Man!”  (with a rap from Angel Haze) to “White Suburban, a jazzy, piano closer about her “first time” and the sadness she feels when her former paramour looks at her with indifferent “disregard. She veers from playful to deadly serious thematically, from Alanis Morissette on “Pulse” (listen and see if it doesn’t remind you of “You Oughta Know”) to sounding like Sheryl Crow backed by a beat machine on “Religion.

There’s much to like about the album, especially the thoughtfulness that went into some of the lyrics, and Grey’s voice, while fairly standard, has a certain charm….

“Don’t Look Down” sounds like Grey made the album she wanted to: one that shows her many different sides: lover, fighter, muse… but your appreciation for it will depend upon your tolerance for the often misplaced reliance on beats….”

5-out-of-5 | PopFreak ::
“….no matter what you may think, Skylar Grey is no stranger to the pop scene….

Eminem and Alex Da Kid, whose signature drums are heard on most of the tracks on the record, executively produced the album, although the sound varies substantially. Don’t Look Down is by no means a ‘messy’ album but offers a cohesive collection that flows perfectly.

The song writing is what really shines on this album, using her lyrical prowess to her advantage alongside her keen ear for a catchy melody, there’s no surprise that this is by far one of the strongest albums of the year thus far….

Overall, the record is going to be the one to beat. Proving herself to be more than just a feature girl, Skylar has set the bar with “Don’t Look Down” and we cannot wait to see what she has in store for us next….”

‘Don’t Look Down’ Mixes Courage With Desperation | The Republic ::
“….more than anything, the Wisconsin native is bold. She made that much clear with the previously released single “C’Mon Let Me Ride, a grainy carnival of a song in which she coos endless innuendo as Eminem himself channels Pee-wee Herman singing Queen’s “Bicycle Race.

Still, that novelty song doesn’t represent Grey — no single track on “Don’t Look Down” does. The emotional and sonic pendulum swings dramatically from track to track as she sounds like everything from an angry anti-establishment artist to a boisterous hit-maker. It’s both engaging and disconcerting, contrived and compelling….

Ultimately, “Don’t Look Down” may not clearly define who Grey is, but it’s fitfully gutsy….”

CD Reviews: Skylar Grey | JSOnline ::
“….after capturing lightning in a bottle co-writing….Wisconsin native Skylar Grey (born Holly Brook Haferman in Mazomanie) is going out on her own with her major label debut. It’s a bold leap, one so carefully considered and executed that the album’s release was delayed by two years to get it in working order.

Produced by Alex da Kid (Imagine Dragons) and executive-produced by Eminem, “Down” is void of a “Lie”-like groundbreaker, but it provides a good glimpse at a confident artist, if not always a cohesive one. “Glow in the Dark, while overproduced, is nevertheless illuminated by Grey’s pretty, soft-spoken, Dido-esque vocals, while the drastically different “C’Mon Let Me Ride” is grotesquely cartoonish, complete with xylophone and Eminem doing a Pee-wee Herman laugh.

But the most colorful variation of Grey on “Don’t Look Down, the persona that can set her apart, is that of the bruised songstress. There’s an underlying sense of genuine pain and sadness — even “Ride” starts with Grey ominously saying “the wheels go around, and around, and around” — making songs like the disturbed, lovers’ revenge tale “Final Warning” and the crossroads lament “Tower (Don’t Look Down)” hard to shake….”

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