Metascore
63

Generally favorable reviews - based on 8 Critics

Critic score distribution:
  1. Positive: 4 out of 8
  2. Negative: 0 out of 8
  1. There's little crowd-pleasing electro or fashionable dubstep on Higher Than the Eiffel, but Audio Bullys have made a welcome, well-produced and lively returning album that delivers the goods far more often than even fans could have expected.
  2. Drawing on a cast of helpers, most notably Madness' Suggs and Mike Barson, the album boasts their usual eclectic mash of styles, all held together under the Audio Bullys flag.
  3. They're heading back to form in time to conquer a festival or two - but the nature of that song does leave you wondering if Franks will just be happy to be back at all.
  4. Higher Than the Eiffel is most reminiscent of the work that Freestylers and Lo-Fidelity Allstars were doing eight to ten years ago. Both of them aged into their classic full-length statement with surprising grace, and made intriguing music long after most punters had deserted them.
  5. In general, though, when the Bullys have their sights set on the dancefloor, whether it be a drug fueled downer house anthem or a colossal electro groove, they seem most at home. Luckily, this is most of the time, and as a result Higher Than the Eiffel is thoroughly enjoyable as an alternative dance record.
  6. Mar 4, 2011
    40
    Sadly, Higher Than the Eiffel's redeeming features can't prevent it from being utterly meaningless. Nevertheless, its bone-headedness is probably a benefit, recklessly cajoling us into enjoying ourselves.
  7. Feb 8, 2011
    50
    The aforementioned hangovers, though, feel like just that, overly morose and saccharinely slushy numbers that sound labored and fail to give Higher Than the Eiffel the worthwhile breather it needs following those breakneck party numbers.
  8. Having been dumped by their label, and in turn voluntarily dumped this scheduled third record's first draft, Simon Franks and Tom Disdale have taken their time, entice Madness's Suggs and Mike Barson into cameos and emergwed altogether stronger. [May 2010, p.112]

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