- Critic score
- Publication
- By date
-
For anyone with even half a hankering for electronic heaven, this is non-stop introspective wonderland.
-
City is a noticeably fleshier beast than its predecessor; the album is lush and sophisticated with hooks aplenty.
-
They're one of those rare propositions in British Pop - A Great Idea On Paper.... Often, it works, leaping off the page and becoming something you'd actually want to slip into your state of the art entertainment hub at the end of a hard day shredding documents.
-
A set doing less of the poker-faced electro revivalism and more of the palette-diversifying pop-song penning.
-
UncutThey've burrowed a slick, haughty electro-pop slot between Propaganda and [Gary] Numan. [Sep 2004, p.108]
-
Thoughtful production, meatier music, and broader scope makes City worth hearing.
-
Fans of Client will appreciate the more dynamic edge to City... but those without a history with the band may write it off as another limp post-electroclash exercise.
-
The vocals of Clients A and B fall completely flat; abetted by simplistic lyrics, monotonous delivery and accents (Scottish and upperclass English) that frequently make their hackneyed lines sound like a couple of bored, unimaginative teenagers trying way too hard to be rebelliously outré.
-
Q MagazineThey seemingly can't help breaking electroclash's abiding principle, that of sounding like you're an utterly ghastly person. [Oct 2004, p.121]
-
City is so drab that the cameos from the Libertines' frontmen get lost in the darkness.