[3] Calling Noir a “melodic genius”, The Guardian‘s Dave Simpson described the album as “a cross between a classic 1960s album and half-forgotten children's TV themes”, “rich in the sort of melodies you'd think went out with Simon and Garfunkel and Smile-era Beach Boys.”[5] In similar vein, PopMatters’ Dan Raper described the album as “sophisticated pop music with broad appeal” that “hums with 60s pop brilliantine and a slightly uncomfortable childhood nostalgia”.

Speaking about notable influences on the album, Raper wrote that “Jim Noir casually allows the history of pop music to inform his arrangements; luckily, he never allows them to overwhelm his natural sense of melody.

Somehow, these sweet songs still sound fresh.” He further praised the album for retaining “a sunny optimism that’s difficult to resist.

The only problem with the record is that it paints Noir into a corner, as it will be hard to top.”[2] In his review, Drowned In Sound’s Dom Gourlay concluded that “[a]lthough not strictly an album in that it wasn't created for the purpose of such [...], it still wipes the floor with most other albums of a similar genre released this, or indeed any other year in the last ten.

[...] Tower Of Love is a tasty entree that merely whets the appetite for the first album proper.”[1] While praising its melodies, Pitchfork Media’s Sam Ubl criticised the album’s “subject matter” and Noir's “trying to emphasize the naïvety of his naïve-sounding music with naïve content": "Let's just say Tower of Love isn't out to offend or challenge or discomfit anyone.”[6] Everything by Jim Noir.