'City' is the second album by the band 'Client', released in early 2005. My first exposure to this group was at Glastonbury 2005 where they played on the John Peel Stage (previously the New Bands Stage) on the Sunday. I had wandered (read: ran) to the tent hoping to catch the end of LCD Soundsystem. However, on arrival (while admittedly still punch-drunk from the Mylo set that I'd just been bouncing around to like a loon) there were a few confused minutes spent thinking that LCD Soundsystem were sounding a bit more electro-pop than I remembered. He also seemed to have transmogrified into two female vocalists who were dressed up as air stewardesses.

Okay, so I may have been a little more than punch-drunk.

It turns out that the day's schedule at the John Peel Stage had had to be rearranged after the headline act for the evening had had to pull out, meaning that not only would I be able to catch the entirety of the LCD Soundsystem set (oh joy of joys!), I'd also get to listen to a previously unknown band who I wouldn't normally have been able to see. Client is made up of Kate Holmes (of 'Technique' and 'Frazier Chorus', and wife of Alan McGee) and Sarah Blackwood (of 'Dubstar' fame), but they prefer to be known as Client A and Client B respectively. Their style is comparable to the works of Miss Kittin, Ladytron, Black Box Recorder, Fischerspooner and Kraftwerk; an electroclash synth-pop experience that nods its head at the influences of artists such as New Order, Peaches and A-Ha.

The opening track, 'Radio' grabs you from the start with a wonderful piano hook that joins forces with a dark backing synth that perfectly compliments the bored and impersonal sound of Client B's voice. 'Pornography' is another track of note, with a fantastically sleazy sound that gets your toes tapping, and featuring the roughened and dispassionate voice of Carl Barât on backing vocals. To compliment, 'Down to the Underground' enjoys the contribution of the disturbed, but extremely talented Peter Doherty, former band mate of Barât until they had an almighty falling-out a few years back. 'Down to the Underground' has a fast and hard drum loop with urgent vocals. However, unlike 'Pornography', it fails to make good use of Doherty's talents, and the result is somewhat lacklustre.

Other stand-out tracks on the album are 'Don't Call Me Baby', which (once you get over the prejudice of the track title and its association with the Madison Avenue track from six years ago) catches you with its chirpy, upbeat sounds; and 'In it for the Money' with its hard and embittered vocals that fully exemplify the mercenary content of the song's lyrics. The big disappointment on the album is 'The Chill of October'; your standard slow soulful number with sweeping strings that completely fails to catch the listener's empathy. However, only one lame duck for an album that has thirteen tracks is no mean feat, and this album is well worth a few listens if you have a penchant for quality electro-pop.

Album: City Artist: Client Release date: 24th January 2005 Label: Toast Hawaii Catalogue number: TH007CD / 0724386413703 Track Listing

1. Radio
2. Come On
3. Overdrive (feat. Martin Gore of Depeche Mode)
4. One Day at a Time
5. Cracked
6. In it for the Money
7. Pornography (feat. Carl Barât, previously of The Libertines)
8. Down to the Underground (feat. Peter Doherty, previously of The Libertines, now of Babyshambles)
9. The Chill of October
10. Theme
11. Don't Call Me Baby
12. It's Rock and Roll (feat. Joe Wilson, previously of Sneaker Pimps)
13. Everything Must End