From FdW at Vital Weekly
..On this new tape, Sanderson goes out even further to what I call pop music; you may not agree, but that's fine. Here has ten tracks, thirty-three minutes, of keyboards, rhythm machines, sequencers and Sanderson's voice. This is not music for Vital Weekly at all, but boy, I love this. In many of these tracks, Philip Sanderson reminds me here of Sparks, especially in the way he sings, reminding me of Russel Mael, but also in his music he comes close to that of Sparks when they were at their most electronic. Not exactly with the same big electronic sounds, or big beats, but rather moody, at times jazzy songs. Small melodramatic pieces and sometimes Sanderson doubles his voice, just as Sparks do (and a lot more), adding weight to certain phrases. In 'Idol ferry', Sanderson mocks pop heroes and reminded me of 'Lighten Up Morrisey', from, you guessed, Sparks. This is some great music, excellent produced, humorous, dramatic, weird lyrics, but that was clear from the start of this review? And why isn't this on LP? (Frans de Waard)
From the International Times by Keith Rodway
"The tracks on both last year’s Rumble of the Ruins and the forthcoming release, Not Even My Closest Friends, weave a sonic web of synths, keyboards, programmed drums and vocal harmonies, with Philip’s very English vocals declaiming a kind of detached bemusement at the world and its many vagaries"
From the Sound Projector by Ed Pinsent
...Once again assured melodic tunes and a user-friendly surface hook the listener in, and at one level the closest comparison might be Sparks (as already identified by another online reviewer), and not just because of the keyboards and multi-tracked vocal parts but also the shrewd knowing tone in the semi-ironic lyrics, which just happen to be littered with enough pop culture references to fill Greil Marcus’ Dustbin Of History...The net result of all this work is a number of imaginative and distinctive pop songs (and one instrumental) which will bear repeated listening for many years, and even on early plays one can discern the slightly dark and discordant elements lurking in the background of these otherwise brightly-coloured pop tones, elements which have evidently been layered in with consummate care.