Rolling Stone - p.91Ranked #24
in Rolling Stone's 50 Best Albums Of 2008 -- "[M]egajams that electrify dance floors."
Spin - p.1163.5 stars out of 5
-- "Girl Talk's fourth album efficiently weds collegiate Napster mainstays to thuggish verse in a rapid-fire manner..."
Alternative Press - p.1644 stars out of 5
-- "Built upon layers of well-known samples, ANIMALS is a raucous and hugely entertaining effort that doubles as a virtual 'Name That Tune' game."
"[I]t's as much a schizophrenic retrospective of popular music as an all-out forty-minute mash-up."
Blender (Magazine) - p.784 stars out of 5
-- "[The album] relies on a satisfying trick: combining hip-hop, indie and classic-rock samples into rousing jams. Sometimes the recontextualizations are irreverent; sometimes they're enlightening..."
Paste (magazine) (p.59) - "His latest musical highlight reel is dense with rib-nudging gags and indelible moments....This multivalent stew is precisely the world in which we live. Gillis simply digests it into a crunky, continuous mix."
Clash (magazine) (p.122) - "[E]verything here is expertly put together, but never takes itself too seriously....Brilliantly entertaining."
FEED THE ANIMALS, the fourth full-length release from Greg Gillis, the manic DJ, producer, and pop provocateur aka Girl Talk, finds him expanding the dance floor-friendly, overdriven mash-up style of 2006's NIGHTRIPPER. Like that album, FEED THE ANIMALS' approach is derived as much from the work of highbrow art-world pranksters such as Christian Marclay as it is from the sonic collage work of dance-oriented DJs and samplers. Though FEED THE ANIMALS itself utilizes a staggering number of samples, Gillis isn't indulging in playful displays of virtuosity here. Every track is muscular, propulsive, and musically coherent. The insistent "Still Here" catches fire when Gillis lays the a cappella from Blackstreet's "No Diggity" over a beatbox-laden rhythm, while "Hands In the Air" seamlessly pitches woozy samples from The Tag Team, Kraftwerk, The Band, and The Velvet Underground over one stadium-baiting beat. In the end, Gillis's encyclopedic knowledge of pop music and his boldness in rigging up unexpected musical juxtapositions makes FEED THE ANIMALS an endlessly compelling listen.