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While far from easy listening, the mechanics of NYC sound positively pastoral, and the interplay between Reid and Hebden, formerly spastic and indebted to the free-est of jazz, is now melodic, the give and pull of the rhythmic forces against the melodic textures gentler, and the songs more likely to cause subtle head-bobbing and confused stares.
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The music is supposed to feel representative of the big apple, but, aside from the song titles, this is a feeling I failed to really grasp onto. Thankfully this is probably the least important part, because after listening to this record a few minutes I realized how special it really was.
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The WireHebden is clearly striving for dancefloor impact--but Reid's drumming is so untethered and, frankly, messy, that it sucks the explosions out of whatever bombs Hebden's trying to drop. [Dec 2008, p.60]
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Q MagazineIt's as complex and funky as the city that inspired it. [Dec 2008, p.133]
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UncutAs with their third album, Can and Silver Apples are referenced, but there are additional moments here to please fans of both Terry Riley and Battles alike. [Dec 2008, p.94]