Review from Overplay Unsigned Artists web-site (http://www.overplay.com/):

"...From radio static, ambient sounds, ghostly footsteps and Bill Hicks, there are more strange, random sounds on this album than an episode of Teletubbies. But while all the weird noises and effects that filter through the ten tracks on 'Schadenfreude Blue' may suggest we're in for an astro-political jazz/trance odyssey, when the London duo actually get to the music they produce swaggering indie anthems, quirky ballads and shiny pop tunes. With mega-catchy songs and fat guitars, this is Stock, Aitken and Gallagher.

Adam Ritchie writes all the songs and plays most of the instruments, while Alex Mahdavi plays the rest of the instruments and manages production. They're both firing on all cylinders form the off as the shuffling baggy groove of "Stand Up (Get Down)" ambles on with the casual charm of classic Stones Roses or Happy Mondays. The beats, synths and "Dear Prudence" guitar refrain gradually ebb out into a hazy 'sixties style acoustic jam with a nice bit of bongos. This sunny start leads to even brighter vibes on "Sometimes Sunday Blue" as West Coast harmonies sit side-by-side with a towering chorus that sounds like a friendlier version of The Clash. Then it's on to the sitars with the sweeping easternised Pink Floyd chords of "It's Me Against The World." Angry title, sweet tune.

It's not all saffron and smiles though. "Playin' In My Head" is a Jem-like concoction of trip hop and handclaps, "Talk2Me" is gloriously glossy '80s pop that makes you wish The Thompson Twins were still going, and "England" is a brooding piano ballad that tells of jaded romance and forgotten ambition. However, the overriding theme of this album is the big-hearted indie strumalong. But, what would stink of stale beer in the hands of Oasis, manages to come alive with genuine warmth at the quirky touch of Ampersand. "Urbania" glows with rolling country campfire goodness and "If The People Don't Matter (It Matters)" ups the ante further with an even bigger chorus and fine harmonies. It's on the title track, though, that Adam and Alex go completely "Hey Jude" with strings, brass and over seven minutes of epic grandness that makes the Lord of the Rings trilogy look like an episode of Masters of the Universe by comparison.

It's a surprise, then, to hear the frenetic, jerky rock of the hidden track. It's fresh and frantic, it should have been on the album proper and it's only matched by the indie looniness of the Julian Cope-esque "Your Perfect Eyes." "The world's on medication" intones Adam on the latter. But if it sounds this much fun, get your prescription now...."