Last Days of the Sun is listed as #37 of the top 50 records of the year for 2007 by Wire Magazine (issue 287)

"Last Days of the Sun's music echoes the ethos of the album's eerie title--the music is rough and tumble. The Terminals are tapped into classic garage rock even Steven Van Zandt's syndicated program wouldn't dare tackle without a helmet and a rifle at the ready. The strength of Last Days of the Sun, and moreso The Terminals, is the use of subtlety to do the work. Most garage band replicas prefer to pound you over the head with loud guitars and even louder distortion, thus killing the sound brought forth by those tweaking Dick Dale records in California car ports. Gone is the kickdraw surf rock and in its place is a magical blend of the musical mystery (think The Church, The Cult, and The Doors). The album's tone is dark and dangerous and no one refuses the advances of a tall, dark stranger." 
--Electronic Voice Phenomenon

"Most bands tend to come and go but then there are long-running combos that no matter what always end up doing the right thing. The key to the success of New Zealand super group the Terminals is probably that Last Days of the Sun only is the band’s fifth album despite the fact that they’ve been around for more than twenty years. It can hardly be called a comeback album since they never really went anywhere in the first place, but it sure feels like one.

Given my long-lasting love for New Zealand rock along a murky trail that begins somewhere around Pin Group and Scorched Earth Policy and leads up to the Renderers and the Terminals it’s somewhat difficult for me to stay objective but this sure is love at first glance. The title-track is particularly pleasing with soaring guitars and swirling organ dancing around Stephen Cogle’s dark tenor like a wild animal around its prey.

“Blue Moon” is a typical Terminals ballad overflowing with anxiety and the sense that it might explode at any given second. “Creeper” is another brooding highlight with absolutely glorious guitar/organ interplay. “Premonition” finds Brian Crook at the vocal podium and does as a consequence sound a bit like the Renderers. I can’t say that I mind.

The Terminals crashes and stumbles through twelve tracks of darkly seducing beauty. Near the end there is a sort of resolution and if you listen closely you can actually hear that the earth begins to tremble."
--Broken Face

"These New Zealanders draw as much influence from '60s experimental psych-pop as they do from the post-punk world, bridging a gap between Velvet Underground-style downtempo melodics and the noise-rock distortion textures of early Sonic Youth. The resultant album is a meeting of tunefulness and blurred guitar haze, with a few meandering organ tones thrown into the bargain. The spook rock of 'Premonitions' is an especially fine moment, taking an 'I Wanna Be Your Dog'-style chord progression with a creepy retro sensibility, while 'Crown Of Teeth' manages to sound upbeat in a kind of Jesus And Mary Chain fashion. The closing number, 'I Saw My Ghost' strips down on all the buzz and clatter for a largely acoustic piece of psychedelia, laden with echo and wah-wah guitar weirdness."
--Bookmat

"New Zealand is a goldmine for diggers with a penchant for hook-laden garagerock, garagepop and….what? Oh sure, yeah we already knew that. But there’s still some bands you can’t have heard an awful lot by and one of them probably is The Terminals. Not very keen on a life in the spotlights and with four or five hard to come by albums to their name, this band remains one of the country’s finest secrets.

For this record, The Terminals reach out to the most fascinating aspects of dark and brooding rock music. Sixties psychrock, Bad Seeds-like vocal depth, Doors-y end-of-the-world organ trips, but all with a definite knack for good pop music, hooks and melodies. Skip immediately to the title track for instant proof. During it’s best moments, “Last Days of the Sun” almost elevates with dark energy.

Opening track “Vertigo” builds up from gentle guitar strums and Steven Cogle’s deep voice before the repetitive organ motive expands and leads the song to soaring heights. A brilliant start which always puts a lot of pressure on the rest of the album. But that’s also where this band excels. They don’t try to overexagerate contrasts and the second song, “Undertows”, kicks off with the same hypnotising organ drones “Vertigo” ended with. The rhythm brings to mind one of Clinic’s better tunes, “Walking with Thee”. Focal point here though is Cogle’s bariton croon, somewhere between red wine Nick Cave and a euphoric Stuart Stapleton.

Another highlight is “Different Air”, a tenebrous piece shaped with the duality between subtle electric guitar and the on-and-on droning organ. Build ups are a Terminals specialty, they draw you in slowly and before you know it you’re just awestruck by the sheer beauty of the songs. If you haven’t heard of these guys you best check them out right now, they might have just created their masterpiece. 9/10"
-- Joris Heemskerk 12 September, 2007 (Foxy Digitalis)