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A bit more variance in terms of these aspects would have rounded everything out. Other than that minute observation, The Sun & The Neon Light is a fantastic album.
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The result is simple and sparse, but more satisfying than heavier-handed electronic projects.
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What impresses most of all about this album, however, is the accomplishment and confidence with which it's constructed, and the economical way Merziger and Kammermeier make use of the huge array of colours and sounds at their disposal.
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Booka Shade's fixation with lighting up the brain's pleasure circuits is even more shameless than in the past, but from the transcendent riff of Control Me to the hand-claps and whirling synths that propel Charlotte, it is still irresistible.
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Q MagazineThey're one of European techno's most respected names, a status enhanced by this elegant follow-up to 2006's "Movements."
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Fans can rest easy: Sun and the Neon Light is not perfect, but it's also no late-model Chemical Brothers album.
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Loyal listeners looking for a more "personal" album from the band will have fewer complaints, but the casual fan will miss the more dynamic and vibrant elements of their earlier work.
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It seems they have forgotten that no matter how appealing this concept is to them, nothing is more appealing for the listener than experiencing the artists as they really are, not as they want to be.
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Effectively reinventing their sound with these glooomy anthems, Booka Shade should still rock the superclubs with ease. But some may miss the clever duo known for the carefree pulse of singles. [July 2008, p.94]
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There’s other fun songs on The Sun, but nothing that sustains itself as consistently as “Charlotte” and “Numbers.”
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What the title describes is just as ineffable as their sound: you can see it coming down, but somehow it fails to leave any tangible impression.
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Trying to meet somewhere between the dancefloor and the bedroom, between the realm of communal delight and solitary reflection, Booka Shade just wind up in the middle of the road.
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All that studio thaumaturgy is still present on The Sun and the Neon Light, but as Booka Shade’s bid that they’re human after all, the calculations here come off with a less-than-wholly organic equation that feels flat, not taking into account the wild variation that comes with raw human contact.
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It’s not a complete washout; there are indeed some promising moments. Unfortunately, none of them get developed enough to compensate for the blandness of the rest of the album.