This City - We Were Like Sharks reviews
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| Nme |
 You know what? On paper, tattooed London types This City’s blend of dance beats, fuzzcore guitars and Iron Maiden-esque gallops shouldn’t really work. By rights the results should sound like something left on the Yo Gabba Gabba! cutting room floor, but once you get past the slightly soppy sixth form lyrics (“Please crush my ego, not my heart”) and the incessant jerking of ‘We Move’ and ‘With Loaded Guns’, it all clicks. More than just melodic post-hardcore-hungry zombies, This City give us a fresh take on the genre by making music we can also move to. Album highlight ‘Black And Blue’ looks set to double their fanbase alone – they’re gonna need a bigger boat....full text |
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| Drownedinsound |
Some may remember Brighton five-piece This City as the group who qualified for the latter stages of the 2007 Orange unsignedAct competition, only to withdraw; a decision based on the way they’d “developed as band”. An act who’d previously drawn attention at that same year’s In The City conference, with a raw blend of pop-punk melodies and At The Drive-In-influenced guitar schizophrenia, their withdrawal wasn’t entirely unexpected; theirs was an aesthetic that seemed entirely at odds with the glimmering plastic world of TV land. It’s a disappointment then to find that, two years on, debut LP We Were Like Sharks has been wrapped up in its own form of plastic sheen; a 34 minute exercise in screaming “PLEASE LIKE US!” to as many people as possible, without really knowing which way to go about it.
Maybe it was to be expected though: dropping out of unsignedAct, signing to Epitaph, recording in America and, more recently, taking varying support slots with the Eagles Of Death Metal and A (remember them?); This City have always given the impression of a band not entirely sure of where and who they want to be. It’s a trait that transfers onto record. We Were Like Sharks deals in a menagerie of styles, a semantic link to punk running through all of them; there’s diluted hardcore riffs, alarming resemblance to Penny-era Automatic and a whole lot more thrown randomly at the canvas. Often, a thrilling sense of gathering momentum is built, only to be away at the crucial point. Take ‘Black and Blue’: viscerally brain-lodging hooks take on lead vocalist Chris Purr’s seemingly buoyant yelps, two snowballing tumults seemingly on a crash course for collision. Yet, come the money shot, it all falls away with a languid, echo-drenched mid section; it should be following its quasi-Blood Brothers leaning to its brutal conclusion. And this is a recurring problem. While highpoint ‘With Loaded Guns’ thrusts viscerally forward, a canny indie-disco stomp underpinning fraught urgency and throat lacerating vocals, ‘Colours’ opens up reminiscent of Bloc Party’s ‘This Modern Love’, before a disappointing morph into a shiny potential soundtrack for the latest Pro Evolution Soccer game. For ‘Kids With Fireworks’ spidery guitar lines and shotgun chorus, flip the coin and find ‘Moving Parts’; the sort of tepid radio-nudging call-to-arms anthem that Lostprophets were dealing in back in 2004....full text |
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| Rocksound |
| The city to which this particular quintet refers, Brighton, is witnessing something of a transatlantic record label supermarket sweep at the minute. Bridge Nine have picked up the rather fine Dead Swans whereas The Ghost Of A Thousand and This City have been snapped up by the legendary Epitaph, with good reason too. ‘We Were Like Sharks’ could very well prove to be the jewel in a heap of tar-covered beach pebbles, dropping sweet hooks (‘Picture This’) and choruses (‘Romantic’) the size of skyscrapers at every given opportunity. Rocking with a subtle power that belies the heaviness beneath, This City could do very nicely indeed....full text |
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