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She has winnowed her dueling personas -- brilliant techno-inflected DJ and haughtily self-aware vocalist -- into a fantastically complete, wildly inventive package that offers the lunatic best of both badass sides.
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She writes beats and creates streetwise slithery DogPop with b-lines and brawn and occasionally shows us that wide-open vulnerability is as vital and visceral as virulent heartsteppin sin-sharing.
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Entertainment WeeklyAn assured solo debut. [28 May 2004, p.124]
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FilterApart from the live instrumentation, what stands out the most is Kittin's treatment of the synth as something more than aural shellac. [#10, p.92]
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MojoCruel, sexy and offhand by turns. [Jun 2004, p.114]
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Unfortunately, some of Kittin's lyrical deficits undercut her production.
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'I Com' delivers on all the promise that preceded it and makes quantum leaps of brilliance every time it's played.
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Q MagazineIt's a long time since anyone left their club past behind with this much panache. [Jun 2004, p.103]
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Rolling StoneIt all sounds glamorous as hell. [8-22 Jul 2004, p.122]
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I Com thus presents a new model for electroclash artists: it still exhibits some hallmarks of impersonal club music, but it also offers a (presumably genuine) glimpse inside the private diary of Miss Kittin.
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I Com proves that this talented singer/producer is as adept at making her own music as she is playing around with others'.
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The WireLaced with a shot of self-doubt that has it coming on almost like an electroclash Exile On Main Street. [#244, p.69]
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UrbIt's a veritable buffet of beats as she claws into everything from ghetto-house to industrial bombast with confidence and attitude to spare. [May 2004, p.83]
User score distribution:
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Positive: 7 out of 10
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Mixed: 1 out of 10
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Negative: 2 out of 10
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zorro.ZigSep 10, 2004
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PatTAug 18, 2004
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PeterBJun 10, 2004The production is great, and it's great driving music, but she needs to stop using her personal life as a source for lyrics.