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on 16 December 1999
iD 11/99 "Terrorising and seducing by turn, Faultline's combination of orchestration and distortion heads for the extremes of emotional states: bursting hope, pressurised tension, swelling beauty, impending danger. Electric storm music."
DJ 10/99 "...a quite breathtaking, visionary album that promises to take listeners to places they've never been before. Weaving together hard hitting rhythms, orchestral melodies, dirty hip hop breaks and disturbing sound-bytes... one of the finest experimental albums this year." 9/10
SleazeNation 11/99 "... an accomplished debut infused with sinuous electronic manipulation and ornate instrumentation that provides the perfect soundtrack to the death of summer...with the balanced mix of the delicate and the ferocious creating a beguiling canvas of delayed reactions, slow motion violence, and faintly optimistic contemplation."
Ministry 10/99 "...a truly frightening, visceral, often brilliant record...liberal use of sonic mayhem segued with inventive live bass, strings and trumpet...a sound both beautiful and chilling." 4/5
The Times 25/9/99 "...an album so supremely modernist that it approaches the classical...Closer Colder can both stir deep emotion and chill to the bone. The sweetest cello, trumpet and violin resonate against a background of abrasive electronica...emotional and sonic disjunction are rarely as eloquently expressed as this." 8/10
Q 11/99 "...pairs scorched electronic rhythms, processed industrial thrums and shards of white noise with strings, trumpet, marimba and guitar. Bridging post-dance and contemporary classical genres, Closer Colder brims with invention...An accomplished, intriguing, distinctly Lynchian debut." ***
NME 16/10/99 "...stark instrumentation crops up with pleasing frequency; the haunting jazz trumpet of 'Mute', or the near-perfect title track, which samples Dennis Hopper's Blue Velvet wheezing over the creaking of a skeletal orchestra - a psychotic dalliance executed with dramatic clarity, rather than noisy bluster...'Closer Colder' quietly pushes back boundaries."
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on 21 July 2001
This version of Closer Colder has an "ambient soundscape" grafted onto the end of it, but we have to wait a long time after the last track has finished (either that or fast forward to it) in the style of CDs which have a hidden track. This doesn't interfere with the absolute brilliance of the album (perhaps it even adds to it) which is a journey into a screwed-up mind - maybe a little hurt I think. If you like this, then check out Desolate by Zan Lyons.
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on 4 October 2001
audio lulls into sudden noise as beats crisscross, cut out and clash between cut-ups. no two tracks similar. fantastic, unobtrusive instrumentation - control, the standout track, just so good...
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on 27 May 2002
The question is, would you want to go again? I certainly wouldn't. This album has got great reviews from many corners of the industry, but I personally find it very hard to find the music amongst the noise. Things never really seem to get going for most of the record and when they do, they're cut off in mid flow with another completely unrelated outburst. There is something there, but I certainly couldn't be bothered to keep listening in order to find it.
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